The issue number is given first, separated from the page numbers by a colon, thus: 2:225. Complete articles are separated by semicolons, thus: 2:225; 6:1720. Within one article, non-continuous references to a person or subject are separated by comma, thus: 2:21, 23, 27.
A Aberystwyth International Ceramics Festival, 5:75–7; 10:109–12; 13:91–3; 18:68–71 Abstract Expressionism, 20:5; 20:22–4 adobe
architecture, 21:7–10; 21:50–3
sculpture, 6:30–3; 19:41–5 advertising see marketing Africa (East), ceramics, 2:74–80; 5:28–31; 11:29–34 Africa (West)
ceramics and ceramists in, 11:23–4
traditional ceramics, 1:83–7
airbrush painting, 11:44–52 ancient art, influence of, 19:13–14; 20:46–7 see also ancient ceramics; archaeology and ceramics; traditional ceramics
ancient ceramics China, 17:98–101
Cyprus, 12:89–91; 19:91–6; 29:3–7
Greece, 13:81–4
influence of, 16:49–51
United States, 14:62–5 see also archaeology and ceramics animals in ceramics, 19:18–20; 21:61–2 Antioch College (USA), 21:63–8 Appalachian Centre for Crafts (USA), 8:50–6 apprenticeship, in porcelain, 14:40–2 Appropriate Technology Transfer in Ceramics (ATTIC), 2:78–80 Arabia factory (Finland), 10:43 archaeology and ceramics, 12:72–8; 13:62–5; 13:66–7; 14:62–5; 16:94–9; 20:53–8
experimental, 20:53–8 see also ancient ceramics architecture, ceramics and, 21:3–6; 21:7–10; 21:50–3 Ardmore Ceramic Art Studio (South Africa), 13:92–3 armbands, 16:94–9 Arrowmont Clay Symposium (USA), 16:11–14 art/craft debate, 9:84–5 art exchange programs, in Mexico, 14:9–12 Art Farm (USA), 21:50–3 artists in residence
Australia, 10:23–7; 10:28–9; 10:42–3; 13:106–7; 15:33–40; 20:79–81; 21:61–2
Canada, 29:43–49 China, 21:41–6; 29:104–107
Finland, 10:43; 10:48–9
Ireland, 20:41–3
Japan, 8:46–9; 29:28–33; 29:102–103
Mexico, 14:9–12
Poland, 14:90–6 USA, 12:55–7; 21:50–3; 29:86–89 Art.tm (Scotland), 6:3–6 Asian influence, 1:28 see also China; Korea; Japan Association Terres d’Acquitaine (France), 20:87–9 Ateliers Ceramique de Carouge (Geneva), 12:7–9 Australia
Aboriginal ceramics, 3:49–53; 6:71–6; 8:33–40
art pottery, 18:60–4
ceramic research, 1:3–15; 1:28–35; 2:17–23; 2:50–5; 3:8–14; 3:15–21; 3:66–7; 3:78–82; 3:100–3; 4:62–6; 4:101–7; 5:56–8; 5:90–6; 6:90–3; 9:85; 9:96–102; 9:103–7; 10:42–7; 10:99–101; 12:60–6; 12:67–71; 13:8–14; 14:72–7; 15:67–72; 17:88–92; 19:63
ceramics and ceramists, 1:28–35; 1:47–52; 1:65–8; 1:69–72; 2:3–10; 2:11–16; 2:24–31; 2:32–7; 2:59–62; 2:65–7; 3:22–8; 3:41–8; 3:49–53; 3:83–5; 3:97–9; 4:12–16; 4:49–55; 4:56–61; 4:67–72; 4:93–7; 5:3–9; 5:19–22; 5:39–43; 5:102–3; 6:7–15; 6:16–19; 6:66–70; 6:77–81; 6:86–9; 7:9–20; 7:21–4; 7:65–8; 8:3–6; 8:7–10; 8:14–21; 8:30–2; 8:63–7; 9:48–51; 9:52–4; 9:80–3; 10:12–16; 10:17–22; 10:23–7; 10:62–8; 10:83–91; 10:107–8; 11:76–9; 12:34–9; 12:40–3; 12:47–9; 12:58–9; 12:106–7; 14:66–8; 14:69–71; 15:33–40; 15:73–6; 15:77; 15:95–9; 16:24–7; 16:41–3; 16:66–8; 17:78–81; 17:93–8; 18:60–4; 18:83–7; 19:7–9; 19:73–6; 19:88–90; 20:15–18; 20:33–6; 20:48–52; 20:67–70; 20:94–5; 20:100–2; 21:19–24; 21:69–71; 21:72–5; 21:108–9
education in ceramics, 2:89–92; 4:42–8; 5:59–61; 2:49–53; 9:84–5; 9:86–8; 9:89–91; 9:92–3; 9:96–102; 11:102-3; 13:101–2; 14:40–2; 20:79–81
community and public space art, 7:21–4; 14:69–71; 17:10–13; 18:41–4
galleries and museums, 7:82–8; 19:57; 19:62
National Ceramics Conferences, 1:33; 4:42–8; 9:84–5; 10:102; 17:107–9
prizes and competitions, 20:33–6
residency/fellowship programs, 10:23–7; 10:28–9; 10:42–3; 13:106–7; 15:33–40; 20:79–81; 21:61–2 13:106–7; 15:33–40
studios, 5:59–61; 9:86–8; 19:98
workshops, events and conferences, 1:47–51; 8:80–3; 8:96–8; 10:28–9; 13:18–21; 15:77–81; 15:106–7; 19:50–4; 19:55–8 Australian Brick and Tessellated Tile Company, 19:60 Australian Fine China, commissions to ceramic artists, 1:30 Australian National University, distance education, 11:102–3; 20:11
B Banff Centre for the Arts (Canada), 8:93–5; 14:10 Belgium, ceramics and ceramists, 12:3–6; 13:30–6 Bickley Ceramics Project (UK), 7:59–64 big pots, making, 1:40–2; 3:35–9; 3:78–82; 3:86–90; 6:16–19; 10:110–11 Bizenware, 14:55–61 Bodytext (2002), 15:86–9 bone china, 4:3–6; 8:3–6; 20:29–32 Bornholm, Glass and Ceramic School (Denmark), 20:76–8 bricks, 16:31–4
installations, 13:25–9; 16:31–4; 21:41–6; 21:50–3
sculpture in, 21:3–6 Bronze Age Cyprus, 29:3–7 Brookvale TAFE (Australia), 9:89–91 Bruckner Foundation (Geneva), 12:7–9 burial urns, 10:92–4 Burma, traditional ceramics, 17:14–20 Burren College of Art (Ireland), 20:41–3 business and ceramics, 12:106–7 Byzantine ceramics, 13:62–5; 13:66–7
C CAD see computers Cairns Domestic Airport Terminal (Australia), ceramic sculpture commission, 6:66–70 calligraphy on ceramics, 2:21; 14:3–4, 8 Cameroons, ceramics, 1:83–7 Canada
ceramics and ceramists, 4:26–32; 5:33–5; 11:14–19; 12:10–13; 14:9–12; 17:21–5; 17:54–7
workshops and conferences, 13:94–5; 29:43–49 Canberra School of Art Ceramics Workshop (Australia), 11:102–3 Carouge ceramic competition (Switzerland), 17:106 cement, clay and, 12:40–3 Centre for Ceramic Research, Cardiff (Wales), 11:53–9 Centre for Ceramic Research, Design and Production, University of Western Sydney (Australia), 6:90–3 Centre for Contemporary Craft (Sydney, Australia), 7:82–8 Ceramic Design Group (USA), 14:3–8 Ceramica On Line, 1:93–6 ceramic fibre, 4:62–6 ceramic fibre blanket, 20:6 ceramic-forming techniques, 2:95–6
bone china, 4:3–6
coilbuilding, 1:84–7; 5:39–43; 13:54–6
extruded, 16:54–5
handbuilding and paddling, 4:38–41; 9:80–3
hydraulic pressing, 14:5–8
moulding, 7:25–35; 21:86–8
press–moulding, 6:73
pull-up, 1:84
relief, 14:13–16
semi-industrial, 2:50–5; 6:90–3; 7:25–35
spiral kneading and throwing, 19:73–6
tamper and anvil mould (Hausa, Nigeria), 15:14–21
throwing, 9:39–44; 13:15–17; 15:3–8; 19:18–20
see also jigger and jolley; moulds and mould-making; slipcasting; traditional ceramics
ceramic projects
appropriate technology, 2:74–80
East Africa, 2:74–80
Ethiopia, 2:68–73
Jordan, 2:56–8
Sudan, 2:74–7 Ceramic Research Unit, University of Tasmania (Australia), 1:3–15; 2:50–5; 7:25–35; 10:42–7; 10:48–53; 10:106; 19:63 Ceramics Design Group, 1:34 Ceramics Millennium conference (Amsterdam 1999), 8:87; 10:102, 103 Ceramics Research Center (Arizona State University), 17:102–5 children’s art, 20:110 China
artist-in-residence programs, 21:41–6; 29:104–107
bricks, 21:41–6
ceramics and ceramists, 1:99–100; 4:33–41; 11:64–8; 14:88–9; 16:102–3; 17:51–3; 18:65–7; 21:50–3
ceramics tour of, 12:84–8
glazes, 14:85–7
kilns, 21:25–9
traditional ceramics, 12:25–9; 12:44–6; 13:57–61; 17:51–3; 18:45–8; 29:25–27
workshops, 12:96–7
clay bodies, 20:92
adding colour, 2:103
big pots, 3:37
bone china, 4:3–6; 8:5; 20:29–32
crystal glazes, 1:70–1
earthenware, 19:16
jigger/jolley production, 1:28–35
for lightweight sculpture, 10: 96–7
local, 20:41–3
paperclay, 3:22–8; 10:75–8; 12:67–71; 13:3–7; 13:74–7
pyrogranite, 13:88–90
porcelain, 14:41, 42
raku, 19:27
recycling, 3:87
research in Singapore, 4:73–7
salt-glazing, 1:66; 20:82–4
saturated manganese glazes, 4:15–16
shino glazes, 11:13
smoke firing, 10:74
soda firing, 10:63–8
stacking in kiln, 2:30
stoneware, 9:43; 19:27
strength and firing, 2:27–8
Taiwan, 19:66, 67, 69
testing, 1:3–15
woodfire, 9:21–3 see also Walker Ceramics ClayFeast Gulgong 2001 (Australia), 13:18–21 Clay Modern (2004, Gulgong, Australia), 19:50–4; 19:55–8 CLAYNET, 1:88–92 ClaySculpt, Gulgong (1995, Australia), 1:47–51; 20:7 Clay Studio, The (Phildelphia, USA), 19:21–4 Clay Today (symposium, Denmark), 20:5, 8 Clironbronze, 5:85–9 CNC milling machines, 10:42–7 coil-built work, 13:54–6; 19:7–9 collaboration, 1:30; 9:68–72; 20:85–6; 21:3–6 colour
anagama firing, 12:60–6
application of, 15:22–6
firing for, 2:24–31
fluxes and, 3:8–14; 4:111
and landscape, 20:67–70
layered colour imagery, 1:73–8
on-glaze enamel, 10:83–91
porcelain, 8:3–6
research, 13:40–5
salt glaze, 9:24–33
stoneware temperatures, 2:59–62
terra sigillata, 11:35–43
use of, 2:59–62; 15:33–40 see also decoration; glazes commissions, 1:28–35; 1:66–70; 3:83–5; 4:84–6; 6:3–6; 6:66–70; 6:98–103; 7:21–4; 8:84–7; 9:62–7; 9:68–72; 10:92–4; 12:10–13; 12:58–9; 14:69–71; 18:41–4 community projects, 7:98–101; 8:46–9; 9:84, 85; 13:25–9; 16:31–4; 17:10–13; 18:17–20 see also commissions; murals and friezes; public art compressed and thrown technique, 9:80–3 computers, 19:50–1 CAD/CAM, 1:16–27; 2:89; 6:86–9; 7:32–3; 10:43–4; 11:84–7; 14:48, 49; 15:41–7
and creative practice, 14:47–50
design and industry, 1:24; 10:43
design using, 1:16–27; 2:89–92; 6:58–65; 6:86–9; 8:19–20; 9:8–10; 9:65–6; 10:43–4; 10:50, 51
glaze calculation software, 3:54–66; 8:58, 59, 62
HyperGlaze software, 21:110–11
image manipulation, 19:88–90
scanned imagery, 7:65–8
sculpture, 1:25
software, 14:48–9
3D imaging, 1:20, 21, 22
tile design, 15:41–7
virtual ceramics, 10:107–8; 11:84–8
visualisation, 1:16–27 CorelDRAW, 6:58–65 corundum, 17:73–7 Cudgegong Gallery (Gulgong, Australia), 19:57 Cyprus, 29:3–7
ceramics, 1:97–8
ancient ceramics, 12:89–91; 19:91–6
L landscapes and ceramics, 14:66–8; 15:33–40; 16:28–30; 16:52–3; 19:48–9; 20:59–62; 20:67–70 see also nature, influence of large-scale projects, 2:65–7; 5:33–5; 5:51–5; 8:84–7; 20:3–9
see also murals; public art large vessels and objects, 1:40–2; 3:35–9; 3:78–82; 3:86–90; 6:16–19; 8:30–2; 10:110–11; 12:47–9; 20:92; 21:86–8 Latkaland (c.1998), 7:102–3 La Trobe University Bendigo (Australia), 9:84–5 Lithuania, ceramics conference, 6:44–53 Lucky Tableware Factory (Philippines), 19:97–8
M Macedonia, artists’ colony, 14:15 Mail Art project (USA), 21:63–8 maiolica, 2:3–10; 4:26–32; 6:39; 6:40–3; 11:14–19; 12:34–9; 13:70–3 marketing, 14:21; 14:42 Mashiko potters (Japan), 4:78–83; 7:69–71; 7:90 Mata Ortiz ceramics (Mexico), 20:71–5 materials, local
Ethiopia, 2:70–1, 73
G–200 Substitute, 29:90–95 Jordan, 2:57–8
Lightning Ridge (Australia), 1:69–72
South Africa, 29:60–61 Tasmania (Australia), 1:3–15
Turkey, 16:15–19 see also clay bodies
mentoring, 14:40–2 Mexico
art exchange program, 14:9–12
ceramics and ceramists, 19:46–7; 20:71–5; 20:87–9; 29:74–79
ceramic sculpture, 15:82–3 mishima technique, 15:86–9
sculpture workshop, 6:54–7
traditional ceramics, 16:100–1; 20:71–5; 20:87–9 model-making, 2:90–1; 10:6 mosaics, 17:10–13; 18:17–20; 18:41–4 moulds and mould-making, 10:3–11; 10:23–7; 10:28–9; 10:106; 12:40–3; 20:91
ancient China, 17:98–101
case moulds, 10:42–7
large objects, 21:86–8
paper, 18:54–5
plaster, 10:23–7; 14:100–2
pressmoulds, 10:5; 10:24; 14:100–2; 21:86–8
slipcasting, 1:43–6; 10:23–7; 10:28–9; 10:42–7; 16:66–8; 20:91
sculpture, 14:100–2; 21:86–8
split, 9:94–5 see also jigger and jolley; slipcasting
Multi-Interactive Design for tiles, 12:58–9 Munupi Arts and Crafts Association (Australia), 8:33–40 murals and friezes, 2:65–7; 3:83–5; 6:98–103; 8:46–9; 12:10–13; 14:13–16; 19:14
digital imaging for, 19:88–90 Murray, Max, 10:20 museums and collections
Borowski Collection, 13:81–4
Egypt, 12:50–1
Italy, 13:70–3
Korea, 12:79–83
Taiwan, 16:20–3
UK, 16:97–9
US, 29:50–53
N Nabeshima ware, 10:86–7 Naked Truth 2004 Woodfire Conference, The, 20:98–9 narrative in ceramics, 21:38–40 National Ceramics Conference (Australia)
1991 (Arts Industry Interface), 1:33
1996 (International Connections), 4:42–8
1999 (Edge), 9:84–5; 10:102
2003 (Tenth), 17:107–9 National Crafts Conference, 2nd (1995): Making Culture: Crafts, Communication and Commerce, 1:88
nature, influence of, 19:16–17 see also landscapes Netherlands, (Tthe), ceramics and ceramists, 1:17–27; 4:87–92; 5:78–84; 6:86–9; 15:9–13; 19:18–20; 20:103 see also European Ceramics Work Centre Networks in Ceramics ‘96 Conference (Helsinki), 4:90–2 New Guinea, traditional ceramics, 11:106 New Zealand, ceramics and ceramists in, 13:5–7; 14:28–33; 14:51–4 Nicaragua, ceramics and ceramists, 8:41–2; 8:76; 20:59–62 Nigeria, ceramics and ceramists, 11:23–4; 14:82–4; 15:14–21; 18:72–4; 21:76–8 Norsk teknisk porselens fabbrikk (Norwegian Technical Porcelain Factory), 19:37 North Coast Institute of TAFE, Lismore (Australia), Northern Clay Center (St Paul, USA), 7:76–81 Norway, ceramics and ceramists, 11: 35–43; 19:3–6; 19:36–7
O Ojiyama ceramics (Japan), 14:43–6 On-glaze Artists’ Association Inc, 20:85–6 Open Fire Seminar (Kaelskør, Denmark), 12:97–9 Oribe ware, 13:49 Overglaze Imagery 019–016 (1977), 12:15 oxygen probe for kilns, 3:100–3; 9:105; 10:19–20
P painting, 11:60–1; 12:38–9; 12:48–9; 12:71
on china, 12:14–21
on porcelain, 2:11–16
with shellac, 12:71 see also decoration Pakistan, ceramics and ceramists, 14:104–5 pancheons, 15:4–8 Panevezys International Ceramic Symposium (Lithuania), 6:44–53 paperclay, 3:22–8; 13:3–7; 13:74–7
porcelain, 14:72–7; 18:99–103
porcelain and terra sigillata with, 12:67–71
recipes, 18:102–3
tiles, 10:75–8 see also porcelain paperglaze, 17:42–3 paper plaster paperslip, 13:78–80 Peace Through Art, 20:110 Peru, traditional smoke-resist ovens, 18:75–7 phase diagrams, reading, 14:22–7 Philadelphia Clay Studio (USA), 11:26–8 photography of ceramics, 4:49–55; 4:56–61 Physical Clay (Adelaide), 6:16–19 plaster slabs, 20:15–18 platters, 9:48–51; 9:52–4 Poland, porcelain symposiums, 14:90–6; 21:79–81 porcelain, 9:88; 14:40–2; 14:90–6; 21:69–71
bodies, 1:3–15
carved, 6:7–15; 18:96–8
Chinese, 18:45–8; 18:65–7
coloured, 2:13
cut striped sheets of, 19:3–6
Hungarian Zsolnay, 13:88–90
glazes, 1:67; 2:4, 10; 2:22; 6:10
Imperial Porcelain 4317 (Walker Ceramics), 21:69–71
Jun, 12:44–6
large-scale, 19:36–7
Limoges, 19:63–4
metallic salts on, 2:17–23; 29:54–57
multi–layered, 5:78–84
painted and carved, 2:11–16
painting, 20:85–6
paperclay, 14:72–7; 18:99–103
paperclay recipes, 18:102–3
paperclay and terra sigillata with, 12:67–71
polished, 7:94–7
salt glaze, 5:62–5
screen printing, 9:34–8; 21:72–5
sculpture, 18:3–7
silk-screen decoration, 9:34–8
slips, 6:110–12
Southern Ice, 21:72–5
tape, 18:34–6
tools and tool making for, 5:3–10
translucent bodies; 29:60–61
wall pieces, 10:30–4
watercolours on, 2:17–23 Porcelain Another Way symposium (Poland), 14:90–6 Porcelain Art into the New Millennium (2001), 20:85–6 Portugal, architectural ceramics, 16:3–5 Potters for Peace, 20:61 print and ceramics, 2:93–9; 8:22–9; 9:3–10 printing with clay (monoprints), 3:29–34 production, 9:94–5
mass, 14:3–8 in the small studio, fast/flexible, 7:25–35; 10:48–53
see also ceramic-forming techniques; jigger and jolley; moulds and mould-making
public art, 7:21–4; 12:10–13; 13:25–9; 14:69–71; 16:31–4; 16:56–8; 21:82–4
see also commissions; community projects; mosaics; murals and friezes Puerto Rico, ceramics and ceramists, 18:37–40; 19:3–14 Pyrochromatics conference (1999), 11:99–100 pyrogranite, 13:88–90
Q Qatar, ceramics and ceramists, 16:84–5 Qdos Woodfiring Conference (1999), 11:100–1 Queensland Potters Association workshop (Australia), 8:80–3
R raku technique, 10:79–82; 17:2; 17:21–5; 17:49–50; 17:69–72; 20:3–9
bare, 19:25–30 RAM press, 14:5–8 recycling materials, 3:87 residencies see artists in residence Richmond (Vancouver, Canada), Rising Tide mural, 12:10–13 Rufford Ceramics Centre (UK), 13:96–100; 15:9–13; 19:38–40
S St Koakim Osogovski International Artists’ Colony (Kriva Palanka, Macedonia), 14:15
‘s-Hertogenbosch (the Netherlands), European Ceramics Work Centre, 11:69–75; 13:4 safety
barium glazes, 3:66–77; 4:110
ceramic fibre, 4:62–6
glazes, 3:66–77; 4:110; 5:97–101; 7:3–8; 7:19, 20
lustre, reduced pigment, 7:19, 20
studio air quality, 29:37–42 salt firing, 5:44–50; 29:8–13
sodium vapour glazing, 7:3–8 Savannah College of Art and Design (USA), 21:3–6 scale of works, 20:19–21; 20:100–2 see also large-scale works; large vessels; small pieces Scotland,
ceramics and ceramists in, 18:109
education in ceramics, 20:10–14 sculpture, 4:87–9; 8:63–7; 10:12–16; 12:92–4, 14:66–8; 14:78–81; 14:88–9; 17:26–7; 18:83–7; 20:91
adobe, 6:30–3
abstract, 18:8–12; 18:37–40
architectural, 21:3–6
brick, 21:3–6
clay and cement, 12:40–3
coiled, 19:7–9
figurative, 15:26–7; 20:44–5; 20:100–2; 21:86–8; 29:28–33, 70–73
fire, 16:86–8; 20:3–9; 20:63–6
firing, 3:78–82; 10:16
frieze, 3:83–5
lightweight, 10:95–8
installations, 3:86–90; 6:66–70
kiln, 20:3–9
lightweight, 10:95–8
moulds and glazes for, 14:100–3; 16:66–8
narrative, 21:38–40
paperclay, 18:99–103
porcelain, 18:3–7
portrait, 21:107
public space, 14:69–71; 16:86–8
ready-made objects, 19:71–2
wall platters, 1:73–8
wall relief, 21:99–102
workshop, Mexico, 6:54–7
setters, 8:5, 6
slipcast, 16:66–8
Zulu Ishlangu, 18:93–5 Seduced by Colour (2000), 11:14–17 series of works, 20:15–18; 20:22–4; 21:47–9 sgraffito, 13:62–5; 13:66–7 Shiwan/Foshan International Workshop (China), 12:98–9 Singapore, clay research in, 4:73–7 slipcasting, 6:13–14; 8:5–6; 8:11–13; 8:63–4; 10:23–7; 16:66–8; 19:51; 20:91
mould-making for, 1:43–6; 10:23–7; 10:28–9; 10:42–7
paper moulds, 18:54–5 slip/s, 2:26; 10:14
colloidal, 7:60, 64
coloured, 6:10–11, 13
glazes, 17:65–8
multiple pourer, 10:8
painted, 5:66–70
paper, 13:78–80
porcelain, 6:110–12
recipes, 10:40–1; 17:66
resist decoration, 9:48–51
salt glazing, 9:24–33
slip glazes, 17:65–8
terra sigillata, 1:67; 10:35–41; 12:6
traditional Turkish, 17:62–3
woodfiring, 10:35–41 small pieces, 20:19–21; 21:63–8 South Africa
ceramics and ceramists, 10:75–8; 13:54–6; 13:92–3; 16:80–3; 17:39–41
field trip and workshop, 14:106–10
traditional ceramics, 14:106–10 South America see Nicaragua Southern Cross University, Lismore (Australia), 9:96–102 Spain, ceramics and ceramists, 4:84–6; 13:15–17; 21:85 spodumene glazes, 10:99–101 Spring Fever workshop (2004), 20:90–3; 20:94–5; 20:96–7 still life, 21:38–40 stoneware, Scottish, 18:109 Struktuur 68 studio (The Netherlands), 8:84–7 studio practice, 21:76–8 studios and workshops
Australia, 5:59–61; 9:86–8
Netherlands, tThe, 8:84–7; 11:69–75; 13:4
small-scale production, 10:42–7 Sturt Craft Centre (Australia), 8:96–8 Sturt Pottery (Australia) residency program, 13:106–7; 20:79–81 Sunshine Coast Clayworkers (Australia), 20:90–3 Sweden
ceramics and ceramists, 19:15–17
ceramic sculpture, 16:52–3 Switzerland, ceramics and ceramists, 1:36–42; 1:53–8; 6:82–5; 12:7–9; 19:25–30; 20:63–6 Symposium for Ceramics and Sculpture, Boleslawiec (Poland), 40th (2004), 21:79–81 symposiums in factories, 11:4–5 Syria
clay sources, 15:57–61
traditional ceramics, 8:99–103; 18:78–82
T tableware, 9:87–8
commission, 6:3–6
industry-based, 1:33–5; 2:54–5; 19:63
project, 1:28–35
research for, 1:28–35; 2:54–5; 19:63
studio production, 1:38–9, 40 see also domestic ware
Taiwan
ceramics and ceramists, 2:11–16; 6:94–7; 9:11–15
International Large Outdoor Ceramic lantern Workshop, 19:65–70
kilns, 17:36–8
museums and galleries, 16:20–3
‘98 Woodfire Conference, 6:94–7
Yingge Ceramics Festival and Exhibition, 9:66, 67 Talavera ceramics (Mexico), 16:100–1 Tanja Woodfire 2002 conference, 15:106–7 Tanzania, traditional ceramics, 11:29–34 Tasmania (Australia)
Ceramic Research Unit, 1:3–15; 2:50–5
felspathic sands, 1:3–4
glazes from local materials, 8:7–10
kaolin deposits, 1:3–15 Tavas pots, 1:97–8 tea bowls, 3:38 teapots, 1:99–100; 4:38–41; 10:3–11 technical problems, solving, 19:97–8 technique
and form, 12:3–6
phase diagrams, 14:22–7 see also ceramic forming techniques terra sigillata, 1:67; 8:76; 10:35–41; 12:67–71; 19:26, 28
colour in, 11:35–43
optimum firing conditions, 12:52–4
paper clay and porcelain with, 12:67–71
white, 12:6 Throwers Arms Workshop (Australia), 19:98 throwing, 9:39–44; 13:15–17; 15:3–8; 20:91
classical Chinese porcelain, 18:45–8 thrown forms, double walled, 9:39–44 tile mosaics, 7:21–4 Tile Project (The): Destination the World (2004), 21:82–4 tiles, 1:39–42; 2:45–9; 2:65–7; 5:11–15; 5:100; 9:45–7; 9:84, 85; 12:10–13; 17:40–1; 17:69–72; 19:86–7
Kütahya (Turkey), 19:99–103
low relief tessellating, 15:41–7
Multi-Interactive Design, 12:58–9
paperclay, 10:75–8
public art project, 21:82–4
relief, 21:47–9
Tiwi people of Australia, 8:33–40
tools, 10:3–11; 19:76; 29:14–15
airbrush, 11:44–52
ceramic fibre blanket, 20:6
handmade, 20:106–7
for mouldmaking, 10:25, 26, 27
and tool-making for porcelain, 5:3–10; 14:42
traditional Hausa (Nigeria), 15:17, 20, 21
traditional Turkish, 17:61–2, 63
toys as inspiration, 19:7–9
traditional ceramics; 20:87–9
Africa, 1:83–7
Burma, 17:14–20
Cameroon, 1:83–7
China, 64–8; 12:25–9; 12:44–6; 13:57–61; 17:51–3; 17:98–101; 18:45–8
Cyprus, 1:97–8; 19:91–6
East Timor, 18:49–53
Egypt, 10:54–9; 14:34–9; 16:89–93; 19:77–93
England, 15:4–8
Ethiopia, 2:68–73
Hungary, 13:88–90
India, 10:69–74
Indonesia, 7:72–5
Italy, 13:70–3
Japan, 10:84–91
Jordan, 2:56–8
Kenya, 5:28–31
Mexico, 16:100–1; 20:71–5; 20:87–9
New Guinea, 11:106
Nicaragua, 8:41–5
Nigeria, 15:14–21
Peru, 18:75–7
South Africa, 14:106–10; 18:90–2
Sudan, 2:74–80
Syria, 8:99–103; 18:78–82
Taiwan, 9:11–14
Tanzania, 11:29–34
Turkey, 17:58–64; 19:99–103; 21:89–91
Vietnam, 16:59–63 see also ancient ceramics
transfer printing, 4:17–25; 6:90–3 see also decoration Transit: Design Symposium (2001), 13:30–6 Turkey
ceramics and ceramists, 18:13–16; 20:29–32; 20:46–7; 21:54–6
education in ceramics, 21:103–6
local materials, 16:15–19; 21:104
salt fire kiln building, 29:20-24
traditional ceramics, 17:58–64; 19:99–103; 21:89–91
U Uluru Kata Tjuta Cultural Centre (Australia), 3:49–53 United Kingdom
ceramics and ceramists, 1:59–64; 1:79–82; 1:99–100; 2:93–9; 2:100–1; 3:35–9; 4:3–6; 4:17–25; 4:84–6; 5:36–8; 5:75–7; 5:85–9; 6:3–6; 6:98–103; 7:94–7; 7:59–64, 5:75–7; 8:22–9; 10:69–74; 10:109–12; 11:53–9; 13:46–50; 13:51–3; 13:96–100; 14:20–1; 14:47–50; 15:4–8; 15:41–7; 15:84–5; 16:49–51; 17:49–50; 18:3–7; 18:54–5; 19:10–12; 190:48–9; 20:19–21; 20:22–4
ceramic centres and education, 2:42–4; 4:7–11; 7:76–81; 12:55–7
ceramic research, 5:97–101; 6:20–9; 7:3–8; 7:58–64; 18:21–9
education in ceramics, 5:71–4
residency programs, 13:96–100; 15:9–13; 19:38–40
workshops and conferences, 5:75–7; 10:109–12; 13:91–3 United States of America
ceramic centres and education, 2:42–4; 4:7–11; 7:76–81; 12:55–7; 19:21–4
ceramic research, 5:97–101; 6:20–9; 7:3–8; 17:73–7; 17:102–5; 21:30–7
ceramics and ceramists, 1:43–6; 1:73–8; 2:38–41; 2:45–9; 3:29–34; 3:86–90; 5:11–15; 5:16–18; 5:44–50; 6:30–3; 6:34–9; 7:55–7; 7:102–3; 8:50–6; 8:68–72; 8:88–92; 9:3–10; 9:16–23; 9:38–44; 9:45–7; 9:55–61; 9:68–72; 9:73–9; 10:30–4; 10:35–41; 10:92–4; 11:3–9; 11:10–13; 11:44–52; 11:80–3; 12:14–21; 12:52–4; 13:25–9; 13:40–5; 13:66–7; 14:3–8; 14:13–16; 14:97–9; 14:100–3; 15:55–6; 15:86–9; 16:28–30; 16:56–8; 16:69–78; 17:3–9; 17:28–35; 17:69–72; 18:8–12; 18:30–3; 18:56–9; 18:90–2; 18:96–8; 19:31–5; 19:41–5; 20:37–40; 20:41–3; 20:44–5; 20:59–62; 21:3–6; 21:38–40; 21:41–6; 21:47–9; 21:61–2; 21:63–8; 21:86–8
education in ceramics, 21:3–6; 21:63–8
community and public space art, 16:31–4; 16:56–8; 21:82–4
fellowships/residencies, 15:90–4; 19:41
installations, 13:25–9; 16:31–4; 21:41–6; 21:50–3
museums and galleries, 16:97–9; 19:21–4
workshops and conferences, 8:68–72; 11:95–100; 12:99–102; 16:11–14; 16:86–8; 20:98–9
University of Tasmania (Australia),
artist-in-residence program, 21:61–2
ceramics education, 13:101–2 Uriarte Workshop (Mexico), 14:9–12 Utilitarian Clay III: Celebrate the Object symposium (2002), 16:11–14 utilitarian wares, 16:11–14
V Vallauris (France) residency, 18:30–3 vessels, 5:16–18
sculptural, 6:34–9 Vietnam, traditional ceramics, 16:59–63 virtual ceramics, 10:107–8; 11:84–8
W wads in firing, 2:27–9 Wales, ceramics and ceramists, 5:75–7; 10:109–12; 11:53–9; 13:51–3; 13:91–3; 18:68–71; 19:48–9; 20:19–21 Walker Ceramic Award, 19:61–2 Walker Ceramics,
history of, 19:59–64
new porcelain body, 21:69–71 Walker family, 19:59–64; 21:69–70 wall-pieces, 2:45–9; 9:34–8; 10:30–4 water in woodfiring, 10:17–22 Watershed Centre (Maine, USA), 12:55–7 websites, 6:106–9; 7:39–48 see also Internet Westerwald (Germany) stone glaze potteries, 3:3–7 wheel techniques see ceramic-forming techniques
wheel, potter’s, 1:34; 14:52
for the disabled, 1:79–82
traditional Egyptian, 14:38
traditional Turkish, 17:61 Wobage Farm (UK), 2:100–2 Woodstoke 2000 (Penryn, USA), 12:99–102 woodturning applied to ceramics, 17:110–11 workshops, value of, 8:73–9 World Ceramic Biennale, 3rd (2005, Korea), 21:7–10 World Ceramic Exposition Foundation (WCOF), woodfiring workshop (2005, Korea), 21:7–10 World Ceramics Festival 2001 Korea, 12:79
Y Yingge Ceramics Festival and Exhibition (Taiwan), 19:66, 67 Yingge Ceramics Museum (Taiwan), 16:20–3 Yixing pottery (China), 4:33–41 Yuelamu Pottery (Australia), 6:71–6
