Error message

  • Notice: Undefined property: stdClass::$field_display_adsense_ads in eval() (line 8 of /home/u0kg4n9w5x3b/public_html/ : eval()'d code).
  • Notice: Trying to access array offset on value of type null in eval() (line 8 of /home/u0kg4n9w5x3b/public_html/ : eval()'d code).
  • Notice: Trying to access array offset on value of type null in eval() (line 8 of /home/u0kg4n9w5x3b/public_html/ : eval()'d code).
  • Notice: Trying to access array offset on value of type null in eval() (line 8 of /home/u0kg4n9w5x3b/public_html/ : eval()'d code).
  • Warning: Use of undefined constant sidebar - assumed 'sidebar' (this will throw an Error in a future version of PHP) in eval() (line 8 of /home/u0kg4n9w5x3b/public_html/ : eval()'d code).


Bryan Czibesz, 2018
As a co-editor of this issue of Studio Potter, I’m pleased to present several perspectives on digital technology in ceramics, including many that concentrate on extrusion-based 3-D printing with clay.
Lorie Nelson, 2018
In selecting articles centered around the theme of fiber and clay, commonly known as paper clay, I included a personal narrative, interviews of artists who were innovators in the medium, [and] educational articles that introduce new technical applications...
DePauw University IBM 1620 Computer, 1968
[What] I love about the current technology and artistic direction of contemporary clay printing are “errors” (often intentionally introduced) arising from the printing that soften, and in some ways humanize, what can be a very sterile, cold, mechanical process.
Title page illustrations by Matthew Causey, design by Zoe Pappenheimer.
I interviewed Rebecca Hutchinson, Jerry Bennett, and Rosette Gault because they are all early innovators in paper clay as an artistic medium, independently incorporated it in their studio practices, and are teachers who are willing to share their knowledge.
Francois Brument and Sonia Laugier, Eclipse, 2014.
Brief descriptions of Francois Brument and Sonia Laugier’s three TCB projects follows a recent interview with Brument. The discussion focuses on Brument’s background, his perception of contemporary design education, and his current project.
Jerry Bennett. Ozark, 2018. 14x16x22 in. Porcelain paperclay, wire. Photograph by James Mosley.
There is such divergency in the use of paper clay, it leads to confusion for artists new to the material [...] when we use the term “paper clay,” we are really talking about a material composed of cellulose-based fibers, not just paper fibers.
Jonathan Keep. Seed Bed, 2013. 3x3x4 in. each. Code-generated, 3D-printed porcelain clay and glaze. Photo by artist.
I identify as a potter, a creative who wants to continue the tradition of making clay vessels that represent the age in which I live—an age in which computer technology is ubiquitous.
Sanver Özgüven. Natilius Houses Series, 2016. Handbuilt and 3-D printed.
I use paper clay frequently in my practice and have gathered together an account of several new possibilities provided by digital technology.
Ronald Rael. Cabin of 3D-Printed Curiosities (interior), 2018.
A conversation with Ronald Rael. Rael is a professor of architecture at the University of California, Berkeley, and cofounded the company Emerging Objects with architect Virginia San Fratello.
Graham Hay. Our Beautiful Offspring, 2016. 98.4 inches high. Southern Ice porcelain paper clay. Photo by Victor France.
Working with paper clay will certainly ruin your relationship with conventional clay. Perhaps “ruin” is too strong a word, but it is likely that once you’re exposed to it, you won’t turn back.
Stacy Jo Scott. Loop In Time (process shot), 2016. Dimensions variable. Screenshot, Rhinoceros CAD software. Photo courtesy of the author.
The education of a ceramic artist consists of a gradual accretion of embodied memories, accumulated through direct relationship with the clay.
Paola Paronetto. Cartocci, 2018. Paper clay. Bottle height approx. 24 in. Photograph by Studio Auber.
The mission of Particle & Wave - Paper Clay Illuminated is to stimulate a conversation that explores innovation, creativity, and connectivity through the work of international artists who are incorporating cellulose-based fibers in clay as part of their studio practice.
Tom Lauerman, 2019.
Ask clay what it wants to be, and you won’t get a simple answer. Listen to clay, and you might hear it declare that it would like, more than anything else, to be fashioned into a slightly off-kilter, humble, and dignified tea bowl.
Warren MacKenzie, photographed by Gerry Williams, 1990.
Studio Potter offers a remembrance of MacKenzie through his own words. The following is an excerpt of his 1990 interview with SP founding editor, Gerry Williams.
ioneered in 2009 by Unfold, the open source clay 3-D printer harnesses the potential of new technologies. Photograph by Kristof Vrancken, 2010; copyright Z33.
We strongly feel that our work actually softens the tension between digital and analog and shows how technology is essentially a continuation of a long tradition of making and applying tools.