We do a lot of thinking about and talking about the romantic side of being a potter—even those of us who are professional potters must reflect from time to time on how their days just don’t seem to reflect that same rosy story that was the original motivation for working in clay. —Sherman Hall, Editor
Read the full Letter From the Editor.



cover: Place setting, to 10½ in. (27 cm) in diameter, wheel-thrown porcelain with trailed and brushed glazes, by Free Ceramics (Emily Free Wilson, Matt Wilson, and Bobby Free), Helena, Montana.
Buy this back issue – $4.99 (PDF only)


Techno File: Glaze Unity Formula
by Tina Gebhart

Getting a glaze to behave properly can be tricky, but here’s a way to level the playing field so you know what you’re looking at.

Clay Culture: Kilns of Mashiko
by Naomi Tsukamoto

As clean-up and rebuilding efforts continue all over Japan, potters around the world rally around the historical pottery town of Mashiko to ensure that their traditions continue and thrive.

Clay Culture:Selling Mingei
by Holly Goring

How much input do you have into the sale price and commerce surrounding your work after it leaves your studio? How much do you think you should have? Warren MacKenzie has spent his career preserving a set of principles that most potters don’t have the time, energy, or inclination to maintain.

Studio Visit: Adam Field and Heesoo Lee
Durango, Colorado

Two working artists in one family (and one studio) can be a logistical challenge, but the mutual support and encouragement that come with this lifestyle more than balance the scales.

Photo credit: Scott D.W. Smith.


To purchase this back issue, call 1-800-342-3594.
Get great content like this every month:
Subscribe today!


Working Potters: Free Ceramics
Helena, Montana

A family of potters decides to pool efforts and talents behind a single body of work. This model is not necessarily new, but it’s not terribly common these days.

Working Potters: Ryan Greenheck
Philadelphia, Pennsylvania

Now concentrating on selling at craft shows, Greenheck has tried a little bit of everything. For him, it’s about finding a balance between making and selling.

Working Potters: Woody Hughes
Bethel, Maine

This earthenware potter branches out beyond simply running a studio to running a bed and breakfast and stocking the restaurant and bar with his own work.

Working Potters:Fritz Rossmann
Höhr-Grenzhausen, Germany

A potter’s career changes according to sociopolitical circumstances, as well as personal choices based on creative instinct and development.

Working Potters:Michael Kline
Bakersville, North Carolina

As one of many blogging potters, Kline has moved from a romantic view of the potter’s life to a more pragmatic outlook, all the while embracing what is new.


To purchase this back issue, call 1-800-342-3594.
Get great content like this every month:
Subscribe today!


The Hourly Earnings Project: A Working Potter Spends a Year With a Stopwatch and a Calculator
by Mea Rhee

It’s not as important to calculate what you should make per hour as what you actually make per hour. Having a starting place will help you make good decisions—and it may even make you feel better about how you spend your time.

Kjell Rylander: The Anthropic Aura
by Glen R. Brown

A Swedish artist explores the social values surrounding utilitarian objects.

Glaze: The Colorful World of Majolica
by Linda Arbuckle

This bright, low-fire ware has been called many things throughout its history, but it’s never been called dull. It can be a trick to get the hang of it, but Arbuckle steps us through the process like the expert she is.

Spotlight: Brick Buy Brick

When potter Joseph Sand ran through his initial business loan before getting his kiln built, he came up with an inventive way to raise the funds and finish his 40-foot-long anagama. He also built a supportive community and customer base.