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Well-known for his many years as professor at Alfred University and his valuable glaze contributions to the ceramics field, Val works with stoneware clay, often at large scale. “I like making covered jars,” he says. “I guess it’s my favorite form in a way.” He throws on both a Randall kickwheel and a Soldner electric wheel. He prefers plaster bats. Although they take up a lot of storage space, Val says, he likes the way they promote even drying of his works. Due to years of centering large amounts of clay by pushing against it with a bent wrist, Val developed a bone spur. He now pulls the clay toward him while centering, and recommends that other potters do the same to prevent wrist injury.
Val Cushing
When making large, flat plates and platters, Val opens the clay with the edge of his outstretched hand (pinky side). He always weighs the clay first, using about 5 lbs. for a 12”-14” plate. For lids, he recommends using a generous amount of clay. He uses a putty knife to set the flange. Val says it’s not necessary to poke holes in his hollow donut-shaped handles to let the air escape, as long as the bisque is fired slowly.
Diane Rosenmiller Studio Artist and Resident Artist Archie Bray Foundation Helena, MT “Oval Asparagus Dishes and Cookie Jars”
HAWTHORN BOND
Also known for her thrown and press mold-decorated teapots and ewers, Diane creates her asparagus dishes and cookie jars with the use of bisqued molds of various designs. (Below, an asparagus leafshaped mold is pressed into an
oval form to make an asparagus dish.) The asparagus dish is made by throwing a bottomless form with thick lower edges and attaching to a rolled slab. Diane joins the bottomless form to the slab by scoring contact areas with a sewing needle stuck into a cork, and brushing with straight vinegar. When adjusting the shape, she is careful to apply equal pressure with both hands opposite each other. Press molding is performed when the clay is just between the “tacky” and “leather hard” stages of dryness. The press mold is brushed with powdered cornstarch before application to prevent it from sticking to the clay.
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To trim the bottoms of pieces with uneven lips, Diane inverts the rim of the pot onto a foam-covered bat to support the pot without cracking the lip. Diane Rosenmiller