FORMS POURING VESSELS 1 S AM CHUNG teapot / porcelain
4 M IKE JABBUR teapot / porcelain
2 M ARY LOUISE CARTER pitcher / porcelain
5 D OUG PELTZMAN teapot / porcelain
3 MATT TOWERS teapot / porcelain
6 M IKE HELKE pouring vessel / stoneware
CUPS 7 J OHN GILL handled cup / stoneware
11 M ATT METZ teabowl / porcelain
8 D OUG PELTZMAN mug / porcelain
12 D OUG PELTZMAN cup / porcelain
9 M ATT MITROS cup / 3D printed porcelain
13 JEN ALLEN mug / porcelain
10 M ARY LOUISE CARTER cup / porcelain
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BOWLS 14 A YUMI HORIE bowl / earthenware
16 J OHN GILL bowl on stand / stoneware
15 A YUMI HORIE bowl / earthenware
17 D OUG PELTZMAN mixing bowl / porcelain
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SURFACE & MOLDMAKING BISQUE / FINISHED
SURFACE
moldmakING
1 L ISA ORR finished serving bowl / earthenware
3 DOUG PELTZMAN cup / porcelain with mishima inlay
15 J EREMY BROOKS figurine / plaster
2 L ISA ORR bisque serving bowl / earthenware
4 KEVIN SNIPES lidded vessel / porcelain with mishima inlay
9 J ASON BIGE BURNETT finished cup / earthenware
5 KRISTEN KIEFFER plate / porcelain with slip
6 L ISA ORR 10 JASON BIGE BURNETT tureen / earthenware cup / earthenware 7 ANDREW MARTIN 11 MATT METZ cup and saucer / finished teabowl slipcast porcelain / porcelain 8 JEN ALLEN 12 MATT METZ pitcher / porcelain teabowl / porcelain 13 KRISTEN KIEFFER finished tumbler / porcelain 14 K RISTEN KIEFFER mug / porcelain
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16 A NDREW MARTIN mold / plaster 17 A NDREW MARTIN small plate / slipcast porcelain
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18 M ATT MITROS sculpture / slipcast porcelain
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19 R ICHARD NOTKIN tile mold / plaster 20 RICHARD NOTKIN plaque / porcelain 21 M ATT TOWERS plate / porcelain
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BACK VIEW / SHELF WITH OBJECTS 9–14 [bisque / FINISHED]
22 K ARI RADASCH dish / earthenware 23 K ARI RADASCH dish / earthenware
24 L ISA ORR bisque teacup & saucer / earthenware 25 LISA ORR finished cup & saucer / earthenware
BACK VIEW / SHELF WITH OBJECTS 9–14
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25 FLIP PAGE FOR EXTENDED LABELS
4 KEVIN SNIPES / lidded vessel
13 + 14 KRISTEN KIEFFER / tumbler and mug
Snipes handbuilt this box jar using porcelain. For his drawings, Snipes uses a method called mishima, a technique in which color is inlaid into the clay. Using a sharp drawing tool, Snipes cuts lines into the soft clay. Once the drawing is complete, he then paints colors into the lines. During a demonstration, this drawing would be covered in colored brush marks. To reveal the inlaid color, Snipes then uses a sponge, which wipe away excess colored stain on the surface while leaving stain within the carved lines untouched. This technique can also be done by using a flat carving tool or firm metal rib to carve the excess slip off of the flat surface, the carved lines protecting the inlaid color.
Kristen Kieffer designs her own plaster stamps. Used once, a stamp will press a design into clay. Kieffer uses stamps repeatedly, flipping and alternating the stamps to create intricate patterns. With each stamping, Kieffer presses the stamp firmly into the clay while also pressing the clay firmly into the stamp. The second part of that process leads undulating forms that expand where finger pressure alters the cylindrical wheelthrown starting form.
5 KRISTEN KIEFFER / plate Kieffer uses scissors to cut long paper strips that she then dips into water and sticks onto the leatherhard porcelain plate. Once the strips adhere, Kieffer then applies a thick coating of white slip (liquid clay). When the slip begins to set up and dry, Kieffer then pulls up the paper strips which reveal a sculptural pattern with raised edges on the surface of the plate. This technique is called paper resist. Glazes will often sit on high and low points differently. When glaze sits into a lower point on a pot, that is called pooling. When glaze falls away from a sharp edge revealing more of the clay underneath, that is referred to as glaze breaking over an edge. Like creating highlight and shadow, breaking on an edge and pooling allow a single glaze exhibit multiple characteristics.
9 + 10 JASON BIGE BURNETT / cup Jason Bige Burnett uses screenprinting techniques to layer images of horses and dots onto a sheet of newsprint. The technique requires that Burnett print the most visible layers first, followed by background colors. Once he has the transfer image completed onto the paper, he then covers that image in white slip and he also covers the cylinder or plate (#14) in white slip. The slip acts to bind the image onto the cylinder. He wraps the paper around the cylinder, smoothing the paper onto the form and pressing out any air bubbles. A wooden roller helps adhere the slip from the paper onto the cylinder. Given a few moments to dry, all the pigmented transfer and slip from the paper adheres to the cylinder. The paper is gently removed and the image is transferred completely. If you look closely, some of the imagery did not transfer—a tell-tale sign of this process. This adds to the intended aesthetic of this method.
15 JEREMY BROOKS / figurine Brooks reverses the normal mold process. To make this form, he poured plaster inside an existing horse figurine. Once the plaster set and hardened, Brooks broke the figurine to reveal a cast of its interior form. By casting its interior, the plaster captures the unseen gesture of the figurine.
16 + 17 ANDREW MARTIN / mold and small plate This plaster mold was use by Andrew Martin to produce the nearby dish from a porcelain casting slip.
21 MATT TOWERS / plate Matt Towers formed this plate by draping a porcelain slab over a bisqued or plaster hump mold. A hump mold is a convex shaped form that allows a potter to press a slab of clay over the top. Hump mold soften produce plates, platters, and shallow bowls. The hump mold used by Towers contains finely carved details. When Towers presses the clay into the mold, the soft clay takes on the impression of those details. With a hump mold, the detail will be revealed in the face of the plate, on the inside of the vessel.
22 + 23 KARI RADASCH / dish Kari Radasch decorates her forms with applique sprigs, which are small pieces of clay that are added to the surface of pottery. Radasch cuts
shapes from thin slabs and then applies them directly onto her work. The term appliqué is more appropriate for Radasch as her sprigs do not derive from a mold.
SURFACE & MOLDMAKING
CLAY ESSENTIALS 2
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CLAY BODIES [upper TWO shelves] This exhibition features bisque works made of three clay bodies. These shelves display earthenware, stoneware, and porcelain bisque works, sample tiles in three stages, and kiln cone packs that measure melt (time + temperature). The samples show the clay bodies at bone dry (unfired), bisque, and finish firing stages. Note the shrinkage of the finished firing.
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EARTHENWARE / top shelf 1 A YUMI HORIE plate / earthenware with white slip 2 FINISH TEMPERATURE RANGE: 1945°F /cone 04
STONEWARE / shelf 2 near wall 3 JOHN GILL cup / stoneware 4 F INISH TEMPERATURE RANGE: 2232°F–2345°F / cone 6–cone 10
PORCELAIN / shelf 2 near gallery space 5 D OUG PELTZMAN cup / porcelain 6 F INISH TEMPERATURE RANGE: 2232°F–2345°F / cone 6–cone 10
FORMING CLAY [lower middle shelf] These cross-sections show wall thickness, line, and structure. Pottery forms are often named after parts of the body. The foot is the part of the pot that carries its weight. Feet can be flat bottomed, carved and trimmed with loop tools, or constructed with the addition of clay. Note the subtle variation of line visible in the cross-sections—some curve inward while others flare slightly outward. A tar paper template by LSU MFA Matthew Zorn shows how a template might be used to produce a form. A template is a design element used to guide repeating a shape. The two-dimensional template can be pressed onto a slab to guide cutting the clay. Later the cut shapes are raised and joined into a three-dimension form.
CLAY ESSENTIALS ESSENTIAL TOOLS [boTTOM SHELF] READ FROM WALL TO GALLERY:
LOOP TOOLS Used to trim and refine shape, this simple tool removes clay from wheel-thrown or sculptural clay works. Various sized steel heads can carve designs, trim forms, or create a bevel at the base, or foot, of a wheel-thrown object. RIB Ribs are typically flat kidney shaped tools made of wood, plastic or metal that help compress clay and refine wheel-thrown objects. Depending on use, ribs come in varying hardness and thickness to do different tasks. HAKE BRUSH A Hake brush is a traditional styled brush with long natural bristles. Hake brushes are used to apply long, fluid swathes of color on forms or to gently soften rough areas in clay forms. WIRE The wire tool allows the potter to cleanly slice a wheelthrown form off of the wheel or the bat to store and dry.
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PATTERN ROULETTES Roulettes, stamps, and coggles are all common tools used to create uniform and consistent patterns on clay forms. These handmade or commercial tools roll and push into clay, creating a continuous pattern. CALIPER Calipers help potters achieve accuracy in wheel-thrown objects. When production throwing utilitarian objects, a caliper is useful in achieving a specific sized plate or cup. When an object has a lid, like a canister or tea pot, a caliper is used to assure that the lid will fit the opening. SCALE A scale provides consistency. To make a consistent dinnerware set, a potter will use a scale to weigh each ball of clay before throwing a form. For example, a dinner plate may start from a 6 lb. lump of clay. KILN POSTS Kiln posts separate and support shelves of objects during a firing in a kiln.
WALL
GALLERY