The video is divided into three sections – making, firing and post-firing treatments, and a "gallery" of recent work. Tim demonstrates the making of different shapes, turning, slip application, roulette decoration, attaching handles, and burnishing. After biscuit firing we see masking and wax resist, dipping in slip and glaze, and spraying of the copper glaze.

Deborah Baynes has been successfully teaching people how to throw since 1970. Over the years she has become well known for her Summer schools and also as a prolific maker of functional pottery.

This video brings together all of the experience and techniques that she teaches on her courses. All of it explained in minute detail and with each move filmed from different angles including the potters-eye view. Nearly 4 hours of detailed throwing tuition from clay preparation to more advanced projects.

"This production, although lasting only eight minutes, is a gem. We see Jim Preparing clay, working on his wheel (a Korean-continental hybrid), adding handles to pots, and decorating on to the raw clay. In the background is a constant display of striking pots waiting to be fired. Jim’s voice was recorded seperately, his comments adding greatly to our understanding of both event-on-screen, and of the context in which he works" Ceramic Review 175

"Though well produced, this series of five videos looks at the history of American clay art from a decidedly California sculpture perspective, omitting much of what has happened in the country during the 20^th century. The story is told through interviews with several artists and historians including Ron Nagle, Adrian Saxe, Peter Voulkos, Rudy Autio, Christopher Knight, Charles Fiske, Martha Drexler Lynn, Kenneth Trapp, and Ruth Braunstein, narrative voice-overs and historicak footage." Ceramics Monthly

This documentary traces the development of the Mata Ortiz pottery tradition. Mata Ortiz is located in the state of Chihuahua, Mexico. The tape uses primary source interviews, potmaking and firing demonstrations, and location footage to tell how Juan Quezada, without formal art instruction, completely reinvented an ancient ceramic technology using prehistoric Mimbres and Paquime (Casas Grandes) pot shards as his inspiration. He sparked an artistic, cultural and economic renaissance in the area. The film includes interviews with Juan Quezada and other outstanding artists discussing their art, life in the village and criteria for determining the quality of pottery. The video also contains potmaking demonstrations by brothers Juan and Nicolas Quezada. Beautiful portraits of both pre-Columbian and contemporary primitive pottery from the region are featured. The Mata Ortiz model, with its highly refined local clay bodies and its expert painting, is an example of fine primitive pottery.

New Hamshire potter Derek Marshall demonstrates in this three-video series the Japanese techniques used for centering, throwing and trimming.

A resident potter takes you from diggin clay, through throwing pots, to the wood fired kiln of the 1850‘s frontier potter. Steven makes necessary and artistic items in the manner of old.

Through interviews with the artist, several of his former students, an art historian and a critic, this video examines the work and life of ceramist /teacher /printmaker /painter /filmmaker Robert Sperry.

Filmed in 1970 by ceramist/educator Susan Peterson, this visit with the late Shoji Hamada shows him at work in his pottery in Mashiko, Japan. As Peterson narrates, Hamada is seen faceting, paddling and incising a few pots, which were then carried by workers to the five-chamber noborigama for a bisque firing. Prior to decorating and glazing, the surface of each bisqued piece was whisked to remove ashes. Although Hamada did not glaze every pot, he did all the decoration – by ladling, finger pulling or brushing.

Sale: US$49.95

Instructional Video for making cylinders on wheel. Guaranteed to help you.

"In this video "how to", California potter Bill Creitz is shown throwing and assembling the parts of a teapot, beginning with visualizing /sketching the piece in four sections: the body, handle, lid and spout. He then demonstrates two types of wedging techniques, before throwing a spout off the hump and using the remaining clay to form the body. Next, he throws the lid, and uses an extruder to make the handle, which is placed over a rounded form to set overnight. After trimming the body and the lid, Creitz assembles the teapot, scoring and slipping the attachment points. The pot is then brushed with underglazes, biqued, glazed and high fired." Ceramics Monthly

North Carolina potter Don Davis teaches in this how-to video the basics of throwing.

In this four-video series New York ceramist Frank Giorgini describes the process of tile making, from forming to installation. FORMING THE TILE: "In this "how-to" video-the first in a series of four Freehold, New York, artist Frank Giorgini demonstrates various methods of creating tiles, beginning with a simple flat tile formed by rolling out a slab of clay witharollingpin. After the surface is smoothed with a rib, he cuts the tile to size, then places it between Sheetrock to dry flat. Giorgini then makes a model for a plaster mold from two slabs of clay layered together. Next, he transfers a design on paper by laying the paper on the top slab and punching holes through the design. Placing the model on a turntable for better control, he uses an X-acto knife to cut the design out of the top layer of clay only. Other tools are used to incise additional lines. Once the design is complete, a wooden frame is set around the tile model, the corners of the frame are sealed with coils of clay, and the plaster is poured in slowly. After the plaster has hardened, Giorgini removes the frame and carefully "peels" the clay model from the mold. A thick slab of clay is then placed in the mold; "you get your best impression if it sort of fits right in," Giorgini explains. Laying canvas on top, he uniformly pounds the clay with a rubber mallet. Excess clay is cut off with a wire tool, a straight edge is used for final flattening, and a plaster block is set on top to facilitate drying. When Giorgini sees that the clay has pulled away from the plaster, he removes the tile by placing a wooden bat on top, then turning the mold over and tapping. He then goes on to demonstrate the making of tiles using a few "gadgets" he has developed, which have cut production time considerably. The first tool shown cuts clay slabs to the same thickness each time. The second tool is a manual tile presser made from plumbing fixtures bought at a hardware store. Finally, Giorgini covers two decorating techniques: shellac resist and inlay. For the shellac-resist technique, he brushes slip onto the surface of a bone-dry tile. He then takes a rubbing (using tracing paper and graphite) from a finished bas-relief tile, places the rubbing face down on the dried slip, and traces with a pencil. After transferring the design, he covers it with shellac. When the shellac has dried (about 20 minutes), Giorgini rubs a wet sponge over the surface. The shellacked area is protected, while the exposed slip is washed away. For inlaying, Giorgini carves a design into a leather-hard tile, then dabs on colored slips until they're well above the surface. (An ice-cube tray is used to hold a variery of colored slips.) Then excess slip is scraped off. Later, the tile will be clear glazed and fired."

In this three-part series, Dean Jensen demonstrates the basic steps of throwing at the potter’s wheel.

The first section of this two-part documentary follows the planning and construction of a Tozan (an East-facing, climbing, multichamber) kiln in Nanaimo, Canada. It was the third of this design to be built by Tozan master potter Yukio Yamamato - the first was constructed in Japan, the second at the University of arizona in Flagstaff.

The second part of the film is a brief profile of master kilnbuilder Yukio Yamamato, whi maintains a studio and gallery in Himeji, Japan.