One of the unique qualities of the magazine is its design and beauty as an object, illustrated effectively by the current issue employing velum as the cover stock. If there is a way to make Chris Gustin’s pots sexier, we’ve found it. In an increasingly digital world, yet in a field where the handmade and well-designed preside, Studio Potter must continue to invent new ways to argue its presence and circulation as a tangible, physical entity. In a panel discussion on the future of ceramics during the recent symposium, All Fired Up, A Celebration of Clay in Westchester, Julia Galloway firmly stated that she has absolutely no fear of the extinction of pottery. She sees a new generation facing new societal and economic challenges, but one that is energetic about the artistry of utilitarian clay. I am a part of that new generation, and as long as we are making pots, The Studio Potter has a responsibility to endure. I don’t fear for the loss of the printed journal altogether, but I do think its future will depend on the survival of the fittest.