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From infancy, children today encounter images of animals in picture books, draw animals faces in the sand at the playground, and make sculptures of animals out of clay at school. 6. 8 / 1 6 Special Edition Tiles Auspicious Animals, commissioned by Dochwi for the exhibition Imaginary Animals, Auspicious Companions (2020). ^5 The animals that are depicted in the "The Five Treasuries of the Classics of Mountains" ( , Wucang shanjing), which records the geography and life of a total of twenty-six mountain ranges, are described mainly as unique, that is, as "a composite of several animals", and "the signs brought by animals are mostly ominous." Such hybrids of gods and animals, humans and animals, or animals and other animals occupy a significant proportion of the realm of imaginary animals. [Extracted from the article]

The article offers information for potters about the inversion pottery technique when it comes to bowl making. Pottery techniques being presented include becoming successful at throwing clay by understanding the strengths and weaknesses of plastic clay and avoiding slumping in bowls as well as provides details about the direction of hand movement at the inversion stage.

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 explores on the creation of the ceramic artefacts which embodied in a variety of forms and technical solutions that express different visual identities. It highlights the decorative modalities and social uses of the ceramic artefacts. It also cites the strengthening of cultural and ethnic belonging due to the recreation of the historic ceramic expressions.

The article narrates the experience of Sam Hall related to pottery. His pots have the capacity to jar familiar expectations of craft pottery and to exceed contemporary confluences between craft and fine art conceptualism. His practice may have been influenced and informed, in some ways, by St Ives Modernism, or the Leach pottery heritage, which has produced an enclave of excellent contemporary potters. It also notes that his pots have a common, yet sparse, language of solidity of form and repetition.

The article reports on the ceramic figurative sculptures of Barbara Balzer which occupy a world of timeless intellect, dizzying beauty and distracting intrigue. Her recent works, which she describes as incarnations of playfulness, depict stray characters from Alice in Wonderland, Grimm's Fairy Tales, Western classical mythology and early Renaissance painting. It also notes that Balzer's quirky wit and high intellect show up most clearly in her juxtaposition of haiku-like phrases and words either inscribed on or entitling many of the pieces.

The article describes the works of international artist Kathy Ruttenberg. It mentions that the artist uses her interest and concern for endangered species to make interesting artworks. It states that she embraces the historical practice and belief of revealing the basic human truths through story telling and symbols. Furthermore, the author says that her masterpieces offer a contemporary as well as a fresh approach in the world of arts where academic language, irony, sharp cleverness as well as oblique statements abound.

The article examines the multiplicity in the ceramics works of Spanish artist Pablo Picasso. It mentions that the artist is familiar with the multiplicity in artworks because he specialized in graphic arts in the 1900s. It also states that he started popularizing ceramics as multiple works of art when he was intrigued by the idea of making it possible for his work to be seen by the public, especially after joining the French Communist Party in 1944. It says that the reproduction of his works began in series after 1950.

Presents a guide to making a covered casserole out of clay. Important considerations before starting the pottery work; Steps in throwing the bottom section; Ways to throw the lid; Procedure for trimming the casserole base and lid.

The article features the ceramic works of Marta Nagy. Her works concedes to the progressive tendency in Hungarian ceramics which mixes all possible traditions of classic shaping and firing techniques but which allows the personal choice of topic and individual statement to take priority over the material and technical appeal normally considered the major virtue of the genre. In addition, the works are without precedent, yet their material remains porcelain. Moreover, it also highlights the effect of textile ribbons superposed on glazed and unglazed porcelain surfaces.

The article features the figurative ceramic sculpture of Kelli Damron. The author emphasizes that Damron created new views of common object and reestablished the voluptuous female figure as a contemporary ideal. In addition, Damron's forms express the splendour of folding flesh and volume as a state of mind, portraying the essence of weightlessness and balance within a figure commonly perceived as awkward and heavy. Moreover, Damron uses the light and weightless figures to subtly challenge society's picture of the large woman as unhealthy and depressed.

Presents the procedures for decorating pottery using the rolling stamp technique. Method of creating and firing the stamp; Way of using the stamp; Creation of surface patterns.

Presents the procedures for decorating pottery using the resist inlay technique. Materials needed; Method of resist inlay using commercial underglazes on a commercial bisqued tile; Design transferring. INSET: WORKING WITH WAX RESIST.

The article presents information on how a series of forms in porcelain are formed. The author calls the forms as "tidepools" and says that they are made in an open vessel format. Various pieces formed by one or more layers of porcelain are moulded together to make forms. These are then bisque fired at different temperatures to obtain the color pattern and lustered surfaces as desired.

The article focuses on the attribution of the works of Steven Montgomery. He has the ability to put into work imaginative things and envision form while remaining true to his empirical observations. He employs an expressive potential of the medium that motivates him to produce extraordinary work of art. It states that he began working with the image of the machine early 1990s, the same time that his interest in drawing began. Most of his drawings also depicts large-scale, machinelike forms and complex science-fiction gadgetry, those that signify architectonic forms without a distinct function.

The article profiles Swisa artist Margareta Daepp. It describes one of the ceramic artworks made by Daepp which is a vase that features a dark pattern of reeds, has an extended oval body and vertical depressions that give the impression of staples. In addition, the author mentions that she enrolled in the School of Design in Bern, Switzerland to enhance her understanding on ceramics. Moreover, she adds that the artist excel in making three-dimensional master pieces using ceramics since she finished studying at the School of Applied Arts in Geneva.

The article describes the pottery of Marie Strauss. Her hand-built pots speak of endurance and hope. Her forms seem to address the dilemma of knowing how to develop resilience for the forward momentum of living. One could say that the particularities of Stauss' condition and her location have been abstracted through the process of pottery making. Her pots show that the New Zealand outdoors is green, damp and often muddy. They also reflect heaviness in their squat and bulging forms that evoke the wetness of saturated earth clods. She betrays her passion for the materiality of things in the quality of the surfaces' handling.

The article focuses on woodfired stoneware pottery. Woodfired pots are often considered potters' pots which represent the extremes of a natural material, technique and firing. Woodfirers are different from ceramists who use electric and gas kilns. To woodfire pots, it takes an obsessive persistence. It include wood preparation, making pots, loading and maintaining the kiln.

The article features the ceramic works of Yuk Kan Yeung. The author highlights the earthy and spiritual quality of Yeung's work, as well as emphasizes that the clay is like the earth's surface and serves as a canvas for Yeung's drawings of the object and landscapes people see around them. Moreover, her work encourages contemplation, wherein the drawings embody Yeung's spirit and thoughts and one cannot help responding to them emotionally. In addition, the works also stimulate one's imagination and free one's mind to visually conceptualize his/her physical and spiritual surroundings in a unique way.

Presents the procedures for decorating pottery using the gold leafing technique. Difference between transfer and loose gold leaf books; Mechanical surface gliding; Application of the gold leaf.

The article presents the works of ceramic artist Edmund de Waal in Great Britain. De Waal is described as a distinctive range of reduction-fired wares in porcelain that is covered with soft blue satin celadon glaze. Its typical forms include delicate beakers with tapering rims, teapots with metal wire handles and a narrow-footed bowls. He introduces the concept of using the associations of porcelain in 1990's and has installed a series of porcelain pieces including bowls, tall jars and cylinders.

This article discusses a procedure to create unglazed porcelain pottery articles. The author is particularly fond of these pottery pieces. One caution note has been mentioned in this article that these unglazed pottery pieces are not suitable for food or liquid.

This article focuses on procedure of making rattle mugs. The entire procedure has been described in 21 steps. Terra sigillata is used to give finishing touches to these mugs on their false base. Terra sigillata gives the surface of these mugs a softer look and sets it off from the glazed mug body.

The article offers information on clay vessels production in southeastern Nigeria. Afikpo and Ishiagu are the best representative of traditional pottery in southeastern Nigeria as their tradition dates back to pre-historic era. The abundance of good clay in the area is the main reason why clay vessels are encouraged in the communities. Clay in the area is dark yellow in color, but there is also a red clay that is used for coloring and a clay called ujiji that is used as grog. Hand forming is the only pottery method known in the area, which also used clay coils or cylinders.

The article provides information on several remote communities that produce ceramics in the Northern Territory of Australia. It says that the women potters in Hermannsburg have been famous for their distinctive and vibrant ceramics as they depict the mountains and desert landscape surrounding Hermannsburg. According to the author, Ernabella is relatively new in the world of ceramics, which makes pots and then glaze and fire them. Information on the ceramic works from the Munupi Arts and Crafts as well as Tiwi Designs in Tiwi Islands is also provided.

This article examines the history of pottery. Pottery making reflected the development of the relationship of human to nature and to the evolution of the urban dweller. In its essential character, pottery may be seen as the mimetic art, and a part of an evolving global network of inspiration, emulation and innovation. The establishment of the Tokugawa Shogunate asserted itself in pottery as a radical departure from Chinese precedents in new forms of the tea ceremony. In 1685, pottery owner John Dwight has claimed a patent on making pottery in German style.

The article presents a research which focuses on the technique of using water in woodfiring kilns. It is stated that the use of water during firing is an old Chinese technique for brickmaking. According to the author, relevant literature from brick making industry and ceramic engineering as well as laboratory tests in the glass industry provided an analytical base for his experiments. He highlights the claim of several ceramic artists including Gail Nichols, Karen Terpstra and Richard Bresnahan concerning the significance of water in firing ceramic wares. He emphasizes that water enhanced the color of the clay object's surface.

The article focuses on the making of the ancient Egyptian faience pottery. It is stated that faience has been a widely used material in the primitive Egypt for the production of various objects such as figurines, statuettes and cartouches. To the ancient Egyptian, faience was known as a brilliant or luminous material usually use for religious architecture depicted in several excavated objects. Moreover, it discusses faience's physical properties, its color and symbolism and the history of techniques applied for pottery production.

The article provides information about the traditional Pekmez Höyük-Karacasu Turkish pottery in Turkey. It is stated that Karacasu district has been an active center for commercial from late Neolithic and Calcolithic periods to Classic eras. Here, it highlights the primitive and modern way of pottery making from clay in the area. According to the author, several art studios and potters are adopting the technological-equipped modern method of pottery. She emphasizes that the 8000-year-old handcraft practice must not be forgotten despite technological developments.

The article discusses the author's experience of using a Bourry box kiln in pottery-making. He denotes that his woodfiring experiences with his wife were with pottery maker Michael Cardew in Cornwall, England. He emphasizes that their technique in making potteries since 1979 has been currently maintained. He asserts that a correct usage of a Bourry box kiln supported by sales of work is an efficient approach to succeed in the business.

The article discusses the technical precision and ideas behind the raku ceramics of Carol Rossman. According to the author, Rossman is recognized on the accuracy of her geometry-based patterns and a superb range of color in her designs for over 20-year career. He denotes that Rossman finds that ceramics burnishing with plastic-coated color produce the best surface results. He emphasizes that a narrow piece of masking tape is significant for Rossman in aligning the top and bottom markings of her works. Here, it highlights the materials and the process involve in Rossman's pottery-making from glaze firing, designing and finishing touch.

The article discusses the artistic side of South African potter Inga Chinnery. Chinerry's work is composed of pinch, coil and slab methods and uses Lieberman's earthenware clay and fires using electric kiln and sometimes works with white earthenware clay. According to the author, Chinnery's style does not define a clear influence but portrays a subtle blend of her European origins and her life in Africa. She is drawn to the geometric patterns and lines and likes to work with dark restful colors, however, her work portrays the richness of African earth. Photographs of several art works by Chinnery are presented.

The article features the Centre for Contemporary Craft in Sydney, New South Wales. Its mission is enhancing craft practice through varied development activities, to increase the financial viability of the practitioners and the craft industry, and to increase the understanding and enjoyment of the craft. It highlights the changes that occurred in the management of the Centre. The author offers information regarding the core activities, which include the New South Wale's (NSW's) only craft-specific regional gallery and its publication. He also comments on the performance of the center and the government's support for it. Background of the Centre is also provided.

The article focuses on the empirical approach when working with alkaline glazes in connection with scanned imagery. It highlights the study that aims to explore the relationship between fragments of human memory and of the ceramics. The author notes that he does not approach glazes with a strong understanding of material technology. He offers suggestions in using the bentonite and the carboxyl methyl cellulose (CMC) during the treatment and experimentation of the ceramics. Procedure and methodology of the experiment are also presented.

The article focuses on the concerns regarding the deprivation of the future practitioners of ceramic and other related industrial crafts to acquire skills through university training. It highlights the reasons behind the slowing down of the students' acquisition and practice of technical skills in crafting which include the difficulty and time factors and the conflict between practical art and conceptual art. The author also offers suggestions to remedy the said issue which include reinstating some art history as a compulsory study.

The article focuses on the collaboration between the School of Decorative Arts of Geneva and the Service of Parks and Promenades of Lausanne City to create the embroidery project around the cathedral in New Zealand. The theme of embroidery project is to exploit the quality of ceramics by producing it through repetition or multiplication of many elements. Student who participated in the embroidery project include Xavier Modoux, Olivier Poscia, Jeremie Ammann and Nicolas Wagniere. The student have played important role for the success of the project.

The author shares her approach of designing forms for cut-rim plates. She offers tips on how to avoid cracks on the bottom of the plate when throwing the clay on the base. A step-by-step method of creating the squared rim for the plate is provided. She also cites the advantage of creating the rim for a plate using its own cut parts.