Routines can be tools of self-preservation in the studio, but it’s important to shake them up sometimes as it forces you to apply your knowledge and problem solving skills in a different way. —Sherman Hall, Editor

Read the full Letter From the Editor.

cover: Forrest Lesch-Middelton’s minaret bottles, to 18 in. (46 cm) in height, iron rich stoneware with slip-transfer patterns, fired to cone 9, reduction cooled, 2011.
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Techno File: The Lure of Lithium
by Dave Finkelnburg

Lithium can seem like a silver bullet for fixing glaze fit issues, but like all things that seem magical and alluring at first, moderation is key.

Clay Culture: Does Clay DIY?
by Holly Goring

A discussion of the Indie/DIY craft fair scene, how clay fits (or doesn’t fit) into it, and what ceramic artists might need to know about joining in.

Clay Culture:Splitting Wood (Kilns)
by Jessica Knapp

A map of wood kilns with space available in exchange for work (stoking shifts), money, or a mixture of the two.

Clay Culture:Remembrances

Many clay folks leave us each year, and while we can’t pay our respects to all of them, we remember a few who made significant impacts on the field.

Studio Visit: Ulrich Schumann
Berlin, Germany

It’s not easy to make large work, and it’s even harder to make a living making large work, but the right tools, the right circumstance, and the right perspective can help.

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Forrest Lesch-Middelton: Beauty from Contrasts
by Jeffrey Spahn

Combine timeless design, form, and surface with a contemporary approach to decorating tools and techniques, and you get a satisfying balance of surface and form.

monthly methods Volumetric Image Transfer
by Forrest Lesch-Middelton

An Extension of the Self: Bob Dolan and His Tools
by Jack Troy

Some of us find more satisfaction in our tools than others. Some of us even make a living making tools. And some of us change the way others work because of our tools.

Potter Head Hunter
by Naomi Tsukamoto

There are many ways to pay the bills in the world of clay, and most of us would probably jump at the chance to pay some of those bills by visiting potters’ studios, buying their work, and sending it to a nice gallery in Paris—but only one of us gets to do that.

Last Supper
by Megan Fizell

Julie Green’s ongoing project against capital punishment relies heavily on historical and cultural ceramic conventions, from blue-and-white brush decoration to clay’s relationship to food.

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MFA Factor: University of Montana, Missoula

A three-year program led by Julia Galloway, Trey Hill, and Beth Lo.

2011 Undergraduate Showcase

Works and perspectives by five impressive up-and-comers.

Glaze: Celadons at Six
by John Britt

This popular high-fire glaze can be produced with success at mid-range.

Spotlight: In Service of Food

Ryan Fletcher’s BFA degree show collaboration with a chef has grown into several explorations of ceramics combined with food service.

(Read the complete interview, Fletcher’s account of the project, and see more images—as mentioned at the end of the article in the magazine.)