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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 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 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 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 features the works of Acoma Pueblo potter Lucy M. Lewis. Also cited are how Lewis developed her interest in pottery as a child under the guidance of her great-aunt Helice Vallo, how she learned the process of tempering, coiling, scraping, and smoothing clay, as well as the comments of Museum of Indian Arts and Culture curator of ethnology Tony Chavarria on the works of Lewis.

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 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 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 examines the art versus craft debate at the Fourth ASNA Clay Triennial 2013 held in Karachi, Pakistan. It notes the importance of distinguishing between the theme imbued by the pottery's ornamentation and whether or not it truly has a subject beyond its function. It points out that the issue concerning the title of ceramist or ceramic sculpture is the contradiction between an unwavering choice in material and how sculpture is understood.

The article presents Pewabic Pottery established by Mary Chase Perry-Stratton who modelled and fired her first clay pot when she was only 5 years old but took pottery seriously in her 30s. Pewabic Potter is characterized by its emphatically handmade appearance as Perry-Straton wanted her work to retain a human touch. The pottery continues to operate at present, filling large commissions like the work for The Detroit Zoo and Chicago's Shed Aquarium.

The article discusses a study on the upper handle shapes of the purple clay pot produced in Yixing of Jiangsu province in China that mainly focuses on the basic shapes of the upper handles and their detail structures. It notes that during the Ming Dynasty, the purple clay pots with upper handles used fixed structures and during the Qing Dynasty and the Republic the use of the movable structure was increased significantly due to the popularity of the Bucket Teapot.

The article presents the picturesque world of pottery from Molela locally called Molela Pottery or Molela Clay works which are made in the village of Molela in Rajastha, India. It cites Mohan Lalji Kumhar as one of the renowned potters of Molela art whose work is done through a family run firm called Mohan Terracotta. Topics discussed include the history of the craft which is a mix of stories, mythology and religious invention and is usually verbal.

A personal narrative is presented which explores the author's experience of doing a purposeful experimentation that led him to his current practice of working the clay with a technique that emulates the forces of nature.

A personal narrative is presented which explores the author's experience with clay and her exploration of clay as active matter and how it may influence the manner in which artists and others might use and look at the process and the products of clay.

The article describes sculptor Mary Kaun-English's pit-firing process. Her affordable and distinctive pit-fired ceramics can be found in galleries and exhibitions across Great Britain and her recent works included handbuilt clay vessels and sculptures influenced by the ancient North American Indians. She points out that her process of pit-firing is a communal and spiritual experience having just undertaken a long-term communal project to bring more than 300 people in one communal firing.

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 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.

The article offers information on several pottery classes and institutes in Queen City. Topics discussed include pottery classes offered by Covington Clay pottery store in Covington, Kentucky, Whistle Stop Clay Works in Loveland, Ohio, and Mudlark Pottery Studio and Fine Art Gallery in Florence, Kentucky. It also offers information on Earthen Vessel Ceramic Supplies located in Maderia,

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 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.