William Brouillard is known for functional work that references the 16th‒century Italian maiolica tradition of vibrant colored and decorated earthenware pottery. Brouillard replaces historical patterns with objects reduced to pattern. Images of turn of the century technology (the Machine Age) and the old steel making district in Cleveland, Ohio are personal favorites.

One form used repeatedly by Brouillard is the platter. Frequently infused with humor, the platters that are large scale giving them a sense of overblown importance, are meant to be viewed from a distance, to be hung on wall or used on table. Brouillard follows the traditions of the Palace Art Pots made to demonstrate wealth and power, to tell a story, commemorate an event or a person; the Fish Platters a staple of the Neo Arts and Crafts Movement of the 1950s and 60s; and the one-line visual and verbal Pun, Platters of the ceramic Funk Movement.

The clay body, a red earthenware, is heavily potted and makes no secret of its variations and flaws. The glaze work is in the Majolica style and is done very much like a watercolor on soft paper. The pots are fired twice. They are bisqued to cone 05 and glazed to cone 04. Some may have an additional firing to Cone 018 for low temperature luster and enamels. They are fired in an oxidizing atmosphere using an electric kiln.

Brouillard first worked and studied clay with John Perri at the State University of Wisconsin. And after serving in the armed forces he studied with Don Reitz at the University of Wisconsin. He works at Brouillard Studio and teaches at the Cleveland institute of Art.