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The article offers information on the Sylvie Enjalbert was an avid mountaineer and paraglider living and working in the tourism industry in the Atacama Desert of Northern Chile. It mentions her desire to be creative using her hands caught up with her and she found herself enrolled in a local pottery workshop where she learned coiling; and also mentions that she started harvesting local clays with a friend, potter Laetitia Pineda.

The article offers information on the Michael Sherrill grew up in Charlottesville and was influenced early on by North Carolina folk pottery tradition and the arts community of the Penland School of Crafts. It mentions his use of porcelain as a means of continuing to use brilliant color; and also mentions his use of metal provides a particular kind of setting for clay and he has used it primarily as a means of creating branches, stems, thorns, tendrils, and, in some cases, tree trunks.

The article offers information on Stoin M. Stoin worked as a potter in vibrant community. It mentions that instead of popular images of vines, flowers, or critters like mice, spiders, lizards, frogs, beetles, and bugs on vases and containers, he continued his resolute focus on simple forms, handsome glazes, and the natural qualities of clay; and also mentions that he was not a reformer and did not use conventionalized designs for the decoration of pottery.

The article presents a profile of Richard Crooks, an American artist. Topics mention including his training in the Modernist manner of the post-war Western sculpture, his practice which emphasized phenomenology learning from experience and key features of his sculpture which concerns volume, mass and scale.

The article offers information on how to make a ceramic plate. Topics mention including the creation of texture through dragging of the dynamic tool across the clay which create zigzag and waves, challenges in achieving a symmetrical rim and applying the underglazed technique in the finishing touch.

The article presents a profile for Green River Pottery studio in Santa Fe, New Mexico. Topics mention including using the wheel thrown and slab formed as the primary forming method, favorite surface treatment which combed the texture with the worn hacksaw blade and tools used as the bent at angles and lengths of steel banding strap.

The article presents step-by-step instruction for building a jar using clay.

The article offers step-by-step instructions on making a clay monotype.

The article presents information related to Ken Gangbar, ceramic designer based in Toronto, Ontario. It is mentioned that Gangbar began his ceramics career upon graduation in 1995 and started creating minimalist production pottery. It is noted that his work often hugs the edges of the space and has used materials other than clay in many of his installations.

The article presents information related to Ted Vogel, head of the ceramics department at Lewis & Clark College in Portland, Oregon. It is noted that Vogel has been a collector of objects and a maker of spare parts and explored issues around ecology in much of his past work invoking the bird and the tree stump as central images.

The article profiles clay potters Daniel and Kate Johnston of Seagrove, North Carolina. It describes the log cabin studio where Daniel and Kate work on pottery projects with the help of apprentices. It notes the previous work experiences of Daniel which included production thrower at Cole Pottery and apprenticeships with Mark Hewitt, Clive Bowen and Svend Bayer. It mentions that Kate worked as a studio intern at the Wheaton Arts and Cultural Center in New Jersey at the age of 14.

The article profiles Japanese master ceramic artist Jun Kaneko. It notes that Kaneko is known for creating large glazed ceramic sculptures called Dangos. He took art lessons with contemporary painter Satoshi Ogawa, studied painting in Los Angeles, California in 1963, and finished his Masters in Fine Arts Degree at Scripps College in 1971. It also mentions that Kaneko co-founded the Bemis Center for Contemporary Arts in Omaha, Nebraska.

The article presents instructions for the designing and painting of clay mugs.

The article presents instructions for the design and painting of a clay pitcher.

The article offers information on how to test the addition of red clay to other materials to develop a glaze. Topics mention including using red clay as a primary ingredient to observe the melting processes of the clay, combined materials to develop a slip and using the guidelines for stable/durable glazes established by John Hesselberth and Ron Roy.

The article presents instructions for the designing and painting of a wheel-thrown and altered whiskey flask using clay.

The article discusses the works of the Rat Trap Clay Club based in Bozeman, Montana, noting its efforts of establishing a community that truly focuses on collaboration. It mentions a collaborative process, which entails passing around numerous drawings in which, each person adds, erases, and at times covers over preexisting imagery until the work is deemed finished by the group.

The article is about John Glick from 1960s to 2000. His career started when he returned from the US Army and started to decorate on glassy surfaces with oxide-wash markings and made his first handbuilt boxes with lid at Shino and Oribe wares. He shares his experience about the Studio Potter magazine which talked about clay extrusion in an article "Extruder as Design Tool, An Expanded Usage" and it was later in the 2000s when he developed an interest in creating patterns on semi-stiffened clay.

The article offers step-by-step instruction for making fortune cookies using clay.

The article discusses the large-scale ceramic murals of the Franciscan Sisters in Sylvania, Ohio which features their commitment on clay culture. Topics mentioned include the commitment in clay started from the founder Mother Mary Adelaide of Sisters of Saint Francis, the Franciscan Center project with artist Sister Jane Mary Sorosiak, and the current work on the mural for French priest Gabriel Richard that will be installed at Cobo Center in Detroit, Michigan.

The article offers information on Andrew Fitzsimmons discuss the high-school ceramics program at Chenango Valley Central School District (CV), in Binghamton, New York. It mentions the ceramics program is structured around building skill and understanding, with a foundation in mastery of material and methods; and also mentions about a former student Mark Gallo's clay journey would be influenced by the opportunity to stretch himself and his ideas.

The article presents insights regarding her approach to reclaiming clay using a middle-sized bucket on wheels, pan-sized plaster slabs and monitoring. Topics discussed include the importance of clay trimmings as component of the approach, removal of fine particles by wheel throwing, and the benefits of reclaimed clay.

The article focuses on the reasons behind the presence of dust at a pottery studio and offers recommendations to aviod it. The definitions of some terms related to pottery including flux, micron and silica is given. Dust of particulate matter that is dangerous to potters in the pottery studio is also discussed. It is mentioned that concentrations of outdoor air that can infiltrate indoors determines air quality in a studio.

The article explains the process of Reduction Firing in ceramic art and pottery. It notes that the reduction process involves the donation of electrons to a metal or surface through a set of reactions that include oxidation firing. It cites that potters use reduction firing to achieve desired color effects including vibrant red copper,and reduced iron blues in celadon. It infers that misglazed or misfired ceramic works can be minimized through greater overall reduction firing.

The article discusses the technique of printing with colored clay over a clay slab. It notes the use of Tableau rice paper for making clay prints due to its long fibers, high wet strength, and extreme flexibility. It mentions the author's final preference for using the non-woven material, Reemay due to its stronger bonding with clay, and his celebration of the 35th birthday of his clay slab on September 19, 2015.

The article discusses the challenge faced by ceramic artists regarding the technical details of ceramic work. It talks about the issue of cracks and warping in dry greenware. It discusses the industrial drying process of greenware and talks about the humidity of the room. It is noted that higher percentage of clay or plastic materials will make the bone-dry greenware stronger. Graphs on drying tests are presented.

An interview with Kari Radasch, a ceramic artist is presented. Topics mention including the factors which attracted her to the work using red clay and lo-temperature firing, her favorite part of the process when making her work and specific adaptations to her clay and glazing designs with durability and ease of use in mind.

The article discusses the use of drinking vessel by several artists as a warm up to experiment and enhancing technical skills. Topics mention including using an iron-rich clays with a cone, increasing usage of red clays and firing in the low-fire to a cone and factors which contributes to the increasing interest in low-fire red clay.

The article reviews the Terralha Festival also known as the European Festival of Ceramic Arts that was held in Saint-Quencin-la-Poterie, France on July 14-16, 2017 and the celebration of the 60th anniversary of the Clay Art Center.

The article reflects on the spirit of community experienced by the author at the Utilitarian Clay VII (UCVII) symposium in Gatlinburg, Tennessee. The author notes the generosity and helpfulness of the people at the symposium. The article describes the passion with which some of the attendees like Josh Copus talk about their work and the joy that they seem to take in their art. The author also mentions some of the attendees having switched careers to pursue their art full time.

An interview with Martha Grover, a ceramic artist and potter is presented. Topics include her career exposure in ceramic pottery as resident ceramic potter at the Northern Clay Center and the Red Lodge Clay Center, her achievement as an emerging artist by the National Council on Education for the Ceramic Arts (NCECA) and her adjustments after moving her residence to Maine from Helena Montana. She also shares her experiences of leaving on her new ceramic space in Montana.

The article presents an interview with Bruce Dehnert, Director of Ceramics at Peters Valley School of Craft in Delaware, who tells about the impact of his role as Director of Ceramics at Peters Valley School of Craft on his creative practice and his experiences firing the wood kiln. He explains that there is a certain absence of complete control in the firing of a wood-kiln and is not like a studio-based act of art making.

A calendar of global events for ceramic, clay and pottery art from January 2016 to October 2016 is presented which includes an exhibition for handcrafted designer products in Washington, District of Columbia, a clay craft conference in Alabama, and a potters' conference in North Carolina.