Index of Subjects

APLHABETICAL INDEX OF SUBJECTS

Ceramics TECHNICAL 1-21

Compiled by Meryl Potter

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

D
Dada art movement, 18:71–2
Dakhleh Oasis Project (Egypt), 20:53–8
Daum Museum of Contemporary Art (Sedalia, USA), 16:97–9
death and ceramics, 21:92–8
decals, 6:90–3; 8:14–21; 8:23; 10:48–50; 11:3–9
method, 11:6–9
decoration, 20:91
airbrush painting, 11:44–52
brushwork, 18:65–7
calligraphy, 2:21
carved, 6:7–13; 12:71; 18:96–8
collage, 8:26
colour, 21:30–7
coloured clay, 6:11
coloured slip, 8:28
computers and, 8:19–20; 9:8–10
decals, 6:90–3; 8:14–21; 8:23; 10:48–50; 11:3–9; 18:9
drawing, 7:54–7
dry glaze, 6:11, 12
inlaid, 6:34–9; 20:25–8
layered glazes, 14:66–8
lettering, 8:27–8; 14:17–19
linocut, 5:36–8; 8:26, 28
lithographic printed decals, 8:15–17, 18–19
maiolica, 4:26–32
monoprints, 3:29–34; 14:17–19; 20:15–18
moulds, 6:13–14
on-glaze enamel painting, 10:83–91
on-glaze colour, 20:85–6
painting, 11:60–1; 12:38–9; 12:48–9; 12:71; 20:22–4; 20:71–5; 20:85–6; 20:103
painting on china, 12:14–21
painting on porcelain, 2:11–16
photography, 8:19–21; 8:27
photo-silkscreen, 5:11–15
piercing, 6:12–15
polishing, 7:94–7
porcelain and bone china, 6:7–15
porcelain sheets, 19:3–6
positive–negative, 18:75–7
with print, 2:93–9; 8:22–9; 9:3–10
printing, 17:65–8
printing processes, 6:90–3; 11:53–9
relief, 20:103; 21:47–9
raku, bare, 19:25–30
scanned imagery, 7:65–8
screen print, 6:90–3; 8:26–7; 21:72–5
screen-transfer, 6:3–6
shellac resist, 6:12; 8:5, 6
silk screen decals, 8:18–19; 8:23
silk screen on porcelain, 9:34–8
slip inlay, 6:10–12
slip-painted, 5:66–70
slip relief, 19:3–6
slip-resist, 9:48–51
slips, 17:65–8
smoke, 19:25–30
smoke resist, 18:75–7
stencil, 6:11–12; 6:90–3; 15:86–9
text, 15:86–9
tiles, 9:45–7
transfer printing, 4:17–25; 6:90–3
underglaze colours, 6:34–9
wax moulds, 10:45
see also colour; decals; design; glazes; maiolica; slips
Denmark
ceramics and ceramists, 14:78–81; 16:66–8
ceramic sculpture, 20:3–9
ceramics education, 12:30–3; 20:76–8
workshops, 12:97–9
design, see computers
Designskolen Kolding (Denmark), 12:30–3
DeskArtes industrial design system, 10:43–4
Different Strokes conference (1999), 10:18; 11:95–9
Dinner Table, The (symposium, Hungary), 17:44–8
domestic ware
ancient cooking pots, 19:91–6
Philippine tableware, 19:97–8
studio production of, 1:38–9
traditional, 1:97–8
Dominican Republic, ceramics and ceramists, 19:84–7
double-walled forms, 9:39–44
drawing in maiolica, 2:3–10
Drawing on Clay – 1998 (Baltimore, USA), 7:54–7
DUCT manufacturing system, 10:43

E
earthenware, wood-fired, 19:15–17
East Timor
ceramics and ceramists, 18:49–53
traditional ceramics, 18:49–53
education in ceramics
apprenticeships in Japan, 4:78–83; 7:69–71
Australia, 2:89–92; 5:59–61; 4:42–8; 11:102–3; 14:40–2; 20:11
book review, 29:108
Denmark, 12:30–3
distance, 11:102–3; 20:10–14
e-learning, 20:11–14
Jam Factory (Adelaide), 5:59–61
Korea, 18:88–9
master classes (Australia), 4:42–8
Scotland, 20:10–14
secondary school (UK), 5:71–4
self-directed, 11:108–10
skills acquisition, 7:49–53
student exchange, 20:15
Turkey, 21:103–6
UK, 5:71–4
USA, 2:42–4; 4:7–11; 14:97–9; 21:3–6; 21:63–8
value of, 14:97–9
Edward Marshall Trust, 6:3–6
Eeles Family Pottery (UK), 14:20–1
Egypt
ancient ceramics, 20:53–8
ancient faience, 17:82–7
ceramics and ceramists in, 12:50–1
traditional ceramics, 10:54–9; 14:34–9; 16:89–93; 19:77–83
Embroidery project (Lausanne, Switzerland), 6:82–5
enamels, 10:83–91
recipes, 10:90–1
Encore (2004, Australia), 19:59
engobe see slip
environment see landscapes
equipment
Clironbronze, 5:85–9
hydraulic press, 6:92–3
oxygen probe for kilns, 3:100–3; 15:100–3
for porcelain, 5:3–10
RAM press, 14:5–8
semi–industrial, 7:26–35
wads in firing, 2:27–9;
wheels, 1:34; 1:79–82
Ethiopia, ceramics project in, 2:68–73
European Ceramics Work Centre (‘s-Hertogenbosch, The Netherlands), 11:69–75; 13:4
Evelyn Shapiro Foundation Fellowship (USA), 15:90–4
extruded ceramics, 16:54–5

F
face jugs, 20:44–5
factory methods, decals, 11:4–5
Faenza (Italy), 13:70–3
see also Italy; maiolica
faience, ancient Egyptian, 17:82–7
Finland, ceramics and ceramists, 4:90–2; 8:11–13; 18:65–7
Fiorenza’s Room (2001), 15:51–4
Fired Print conference (1998), 8:22–9
Fire–up Gulgong (1993), 2:32–7
firing
anagama, 8:88–92; 15:11–13; 18:90–2; 19:31–5
assessing, 20:48–52
black, 5:56–8; 9:48–51; 9:52–4
cooling cycle, 9:103–7
crystalline glazes, 3:18–20; 21:57–60
experimental ancient Egyptian, 20:53–8
fuel-saving schedule, 3:102
in situ, 5:33–5
low-temperature reduction, 7:58–64
lustre, 20:93
multiple, 11:4; 11:78
noyaki (open–air), 5:51–5
oxidation and reduction, 2:24–31
pit, 1:86–7
raku, 17:22–4; 17:69–72
raku, bare, 19:25–30
reduction, 5:102–3; 11:80–3; 13:57–61; 20:48–52; 21:54–6
saggar, 5:16–18; 12:6; 21:54–6
salt, 5:44–50; 14:51–2; 18:21–9; 20:82–4
sculpture, 3:78–82; 10:16
smoke, 10:72–3; 10:79–82
smoke-resist, 18:75–7
soda, 5:44–50; 10:62–8
sodium vapour, 5:44–50
terra sigillata, 12:52–4
traditional, 8:101–2, 103; 10:58–9; 11:33–4; 11:66–8; 12:25–9; 17:14–20
with water, 13:51–3; 13:57–61; 17:88–92
on water, 29:16–19
wood, 2:24–31; 2:32–7; 2:38–41; 3:40–8; 4:67–72, 5:19–22; 6:94–7; 7:58–64; 8:74; 9:11–15; 9:16–23; 9:83; 10:35–41; 11:20–5; 11:76–9; 11:107; 12:25–9; 14:34–9; 14:55–61; 15:27–32; 15:106–7; 16:24–7; 16:69–78; 17:3–9; 17:36–8; 17:88–92; 17:93–8; 19:15–17; 29:34–36, 96–101
wet, 13:51–3
with water, 13:57–61; 17:88–92
wood, 2:24–31; 2:32–7; 2:38–41; 3:40–8; 4:67–72, 5:19–22; 6:94–7; 7:58–64; 8:74; 9:11–15; 9:16–23; 9:83; 10:35–41; 11:20–5; 11:76–9; 11:107; 12:25–9; 14:34–9; 14:55–61; 15:27–32; 15:106–7; 16:24–7; 16:69–78; 17:3–9; 17:36–8; 17:88–92; 17:93–8; 19:15–17; 20:10–11; 20:48–52; 20:62; 20:63–6; 20:82–4; 20:100–2; 21:108–9
wood, firing history, 20:48–52
woodfire conferences and workshops, 6:94–7; 11:95–101; 12:99–102; 12:102–3; 20:98–9; 21:11–14
woodfiring woodfire fuels, 4:67–72; 8:53–4; 9:55–61
see also kilns
flowers and plants,
in ceramics, 21:47–9
ceramics for, 12:30–3; 13:85–7; 15:55–6
form
and technique, 12:3–6
and function, 12:30–3; 15:73–6; 21:40
Forster Town Park Mosaic (Australia), 7:21–4
France
ceramics and ceramists, 11:20–5; 11:89–94
ceramic sculpture, 11:26–8; 15:48–50; 17:26–7
festivals, 19:46–7; 20:87–9
Vallauris residency, 18:30–3
Fremington pitchers, 3:38
furniture, ceramic, 21:38–40
Fusion Conference (Canada 2001), 13:94–5

G
gardens, ceramics for, 16:28–30
Germany
ceramics and ceramists, 14:17–19; 18:34–6
salt–glaze ceramics, 3:3–7; 5:62–5; 18:34–6; 20:82–4
Glasgow School of Art (Scotland), 20:10–14
glass and ceramics, 8:4, 6
glazes, 13:40–5; 20:91
alkaline, 7:65–8
ash, 12:60–6
barium, safety of, 3:66–77; 4:110
base, 8:57–62
carbon trap, 9:105
celadon, 14:44–6; 15:84–5; 17:51–3; 29:25–27
changes during firing, predicting, 13:8–14
Chun, 9:85
colour research, 21:30–7
computer software for calculating, 3:54–66; 8:58, 59, 62; 21:110–11
cone 6, 14:111
copper red, 15:84–5
copper red, Chinese, 14:85–7
crystal, 21:57–60
crystalline, 3:15–21; 16:35–40
Drunken Beauty, 14:85–7
fluxes and colour, 3:8–14; 4:111
high temperature, 16:35–40; 20:108–9
HyperGlaze software, 21:110–11
for jigger/jolley tableware, 1:28–35
Jun red, 12:44–6
kaki, 8:8
kazegama, 9:76–7
large sculptures, 3:88–90
layering, 1:73–8
local materials, 8:7–13; 16:15–19
low–fire salt, 5:16–18
lustre, 12:50–1; 21:19–24
lustre, reduced pigment, 7:9–20
nickel blue, 29:80–85
oil-spot, 21:11–18
on-glaze, 20:93
opaline crystal, 1:69–72
overglaze, 20:93; 21:19–24
porcelain, 2:22; 6:10
purple, 11:62–3
raku, 17:22–4
raku, bare, 19:25–30
recipes, 3:16, 17; 3:88, 90; 3:99; 4:12–16; 4:101–7; 5:57; 5:90–6; 6:10; 7:67, 68; 8:8–13; 8:57–62; 9:50; 9:76–7; 9:104–5; 10:15; 10:41; 10:92–4; 10:99–101; 11:12; 11:62; 11:77; 12:68; 14:68; 14:87; 15:36; 15:101; 16:35–40; 16:41–3; 17:22; 17:67–8; 21:11–18; 21:57–60; 21:74
safety, 3:66–77; 4:110; 5:97–101; 7:3–8; 7:19, 20
salt, 1:65–8; 3:3–7; 5:62–5; 9:24–33; 10:3; 14:51–2; 15:110; 20:82–4; 29:8–13
satin matt, 8:65
saturated manganese, 4:12–16
sculpture, 14:100–3
shino, 9:104, 105; 11:10–13; 11:76–9; 14:51, 53–4
slip, from local clay, 16:15–19
soda ice, 10:62–8
soda vapour, 1:59–64
sodium vapour, 7:3–8
spodumene in, 10:99–101
stoneware, 4:101–7; 5:90–6; 11:13; 11:82; 16:41–3; 16:41–3
study method, 4:101–7
testing, 3:8–14; 5:90–6; 6:20–9
triaxial blend, 6:20–9
underglazes, 11:48–51
uranium, 5:97–101
vapour, 10:62–8
white base, 8:66, 67
Glaze Storm ’98 symposium (USA), 8:68–72
Goulburn Valley Grammar School (Australia), 2:65–7
Greece, ceramics and ceramists, 10:79–82
ancient ceramics, 13:81–4
Gulgong (Australia) events, 12:102–3;
ClayFeast (2001), 13:18–21
Clay Modern (2004), 19:50–4; 19:55–8
ClaySculpt (1995), 1:47–51; 20:7
Fire–up Gulgong (1993), 2:32–7
kilns, 1:47–51; 12:102–3; 13:21

H
handbuilding, 4:38–41; 9:80–3; 20:92; 21:76–8
happening, 20:3–9
Haystack Mountain School of Crafts (US), 4:7–11
Hida Takayam Ceramic Workshops (Japan), 2:86–8
history as inspiration, 21:72–5
Höfers salt–glaze pottery (Germany), 3:3–7
Hong Kong Pottery Workshop, 16:102–3
Hungary
ceramics and ceramists, 13:93
Kecskemét, International Ceramics Studio, 15:62–6; 17:44–8
symposia and workshops, 17:44–8
traditional ceramics, 13:88–90
HyperGlaze software, 21:110–11

I
Ichon Ceramics Festival (South Korea), 12:79–83
Igneri Foundation (Dominican Republic), 19:84–7
Imari ware, 10:85–6
Imperial Porcelain 4317 (Walker Ceramics), 21:69–71
Inax Design Prize, 5:24–7
India, traditonal ceramics, 10:69–74
Indonesia, ceramics, 7:72–5
industry
ceramic artists and, 1:33–5; 1:37–42; 2:81–5; 2:90–1; 5:23–7; 11:3–9; 18:14; 18:34–6
industry–based tableware, 1:33–5; 2:54–5; 19:63
methods in studios, 2:50–5; 6:90–3; 7:25–35
small–scale in Tasmania, 1:3–15; 2:54–5
solving problems in, 19:97–8
Innovative Tableware Project, 1:28–35
installations, 3:86–90; 4:84–6; 5:33–5; 6:82–5; 7:21–4; 21:41–6; 21:50–3
Intermediate Technology Group (ITDG), 5:29
International Academy of Ceramics Conference (2002), 16:86–8
International Ceramics Biennale (Beer Sheva, Israel)
First (1993)
, 2:81
Second (1995), 2:81–5
International Ceramic Studio, Kecskemét (Hungary), 15:62–6; 17:44–8
International ChildArt Festival (2004), 20:110
International Festival of Ceramics (France), 19:46–7
International Gulgong Conference see Gulgong
International Large Outdoor Ceramic Lantern Workshop (Taiwan), 19:65–70
International Potters’ Festival (Aberystwyth, Wales) (1995), 1:99–100; 10:109–12
International Triennial of Ceramic Tiles (Dominican Republic), 19:86–7
International Woodfire Conference (1999), 10:36
International Workshop on Woodfired Kilns (2005, Korea), 21:7–10
 internet, ceramics on the, 1:20; 1:88–92; 1:93–6; 6:106–9; 7:39–48
Ireland, ceramics and ceramists, 9:24–33; 10:3–11; 12:22–4; 20:41–3
Islamic ceramics, 12:50–1
Ismay, Bill (collector), 15:108–9
Israel, ceramics and ceramists, 2:81–5; 7:98–101; 7:76–81; 13:68–9; 16:54–5; 17:42–3; 19:71–2
Italy
ceramics and ceramists, 2:63–4; 5:23–8; 6:40–3; 13:70–3; 15:51–4; 20:37–40
traditional ceramics, 13:70–3
see also maiolica

J
Jamboree Workshops (South Australia), 15:77–81
JamFactory Ceramic Studio (Adelaide), 5:59–61; 9:86–8; 15:77
Japan
apprenticeships, 4:78–83; 7:69–71
architecture, 21:7–10
ceramics and ceramists, 2:32–7; 5:51–5; 7:36–8; 7:89–93; 10:23–7; 13:22–4; 13:46–50; 14:55–61; 15:22–6; 16:24–7; 17:93–8; 19:73–6; 20:82–4; 20:96–7
community projects, 8:46–9; 18:17–20
festivals and events, 16:64–5; 18:17–20
Hida Takayama Ceramic Workshops, 2:86–8
influence of, 2:86–8; 4:78–83; 5:3–10; 10:83–91; 13:46–50; 14:18; 20:82–4; 20:105
Mashiko, 4:78–83; 7:69–71; 7:90
tea ceremony, 13:23–4
traditional ceramics, 10:83–9; 14:43–6; 14:55–61; 20:86; 20:96–7
jigger and jolley, 1:28–35; 2:54–5; 9:94–5
Jingdezhen porcelain (China), 18:45–9; 18:66
JINRO International Ceramic Art Workshop (Seoul, Korea), (1995), 3:91–6
Jordan, ceramics, 2:56–8
Jun porcelain (China), 12:44–6

K
Kagemori Elementary School (Japan) community project, 8:46–9
Kakiemon ware, 10:85, 86, 87
kaolin
Australian and New Zealand, 1:4–15
Tasmanian, 1:3–15
Kecskemét see International Ceramics Studio, Kecskemét (Hungary)
Kenya, ceramics, 2:74–80; 5:28–31
Kerafol (Keramische Folien GmbH) (Germany), 18:34–6
Keramik & Animation (Switzerland), 20:63–6
kilns
Abernathy, 16:44–8
anagama, 1:52–8; 4:93–7; 5:19–22; 6:77–81; 9:14–15; 9:73; 10:17–22; 12:60–6; 13:21; 17:28–35
anagama, step-grate firebox for, 18:56–9
anagama, Jamison, 18:90–2
anagama, Jewel Creek (USA), 19:31–5
anagama, Kirkwood, 18:56–9
anagama, Kirkwood, 18:56–9
appropriate technology for developing countries, 2:74–80
aquagama, 10:18
attitudes to, 12:22–4
Autash, 8:90–2; 14:58–60
black, 5:56–8
bottle, 14:10, 11
Bourry box, 12:22–4; 15:67–72; 17:3–9; 18:104–8; 20:48–52
buildings for, 2:42–4
Chinese, 13:57–61
climbing, 11:20
climbing/Chinese (France), 15:48
Clironbronze, 5:85–9
cooling cycles, 9:103–7
crystalline glazes, 3:18–20
dragon (long yao), 21:25–9
Egyptian, traditional, 14:34–9
electric, 5:102–3
experimentation, 7:58–64
gas-fired, 2:62
groundhog (USA) 8:50–6
groundhog, Olsen’s (Strathnairn), 4:45–6; 8:10
Gulgong Racer, 1:47–51; 12:102–3
Gulgong merry-go-gama, 13:21
Hang-Bao, 9:12–15
historical, 7:58–64
Hoffman, 13:21
hoggama, 8:50–6
kamakura, 10:18
Kardella wood–fire, 3:97–9
Kassel-type, 3:5–7
Kazegama, 9:73–9
large ceramics, 3:78–82
‘Mazdagama’, 10:60–1
for metals and clay, 5:85–9
noborigama, 9:14; 10:40–1
Ojiyama, 14:43, 44, 46
Olsen cross-fire, 13:37–40
oxygen probe, 3:100–3; 15:100–3
paperclay dragon, 7:36–8
paperclay tiles, 10:78
rocket, 20:63–6
salt-fire, 21:103–6; 29:20–24
salt firing, insulation materials for, 18:21–9
stacking, 2:24–31
salt-glaze, traditional German, 3:5–7; 5:62–5
Shui-Li snake, 9:14–15
snake, 6:94–7
sphinx, 9:96–102
Taiwanese, 17:36–8
Tiang-Chung, 9:14–15
Tokoname, 10:18
traditional, 8:103; 9:12–15; 12:25–9; 14:43, 44, 46; 16:59–63; 17:63
updraught, 7:59–64
urban, 16:44–8
vertical tunnel, 2:74–80
Vietnamese, 16:59–63
Whiteman Creek (Australia), 18:104–8; 20:48–52
wood climbing, 20:37–40
woodfire, 1:47–51; 2:24–31; 9:11–15; 9:16–23; 10:17–22; 11:77–8; 12:25–9; 13:37–40; 15:106–7; 16:6–10; 16:24–7; 16:69–78; 20:48–52; 21:103–6
woodfire, building, 2:32–7; 9:16–23; 9:73–9; 9:96–102; 21:103–6
Ko-Kutani ware, 10:85, 87, 89
Korea
ceramics and ceramists, 3:91–6; 4:98–100; 10:95–8; 20:25–8
ceramics education, 18:88–9
ceramics festival, 12:79–83
woodfire festival/workshop, 16:5–10; 21:7–10
Korea’s Clay and Fire, the Ceremonial International Exhibition and Symposium of Sculptors and Ceramists (1996), 4:98–100
Kutani International Decorative Ceramics Competition, 6:58–65

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

Z
zisha ware, 4:33–41
teapots, 1:99–100; 4:38–41
Zhijin ceramics, 11:64–8
Zsolnay Porcelain Factory (Hungary), 13:88–90