ournal

A PORTRAIT OF TRISH JEFFERS-ZEH

 “Conception” “Prayers to the Ancestors”
TRISH JEFFERS-ZEH
Artist, Educator and Community Advocate
Many children know what they want in life long before
actually realizing it. Possessing a gift for singing, drawing,
taking things apart, and making sculptures out of aluminum
foil. What? That last one may not be as common as the others
but the mother of Trish Jeffers-Zeh seized the opportunity to
try and advance her daughter’s creative tendencies. Trish took
her first pottery class with her Mother and Aunt when she was
eleven years old. In junior high, she did some clay hand
building with slabs, and in high school, she concentrated more
on drawing, watercolors, textiles and sculpture.
> Continued top of next page
The Art-To-Art Palette the Paint box 2007 Annual Winter Edition
THROWING, TRIMMING,
DECORATION
Throw small versions of the form you
are working on, off the hump, to use for
glaze tests. This way, you are practicing
your throwing / trimming capabilities,
getting more understanding about the
particular form, and have a true / like
surface on your work for testing of glazes.
Small test tiles never seem to give enough
information or a true read about new
glazes. A like form will show your internal
and external glaze flow, fit, color variation,
etc.
Trouble trimming through your pots
when footing? Push three long thumbtacks
in a triangle formation. Trim away! When
you reach the depth of the thumbtacks,
your trimming tool will tick on the points of
the tacks, telling you to stop trimming any
deeper. The long thumbtacks are a perfect
end depth of the foot. Simply fill the small
tack holes with slop and smooth over. No
more bottomless pots!
Surface decoration! At the leather hard
stage, apply shellac, decoratively, onto the
surface of your pots using a paint brush.
Allow the shellac to dry (usually 6-12
hours) and finally using a sponge and water,
wipe the areas of clay around the
shellacked portions. The shellac acts as a
barrier and will begin to appear to raise-up
creating a fabulous surface decoration. The
more you wipe, the more pronounced. the
shellacked areas become. Let your pots dry
as usual and bisque, the shellac will burn-off
10
The participants had a marvelous time observing the various colors, forms, and
mysteries of the raku process.
Pam Gregory, an potter from Indiana, added her reflective
comment, “I had a blast in these beautiful surroundings with a bonus of
creating some great pots!”
The Art-To-Art Palette
Tips & Techniques
during the firing. This is a great technique
for putting images, text, detail to the
surfaces of your pots! Buy the amber
shellac, not clear, so that you can see
where you are applying to the pot.
Danielle Fisher-Snyder
IT’S IN THE SPONGE
Take or buy a finishing sponge for make-
up purposes. This type of sponge is
excellent for small or large cleanup areas of
a leather hard pottery surface.
IT’S IN THE REDUCTION
I use a lot of copper red glazes in my
work. They can be difficult to fire with
consistently good results. My one most
important tip in this regard is to always
begin reduction no later than cone 08. I
actually prefer cone 010. It is before the
glaze begins to fuse that it is still open to
absorption of carbon monoxide gas. Matt
Patton, Seattle, Washington
RE-FIRING IS THE AVENUE
If I am not pleased with my horse haired
or naked raku vessel(s), I refire them.
Carbon will totally disappear by a cone 06
firing. On the horse haired pieces, I glaze
and refire with great results. On the
naked raku vessels, it is best to refire
as bisque ware. Ralph Stuckman
BENEFITS OF MEMBERSHIP
Jana Glass reports on the benefits of
the Clay Alliance organization in
Cincinnati, Ohio. She says, "The members
give workshops free or for a small fee to
cover costs only for other members. The
workshops I've attended are: Glaze making
with Todd Feazell; wheel throwing, handle
making and other throwing tips by Larry
Watson in conjunction with a hand
building workshop by Martha Healey, and
a lid making workshop by Pam Korte."
EXHIBITION YOUR WORK
Interested artists and potters may
inquire about exhibiting opportunities at
Sinclair Community College in Dayton,
Ohio. Their website is http://
www.sinclair.edu/facilities/galleries/exhibit/
index.cfm. Contact person is Pat
McClelland.
MORE CLAY AT THE BOTTOM
While throwing a large vessel, let
ample wide clay at the bottom of the
piece. The creation will have a firmer base
of support. Take a tool to scrape the
bottom area to remove the excess clay. In
the meantime, you are shaping the contour
of the pot to have flow with the upper
portion of the vessel. Then, wire the
bottom for removal purposes. You have a
trimmed piece ready to dry for firing
purposes." Kevin Crowe
DOING A SINGLE FIRING?
For potters doing a single firing, apply
one coat of slip on each vessel at the
leather hard stage, and then one coat of
your chosen glaze over the coat of slip.
When totally dry, the pots should be fired
normally. This single firing method could
be an artist way of having profound
creations. The slip and the glaze really get
into the clay bodies more so than double
firings. Kevin Crowe
WANT TO REDUCE COSTS?
Use velvet under glazes from Amaco,
to reduce costs for pottery vessels. You
may decorate these glazes on leather dry
works. Since these under glazes will not
stick to the kiln shelves, the potter will
have a colorful pot from top to bottom. If
you like a rather matte finish, a single firing
is possible. If you like a shiny surface, you
may use a clear transparent glaze and fire
for the second time.
2007 Annual Winter Edition
 “Resurrection of Brooks” “Dichroic Glass Earnings”

Southern Ohio potter

conducts Raku workshops
Fairborn, Ohio Potter Dennis Mummert 4
conducted several Raku workshops at the
Artisan Center near Cincinnati during
summertime of 2006. According to all those in
attendance, not only did they have great fun
with their raku clay works, but also a
pleasurable outside learning environment.
‘Professor Dennis’ gave a step-by-step
instructional program from the initial glazing
process to finished vessels.
The steps are as follows with some for five minutes. The
photos for visual purposes: burner then was
1. Glazing the Bisque Ware cranked to maximum
Glazes were heat for a ten to
provided for each fifteen minute time
participant to period. Peak
choose what colors temperature occurred 4
and textures to use when the vessels had
in the glazing a smooth and shiny
process. People surface. The While growing up, Trish lived in experience fed Trish’s passion for for fine country living along with
used brushes for estimated heat was the country and has been greatly clay. three studios. She became certified
decorating their around 1800 degrees influenced by nature and playing in As a student at Sinclair with a in teaching Metal Clay in 2002 and
1
bisque ware. F. The burner was turned off and the the woods. After becoming a Master minor in Ceramics, she elected to has currently taught over 600
2. Lighting the Fire lid opened. 8. Cooling the Pieces in Water Gardener, she had the privilege of present a solo sculptural installation students. Classes may range from
5. Removing Pieces from Kiln Pieces when placed working with Cox Arboretum and for her final exhibition. “I staged it in small groups to as large as 23
The kiln was initially lit with a propane
Pieces were removed from the kiln in water showed a the Dayton Metro Parks. This my own back yard,” said Trish. The students. A unique feature is her 3-
torch. The burner ran on low pressure
with tongs or Kevlar gloves. All dramatic color included being a grower and professor came to the house and 4 day retreats where participants
for an hour. This preheat was needed
participants had to wear appropriate change. The colors herbalist that participated in graded Trish on her come from various parts of the
to prevent cracking of the kiln shelf
kept changing. Farmers markets both in Wegerzyn

T
3. Placing the Glazed Pieces in the Kiln clothing and footwear for safety accomplishment. The show was country.
reasons. Stability was and in Warren County. Also, deemed a successful. rish realizes that Metal Clay
Tongs were
reached after thirty 7
used to load 6. Placing the Piece in a Reduction became a certified nursery For another project, her professor has only existed since 1991 in
minutes. technician. This love of nature has gave her an unusual assignment of Japan, and then came to the U.S. in
the kiln. Container
Some
9. Cleaning the had a lasting influence upon Trish artistic nature to challenge her inner 1996. She realizes that many
Each piece was placed in a metal
participants container such as a five gallon steel Pieces and her evolving and widening creativity. She recommended that newcomers may be intimidated
The smoke coated experience as a talented artist. Trish collaborate with a fellow with this modern development as

used Kevlar can. A bed of oak sawdust caused a
gloves for small flame and smoke to swirl around
difficult the piece. The lid was then placed on
pieces. the metal container stopping the
3 Vessels oxygen flow.
were not 7. Removing the Piece from Reduction
placed closely to one another so as to
Container
get even heating throughout the kiln.
After five minutes in the container, the
4. Reaching Peak Temperature piece was cautiously removed with
The heat was held at a low temperature tongs.
A
the glaze which was fter high school, Trish went to
easily removed 9 Sinclair Community College and
with ScotchBrite. graduated with a degree in mental
Some participants left a little smoke health. This helped her to build her
residue on their pieces for an enhanced skills in group dynamics and
visual effect. nurturing influences upon
10. Finished Pieces individuals. She worked as a lab
The finished pieces were placed on a assistant in the ceramic and
display table. sculpture studio at Sinclair. This
student who had a more flamboyant
style to create two vessels. It worked
well and gave her an insight into
more spontaneous creations. Trish
tends to be structured and detail
oriented while her counterpart had
opposite characteristics.
After college, Trish and her
husband built a new home designed
well as the rising costs in precious
metals, however she is noted for
her excellence in instruction as well
as her own works. She makes
classes fun and exciting with
emphasis upon students opening
up their
> See Trish next page

The Art-To-Art Palette 2007 Annual Winter Edition The Art-To-Art Palette the Paint box 2007 Annual Winter Edition

“Silver leaves”
"Lake Bloom"
Trish
< Continued from previous page
own creativity to become free and
satisfied with what they have made.
Her accomplishments in Metal
Clay include certification in PMC,
Senior Certification with Art Clay.
Also, her work has been published
in two books. In addition, she
teaches Metal Clay at the Rosewood
Art Centre in Kettering, Riverbend
Center in Dayton, the Dayton
The Art-To-Art Palette
Art Institute, and many other
locations throughout the
Western Ohio region.
Some places for her work can
be found in Dayton is at the Cox
Arboretums Linden Tree Shop,
Michelle’s Gift Gallery, and the
Town and Country Artist Co-
op.
While many accomplished
artists may keep focus on
present day achievements, Trish
trusts her judgments in trying
new creative ventures. As an
expert in Metal Clay, she
combines her expertise with
other mediums, metals, glass,
ceramics and precious gem
stones. What she will be doing
in the future, her popularity of
not only as a teacher, but also
her artworks are destined for
more global recognition.
And as she continues her artistic
life travels, Trish was asked what
has kept you forging forward: “I
credit knowing what I wanted to
do, believing in it, then the
willingness to receive. It's been
loads of hard work, financial
investment for tools/
training. Every little Blessed
thing I've done have been gifts in
training me to do what I am
doing now. Not to mention I
wouldn't be anywhere without
the support and belief of my
family. The support of friends,
students and other artists have
been helpful in the journey
too. It hasn't hurt that I have a
curious nature that likes to
experiment and try new things.”
To reach Trish, email:
zeffersstudios@earthlink.net or call
513-897-2406 or 937-626-4333.
In some of the works exhibited here,
Trish explains:
“Silver leaves” These were created
using real leaves & painting slip on the
backs of the leaves {10-20 coats for
durability}. They show how organic
materials can be used like an armature to
produce beautiful jewelry or accessories.
“Dichroic Glass Earrings” Dichroic
glass was created by NASA by coating
glass with different metals, minerals and
oxides. The result produces a metallic
the Paint box
"In Waves I Am Violet"
What I did during my summer vacation
“In Waves I Am Violet”
M ytheclayground.
work for the past year has been worked to
I had a definite need to find a fresh
which measures 6 inches by 6 ½ inches
and 1 inch tall.
Next, I decided to do a quirky
perspective for my creations. My internet search was to creation. It is picture 3 which measures 7
find a new pottery approach. CraftSummer at Miami inches by 4inches and 5 ½ inches high.
University in Oxford, Ohio was offering adventures in Note the clay was manipulated in a very
clay extruding during a weekend in July 2006. It seemed spontaneous manner. It was designed so
that it could be decorative and/or a
that such a short and intense workshop was the functional vase.
adventure that would best fit my present need. It was to We did more creations throughout the
be led by John Leyland from the University of Michigan. I rest of the workshop. John cautioned us
Ralph Stuckman to take home our works in a leather hard
registered for this clay experience as soon as possible.
stage. He said that if pottery is rather
Our first activity began on Friday challenge to extrude 2 parts with a bone dry that such pieces may tend to
night. I attended an orientation for the 4 square and hollow die. crack and get brittle. He continued to
workshop groups of clay extrusion, I put a very thin die into the barrel of demonstrate more of his extruded
watercolors, basket making, and wood the manual extruder. It was quite a methods which became very beneficial
working. It was evident to sight to get clay to all of us. We found energy from others
sheen that changes between two colors me that special emphasis emerging from the as we finalized our works. It was then
when viewed at different angles. They would be placed on design extruder barrel as time for us to display our works for the 4
were made to use on Satellite
qualities for all participants. long I pushed and workshop groups to see.
deflectors. Artists will fuse them in a
My group was then led by pulled the plunger After viewing my good and not so
kiln or lamp worked with a torch. The
glass changes somewhat like glazes. John who took us to our handle. good works, I decided that picture 4 is
pottery classroom. I placed my first my favorite creation.
"In Waves I Am Violet" This consist
of a Prayer Necklace, ring, earrings 2 There were eight shaped piece {photo It measures 3 inches
participants with a wide
1 1} on a table . I by 3 inches and 12
pair {post and ear wire} that was made for
a competition theme called: "In the range of pottery twisted the shape and ½ inches tall. It
Moment." The necklace represents how I experiences. A few people had no prior and pushed it to collapse a bit. My was now time to see
believe the moment comes in waves, clay work while one high school teacher second extrusion part gave me room to the other displays.
each one pregnant with potential. Grape actually taught some extruding concepts. be more playful. I placed it on top of the We went to the
garnets are set in fine silver to for the
After each of us introduced first shape and it other classrooms. We
pendant and toggle clasp. The toggle drooped just to my
ourselves, we viewed some heard each instructor
has a beaded tassel dangling with garnet
wonderful slides presented liking. I used a give inspiring
set charms unscripted with 7 special
messages: passion, trust, hope, love, to stimulate our ideas on make-up sponge and comments about their
extruder uses. John then a chamois. It is
dream, faith and the seventh is on the workshop
encouraged us to begin picture 1 which developments. John
toggle itself: "Ahhh, Awe", to remember
the awe of what gifts are received every thinking how each of us measures 12 inches then gave a great
moment. The beads are rubies, garnet, might create pottery vessels long, 5 inches wide presentation. It was a
amethyst and fresh water pearls. in this three day time 2 and 71/2 inches high for us to view 4
"Lake Bloom" A doodle I made period. Extrusion is pushing high. how others reacted so
while warming up to do my sculpture
work. Lake Bloom is made from high
clay through a form to get a form. Our
goal was to create a work by extruding
John did a valuable demonstration
for making a tile. He took a screen door
favorably to our displayed vessels.
It was nice to end all these activities
fire ceramics, glazes produced at Sinclair
parts and then putting them together. spring and stretched it apart. He then by having cookies and lemonade
community college and embellished
Our workshop sessions placed it on a together. We then took the opportunity
with silver clay and peridot faceted
began each morning at 8:30 wedged block of clay to view the works of our instructors in
stones in earrings.
a.m. My anticipation was and cut a small layer the Miami University Art Gallery. John
“Resurrection of Brooks” is poured
high as my clay emphasis from the top. We displayed a delightful teapot which he
porcelain with oxides added to the clay
most probably would be then marveled at the created through extruded parts.
for coloration. The mask was actually
taking new directions. It was newly created
broken in one-half at the mouth, and I After this interesting weekend, I
was able to repair it using the silver my intuition that clay design. I applied this decided to buy a manual extruder. Yes, I
clay. It received the Japan's Aida extrusions can be fun, idea and did a tile for did find a new approach to my clay
Industries Award and published in exciting, and creative myself. I cut around ventures! Extrusions will give me infinite
ACW 1st Annual North American 2005 experiences. 3 it to get a contour of opportunities to create many new and
Design Contest Book. It was my interesting a shell. It is picture 2
interesting clay works.
2007 Annual Winter Edition The Art-To-Art Palette 2007 Annual Winter Edition