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The article focuses on the life and artistic contributions of Marea Gazzard, an Australian artist known for her reductive clay forms and advocacy for craft as art. Topics include her international recognition, evolution from functional ceramics to sculpture and her groundbreaking work in bronze casting. Gazzard's dedication to promoting craft as art and her seamless transition between clay and bronze sculpture are highlighted.

The article provides information on the causes and solutions for glaze crawling, a common defect in pottery. It explains how greasy or dusty bisque pots can disrupt the clay body and glaze surface, leading to crawling, and suggests preventive measures. it discusses the high clay content in glaze formulas, which can result in cracks and flawed bonding with the clay body, and offers corrective actions, such as using calcined clay and glaze binders.

The article offers information related to Rongchang pottery refers to vessels made of Yayu Mountain clay by people living around Anfu Town, Rongchang County, Chongqing in China. It reports that Rongchang pottery was revived and welcomed its third period of development under government support and from 1960s to 1980s, the best of Rongchang pottery were given as "national gifts" to many important international guests.

The article highlights work and life of ceramicist Kathy Kranias, transforms clay to not only tell a story, but to capture movement and emotion. It mentions that Kranias' sculptural work is as meditative as it is spontaneous. It reports that Ceramics demands precision as well as patience, yet is infinitely diverse in its many forms.

The article discusses work and life of Takeshi Yasuda, a Japanese potter who was born in Tokyo, Japan in 1943. Yasuda trained at the Daisei-Gama Pottery in Mashiko from 1963 to 1966 and established his first studio there. His early work consisted of ash-glazed stoneware, after which he explored sancai and creamware.

The article discusses ceramic art London (CAL) 2019 which organized by the Craft Potters Association. Topics include inspired the audience with the projects of Tate Gallery and international influence from Republic of Korea; views of Nichola Theakston, ceramic artist on creating physical ceramic art using by clay; and Kirsty Macrae, ceramicist on producing sculpture which are exploration of gesture, form and color.

The article offers information on glaze firing that is required to hold liquid for earthenware, like fired clay pottery. It reports that potters apply a layer of glaze to the bisqueware, leave it to dry, then load it in the kiln for its final step, glaze firing. The glazed item is carefully loaded into the kiln for the glaze firing.

The article reviews the exhibition "New Designers" in London which hosts all the arts departments from colleges and universities in the country and also invites previous year's exhibitors which is called as " One Year In."

The article offers information held at the Vilnius Academy of the Arts in Kaunas, Lithuania exhibiting the history of Kaunas with ceramics. It mentions that Remigijus Sederevičius, Head of Ceramics at the Academy and a participant himself, has been either organizing or managing it with the assistance of his wife and Administrative Director Giedra Petkeviciutė.

The article offers information on pottery skills, characteristics and primitive methods of Dusun Tindal, a sub-group of Kadazan Dusun tribe in Malaysia. Topics included potter Kantiam Binti Setan who uses hand tools such as bamboo rods split in half, round and smooth river stones, and wooden paddles; traditional Malay pottery which is created as unglazed and plain forms by people who adopted Islam; and the patterns engraved on wooden paddle which are either geometric shapes or natural motifs.

The article discusses the Clay Gulgong, Australia's great international ceramics festival, held in April 2018.

The article explores on the concept and form of the ancient Chinese ceramic art which known as the Two Sages of Harmony and Union. It states that the art symbolizes the Chinese Cupid who governed the marital affairs. It also cites the value for understanding ancient Chinese culture and social concepts that evolved into a folk legend and an object of worship.

The article offers information on ceramic sculptures of ceramist Tony Moore. Topics discussed include use of intuition to achieve form by embedding stones and shards of glass in clay in Collector's Cabinet; covering of press-molded clay heads stacked within the cages with blue glaze; and durable understanding of frontality as a kind of architectural façade in Portal and Journey of the Ferryman.

The article offers information on ceramic tableware of artist Ozioma Onuzulike. Topics discussed include creative adventures in pottery with intricate relationship between clay and different natural and artificial materials; exploration of texture, colour and pattern in his ceramics; and use of casting techniques and adoption of natural yam tubers in crafting "Yam Bodies".

The article reports that the famed Meissen Porcelain Manufactory produced some of history's most distinctive and attractive coinage from the stoneware and porcelain clay bodies. It mentions that the economic consequences of reparation imposed by the Treaty of Versailles, citizens of Germany began hoarding every gold and silver coin they could acquire. It presents information on the alchemist Johann Friedrich Böttger.

The article offers information on the seventh Utilitarian Clay Symposium held at the Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. It mentions that objective clay is able to divide the jobs of advertising, sales, and workshop coordination. It states that conversation at the symposium focused on the fact that craft education is vital to the future of ceramics.

The article discusses the works of the ceramic artist, Antonella Cimatti from Faenza, Italy. Topics discussed includes theme in her work is the search for lightness and imperceptibility of the material, and its derivation from clay; several exhibitions such as Ghost Still Life in 2014, Butterflies in 2011, and Ghost Vessels in 2014; and views of Matteo Zauli, director of the Museo Carlo Zauli of Faenza about her works.

The article offers the works of the Great Britain-based ceramic artist, Emily Gardiner. Topics discussed includes her exhibition Ceramic Art London, an internship with the ceramics contractor, Bente Skjøttgaard in Copenhagen, Denmark made her understand the importance of the chemistry and the raw materials of glazes, and she describes her work as a contrast of two things which is the quality of the clay and its texture.

The article reviews an exhibition "The Dead Man's Penny" displaying the clay acts of ceramic artist, Michael Keighery, as a tribute to the death of his Uncle, Frank Keighery, held at Watson Art's Centre from September to October, 2015 in Canberra.

The article talks about the ceramic works of the artist, Sunshine Cobb. Topics discussed includes views of the writer James Thurber on the works of Cobb; her works such as wired handled baskets, tool tote, and tea tumblers and tray made up of midrange red clay and sandblasted; and her non-clay elements such as wooden handles, metal bolts, and plastic wires.

The article talks about the works of Robert L. Wood, Professor of Design and Head of Ceramics State University of New York, Buffalo. Topics discussed includes his clay sculpture exhibition at the Kenan Art Center on May, 2015 in Lockport, New York; experimenting with combinations such as paper with wood, clay with metal, and paint on canvas encrusted with anything that could be made to stick; and a classically shaped amphorae crafted with earthenware clay and cast glass.

The article discusses the origins of clay were simple: it came in two colors and was available in rectangular, 25-pound bags. In the late eighties and in the early nineties, clay came in multiple 50 to 100 pound bags of dry material and you had to mix it all together in a Soldner Mixer.

The article discusses the effects of iron and soluble salt content in the drying, bisque, or glaze firing stages of clay art. It examines the action of the soluble salts to the surface of the clay with the evaporating water that can reveal a hard-discolored crust on the fired ware. It also cites the creation of a mechanical disruption of the clay with the soluble salt migration.

The article offers information on the Eighth Biennale of Israeli Ceramics which is an Israeli ceramics that is an important stratum in the development of Israeli culture. It mentions that the main struggle in creation of Eighth Biennale of Israeli Ceramics was dismantling the base of the piece, which had become so compacted by the weight of all the clay.