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The article looks at the ceramic art of Australian potter Barry Singleton. It presents a background of a trip made by Singleton to Japan in 1976 to work with the master potter Katsu Yasa Ogawara at Hashima kiln in Kurashiki. It describes the pottery of the artist, which incorporates the lessons he learned from the Japanese potter including investing in simple form with such balance and proportion. The article also discloses Singleton's firing which gets a strong reduction about 1008 degrees centigrade.

The article focuses on several potteries which offered pottery tours and workshop to the pottery visitors in Australia. It highlights various potteries including the Emma Bridgewater Factory, the Middleport Pottery and the Moorcroft Heritage Visitor Centre. It also notes that the potteries create teapots, mugs and vases through clay and tissue paper.

The article discusses the play of light in the ceramic art of Australian ceramic artist Les Blakebrough. The two strands followed by the ceramics of Blakebrough include one that has involved an exploration of the watercolour effect of soluble salts on the porcelain surface and the other the application of shellac to the leather-hard surface of the clay. The medieval understanding of light, which was based upon that of the Romans, is discussed. The article also describes the artist's interest in the often unnoticed details that surround man.

The article offers a look at the ceramic work of Australian potter Christopher Sanders. It describes the important contribution of Sanders to the Australian ceramics scene based on his dedication to research and development of exceptional quality glaze surfaces. It describes how his ceramic pieces and their photographs allow the viewer to have an insight into how the artist relates to and draws from his sources of inspiration. The article also discusses Sanders' use of color and the role of years of experience in his creativity.

The article focuses on the cultural exchange program called Clay Alchemy. The program was developed by Thai-Australian ceramist Vipoo Srivilasa. It is a cultural exchange program between Thai and Australian ceramic artists visiting one another's countries for a series of lectures, practical demonstrations and tours. The tour was funded by the Australia-Thailand Institute, an organization founded to promote bilateral relations with Thailand and the expansion of institutional, cultural, economic and interpersonal links.

This article reports on the highlights of the 7th triennial Clay Edge Gulgong convention that was held in Australia in April 2007. The theme of the event was "the edge of function" and featured several masters' lectures and sessions of masters' demonstrations. Some lecturers included Linda Sikora and Gerry Wedd.

The article describes a production approach for decorative ceramics using computer numerically controlled (CNC) milling machines in the development of direct case-mould making for a flexible production system. The CNC Milling Project, the result of an Australia Research Council grant, awarded by the University of Tasmania, is aimed at creating a direct time-saving and highly flexible system that would enable the economical production of master case-moulds through the direct milling of resin blocks.

The article focuses on the different versions of made by Janet DeBoos, Ceramic head at the Canberra School of Art, and Jeroen Bechtold, a ceramic artist and designer from Amsterdam, on the designs of their ceramic cup in Australia. DeBoos and Bechtold met during a ceramic practice in one of the country's university, where DeBoos is one lecturer. During their residency, they discuss about the nature of ceramics, several modes of practice and the connection of virtual ceramics to the act of making. Both are recognized for their virtual ceramic designs using CAD software. The design of ceramic cup testifies the different interpretation, style and skills of both artists in doing the project.

Discusses the work of Australian ceramicist Fiona Hiscock. The exhibition Timelines at Craft Victoria.