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The article explores the impact of craft education in shaping personal and societal values, focusing on the integration of crafts into British state education through the efforts of Robin Tanner and the legacy of educators like Louis Jones. It also discusses the historical context of post-WWII craft advocacy, the role of progressive schools like Wennington in promoting hands-on learning, and the enduring influence of teachers and institutions in fostering creativity and practical skills.

Discusses the newest group of work of Scottish artist Jennifer Lee which was presented at Frank Lloyd Gallery in Santa Monica, California in April 2005. Information on a pair of pale pots that was rested side by side on twin pedestals; Affinity of the work of Lee with nature; Views of writer David Whiting on Lee's dedication to a singular way of working.

Interviews artist Kate Malone about her pottery. Development of organic natural forms as sources of inspiration of Malone's work; Explanation of the making technique used by the artist; Comparison between the "Next to Nature" exhibition at Blackwell, an Arts and Crafts House in the Lake District in the North of England, and a planned exhibition in Sydney, New South Wales.

Discusses the ceramic art of artist Regina Heinz. Influence of Belgian figurative ceramist Carmen Dionyse on Heinz; Importance of a personal and intimate relationship between maker, material and subject to the conception and execution of her work; Information on the pieces in Heinz's exhibition at the Ruthin Craft Centre Gallery in England in May 2005.

Highlights a major survey exhibition of the works of ceramic artist Gwyn Hanssen-Pigott at the National Gallery of Victoria (NGV) in Melbourne. Information on the collection of artist Herbert Wade Kent which was presented to the NGV in 1938 and has influenced Pigott to become a potter; Significance of working with artist Ivan McMeekin to Hanssen-Pigott; Views of Peter Timms, author of the book "What's Wrong With Contemporary Art?" on the works of Pigott.

The article reviews the exhibition "Celebrating the Master at Melbourne's Skepsi" that featured 41 ceramic artists at the Sawnson Gallery in Australia.

Presents views on the criteria used for judging a piece of ceramic art. Dependence of the criteria on the brief given to the judge or jury; Factors to be considered when judging a piece of art according to a former director of collection at a folk art museum in Kurashiki, Japan; Criteria used by Gustav Weiss, former editor of "Neue Keramik," in judging pieces of ceramic art at the Kerameikon international competition and exhibition in Vazarden, Croatia.