Pottery Making Illustrated Articles (Simple)

A good teapot calls for creativity, meticulous craftsmanship, and hard work. While one of the most challenging forms to make, teapots often provide the maker with an opportunity to demonstrate persona

In my ceramic work, I pay close attention to the relationships between forms. A functional ceramic piece is rarely alone. It’s always surrounded by other forms and these should have a harmony based on

Wood ash or, more correctly, ash from organic vegetation, has been used as an ingredient for the development of glazes for at least 2000 years. Glazes utilizing wood ash are firmly rooted in Asian cer

Many clay and glaze faults in ceramic wares are caused by incomplete burnout (oxidation) of carbon and sulfur during the bisque firing. These faults are observed after a glaze firing, but the problems

Making handmade tools with Pottery Illustrated.

It’s all about the clay: how it feels in your hands, on your fingertips; how it can be shaped and decorated into useful, beautiful objects. Timing is crucial when working with clay. The many stages of

One of my favorite things about the design of this extruder die is the beautifully thick top edge as well as the inside edge at the bottom (see 1). This beveled-edge design makes it unnecessary to add

As an artist, there is always that hunt for the next project, challenge, discovery, or grand idea. In 2016, I found myself searching. Having completed a solo exhibit and a large piece for an exhibitio

As pottery and cooking go hand-in-hand, so too do cooking and gardening. Potters know the pleasure of cooking and serving from hand-made dishes designed especially for homemade recipes; and every cook

Reflective or regular micas were addressed in the March/April 2013 issue of Pottery Making Illustrated. This new update is about the use of interference and selective types of mica. No longer are pott

Butter is an essential ingredient in cooking and having it ready available and stiffened enough for use requires a good butter dish. This butter dish is long and wide enough for ½ cup (one stick) of E

Industrious and creative individuals take tool use very seriously.

Illustrations by Robin Ouellette for Pottery Illustrated, Alternative Lids.

My work celebrates the relationships that shape my life. I combine my experience as a sculptor, potter, and cook with influences from myriad teachers who’ve nurtured my work.

My carved pitcher form came about when I was doing research for the Companion Gallery’s call for entry to Last Call II. I was looking for a new form that would stand out and would fit my personal styl

I make intricately assembled and decorated tableware. My forms are often hollow or incorporate a tactile element that can only be experienced close up or while touching the piece.

After 24 years of teaching, I’m increasingly motivated to share what I know and emphasize that teaching IS learning. I encourage and expect peer teaching in my high-school studio classroom and love to

As potters, our products should exhibit economy and spontaneity in form and decoration through intelligent use of mind, eye, and hand. Bowls for holding should nestle in the hand. For mixing, they sho

My pieces capture a thought process, or intention, that’s unique to my experience as it’s being created. The design captures my consciousness and allows me to materialize it while in the process of cr

I first learned about yunomis from a postcard I picked up for the ClayAkar “Yunomi Invitational.” I placed that card on my studio wall at The University of Mississippi where I attended graduate school