Leaf Serving Pieces II: Tiles/Trivets

Six-inch Silver Maple
Tile/Trivet

Back when I first started making Spoon Rests, I also made complementary Tiles/Trivets to go with them. These were flat pieces with embossed leaves - like the Spoon Rests -  that could either be used flat to protect your table from a hot or damp dish or hung on the wall as a decoration. (As I've said for years, I grew up with a very rigid and controlling family; I'm still rebelling by being as versatile and flexible in my art as possible....) When I first started making these, since I had not yet taken a tile class and so had not learned how to make and use tile molds, I would work directly from a clay slab.

Six-inch Eastern Redbud
Tile/Trivet

Rolling out a half-inch-thick slab of clay on the slab roller, I would scrape the canvas texture away with the flat side of a metal kidney (sometimes following this up with a quick roll with my rolling pin), place a leaf (vein side down on the clay - this is very important) on the smooth surface and roll the leaf into it. Using my six-inch tile cutter, I'd cut around the leaf to make the tile/trivet.

Six-inch Eastern Cottonwood
Tile/Trivet

The difficulty was getting a good clean release from the tile cutter. All too often, the clay would stick on part of the device and release unevenly, warping the tile/trivet in the process. Since I hadn't learned about using scrap drywall to dry my flat pieces more evenly (even stacking dry wall with more tiles or other work on top, in a tower of tiles and other pottery), the warping might not be corrected as the piece dried and was bisque and glaze fired; clay has memory and, sometimes, it can be pretty tenacious. I sold quite a few of those pieces - both individually and in sets with a spoon rest - but I was never completely happy with them. I finally stopped making them.

Eight-inch Northern Catalpa
Tile/Trivet

Fast forward a few years and my Hanging Bird Bowls have evolved into, among other things, Applied Leaf Bowls and, earlier this year, Applied Leaf Trays. (I'll be doing posts on those shortly.) On the advice of my mentor, I decided to put additional pieces to assemble a comprehensive series for serving use at the dining or buffet table. Reviving the Spoon Rests and Trivets seemed obvious.

Eight-inch Common Witch-hazel
Tile/Trivet

In the interim, I had taken a tile-making class with David McGee at Pewabic Pottery. (David is an excellent instructor as well as a uniquely talented artist in his own right. I would encourage anyone interested in learning about pottery in general or in tile making specifically to take at least one class with him.) I learned how to design master tiles as well as how to make molds of those masters in order to take a design into production.

Eight-inch White Oak
Tile/Trivet

The challenge with these sorts of leaf designs is that, if you were to make a mold of an embossed leaf tile, the design is so subtle and has so little relief that, in pounding out the tile, you get "echoes" of the leaf rather than a clear image, which doesn't make for a particularly satisfying design. So, I've made a blank master mold and place a leaf into the mold (in this case, vein side up so it will be against the clay surface) each time I make a piece. The down side is that, for some leaves, you can only get one impression; the up side is that, even if you can re-use the leaf, each piece is unique as recreating the exact placement is essentially impossible. I insert hanging divots in three places in the back of the Tile/Trivet so the leaf can hang either square (with the leaf's tip pointing to the upper right or the upper left) or as a diamond (with the leaf tip pointing upward).

Once dried, cleaned up and bisque fired, the pieces are finished in my typical fashion, using a water-based stain on the leaf and drawing the excess off with a damp sponge to bring up the veins. Wax resist is applied to the leaf (I also use it on the backs of my tiles - it's just easier for me to do that rather than clean off glaze) and allowed to cure. I then glaze the piece, wiping the edges so they don't drip. I fire to Cone 6 with a 40-minute hold. The Tiles/Trivets are food safe and heatproof.

Leaf Serving Pieces I: Spoon Rest

Silver Maple Spoon Rest

It's been almost a year-and-a-half since my last post. My apologies for my long-term absence; it's been a tough time but I'm starting to get back to my normal. So, I thought I'd just plunge back in and start with a blog post. Finally.

Northern Catalpa Spoon Rest

I've been working on a series of pieces for a wholesale website and, in the process, returning to some (very) old designs as well as taking some more recent ones to a new level. I've been developing a collection of serving pieces based on my Applied Leaf Bowls and, in that context, revisiting some pieces I had stopped producing, having realized they worked well with my new direction.

Eastern Redbud Spoon Rest

Common Witch-hazel Spoon Rest

The spoon rests are one of my earliest leaf pieces, inspired by my friend Rebecca who asked for something she could use on her stovetop. I had been using leaves fired with a stain to bring up the texture of the veins but she wanted something with some glaze and a more consistent shape. I came up with a pie-piece (actually, about 120 degrees, or a third of a circle) that I formed it into one of my small bowl molds, embossed a leaf into it and added a small clay branch. The key is to make sure any canvas texture is smoothed away from the surface before embossing the leaf; emboss the leaf with a smooth stone rather than a sponge, which would pull clay away from the surface and not push the leaf into the clay surface consistently.

Eastern Cottonwood Spoon Rest

After drying, the piece is cleaned up (synthetic steel wool is great for this; I save the accumulated clay dust and recycle it with the rest of my waste clay) and bisque fired to Cone 04 or 06.

White Oak Spoon Rest

Glazing follows the same process I use for all of my leaf and branch pieces. I use burnt umber solution to stain the branch, pulling the excess away with a damp sponge. Then I stain the leaf (I have a "key" I've developed that tells me which stain and glaze combination is used with a given type of leaf) and, again, pull the excess away with a damp sponge to bring up the leaf's veins. Both surfaces are treated with wax resist and, after curing for several hours, dipped in the appropriate glaze. I fire on stilts to Cone 6 with a 40-minute hold.

Although designed as spoon rests, they also work as soap dishes, change stashes, jewelry dishes, tea-bag rests and candle holders. All are food safe and can go in the dishwasher.

The Beauties of Belle Isle

A colony of White Trout Lily
(Erythronium albidum)

As a Detroiter, Belle Isle is probably one of the most underrated resources we have here in the city. Almost a resort in its heyday, the island has fallen into disrepair, a circumstance exacerbated by the city's own woes. Recently, it has come under the aegis of state government, which will, hopefully, herald the island's resurgence as a go-to destination - not just for city folk but for all Michigan residents and beyond.

Native Violet (Viola) species

I first really started to get to know the island when my Master Gardener organization (the now-defunct Master Gardeners of Greater Detroit, or "MGGD") used to have their monthly meetings at what used to be referred to as The Belle Isle Nature Center (now known as the Belle Isle Nature Zoo, affiliated with the Detroit Zoo). I also volunteered there for the annual Belle Isle "HUG" ("Help Uncover the Gem") with The Greening of Detroit, planting trees - many of them young saplings grown from seed gathered on the island by naturalist Suzan Campbell.

Cut-leaf Toothwort
(Dentaria laciniata)

Through MGGD, I went on my first Spring Wildflower Walk in a small part of the island near the racquet ball courts - led by Terry Light - in 2005. Nine years later, I led my first wildflower walk for the Detroit Garden Center, in an event the non-profit organization plans to sponsor on an annual basis - and perhaps more frequently, to see the changing of the seasons in this unique habitat. A few days later, I enticed my photographer friend, Don Schulte, for a visit; these photographs are the fruits of that excursion.

Amongst the islands' residents is a small herd of European Fallow Deer - members of an introduced exotic species who had, over time, adapted to the 985-acre park by mutating into a smaller animal. The deer roamed freely over the island, leading to over-browsing and a significant reduction floral species health. In 2004, the deer were penned up; horticulturalists, naturalists and native plant enthusiasts were amazed come 2005 to see the plethora of native plant species that had survived the deers' depredations.

White Trout Lily
(Erythronium albidum)

Singularly, the rare White Trout Lily (Erythronium albidum) was - and continues to be - one of the stars of the show. Less common than its cousin, Yellow Trout Lily (Erythronium americanum), other common names include White Fawn Lily, Dog-tooth Violet and Adder's Tongue. The first two - "Trout Lily" and "Fawn Lily", refer to the speckled leaves, resembling the speckling on native trout or an immature deer. "Dog Tooth Violet" refers to the shape taken by the plant's bulb, which resembles a canine tooth. Finally, after the plant has gone to seed, the pistil still protrudes beyond the seed head, looking like a snake's head with the tongue sticking out.

The Trout Lilies are Spring ephemerals, as are our native Trillium (Trillium spp.), Bloodroot (Sanguinaria spp.), Shooting Star (Dodecatheon spp.) and other woodland natives. Like Mayapple (Podophyllum peltatum), only plants with two leaves will flower; plants with only one leaf do not have sufficient photosynthesis potential to survive the expense of flowering and fruiting. These plants also have a tendency to pull themselves deeper into the ground over time, reducing their flowering potential as greater and greater energy is expended in simply getting above ground; this behavior can be overcome by setting a flat piece of stone eight to twelve inches below grade and then planting above it.

Spring Cress
(Cardamine bulbosa) flowers

Don and I weren't able to do the entire walk. In fact, all of these photos were taken within less than a 50-foot stretch of the entire walk. Other forbs (herbaceous plants that are neither grasses nor ferns) we found included Cutleaf Toothwort (Dentaria laciniata) and what was, at the time, a mystery plant which turned out to be Spring Cress

(Cardamine bulbosa), two members of the cabbage family.

Spring Cress
(Cardamine bulbosa) in situ

Both have delicate, pink, four-petaled flowers - more usually white in both species. The foliage is very different, however, with the Toothwort characterized by strongly dissected leaves arranged around the stem while the Cress has shallowly-palmate leaves arranged oppositely along the stem.

Interestingly, the Toothwort seems more tolerant of drier conditions, finding a home in high, dry areas of the woods, while the Cress prefers low places with Spring inundation. Belle Isle is part of a threatened environment known as "Lake Plain Prairie" - low areas characterized Spring flooding, or "vernal pooling", which dries out with the onset of summer. Plants have evolved various strategies to cope with these circumstances, from heavily-buttressed tree roots to maintain stability in soft Spring soils to ephemerality to take advantage of early season moisture, followed by dry-season dormancy. Many are able to tolerate low-moisture conditions for long periods of time as well.

Spicebush (Lindera benzoin)

Spicebush (Lindera benzoin) is particularly well suited to this environment, such that I often recommend it to clients who experience Spring flooding in their yards. This early season bloomer displays tiny yellow flowers. Like both native and exotic holly species, Spicebush is dioecious, meaning that there are female and male plants and both are required to obtain fruit. Unfortunately, as this plant is not as popular in the trade, it isn't always easy to tell which plants are which; your best bet is to shop in the fall and look for plants with fruit - as those are definitely female; as for those without fruit, you'll have a 50-50 chance it will be male. As with holly, you don't need a one-to-one ratio of male to female - one-to-four should be sufficient - but the plants cannot be too far from one another, so your pollinators can get the job done easily. Its common name derived from the plant's spicy scent (scratch a small area of the bark and take a breath), Spicebush is also one of the larval host plants of the beautiful Spicebush Swallowtail Butterfly (Papilio troilus), the other being Sassafras (Sassafras albidum).

American Black Currant
(Ribes americanum)

Other shrubs in the area include Drummond's Dogwood (Cornus drummondii), a small deciduous tree found on the Great Plains and along the Mississippi as well as the Midwest. Blooming in Summer with clusters of white flowers, similar to those found in the Spring-blooming Redtwig Dogwood (Cornus sericea), it bears small white fruits that ripen August to October, fruits that are utilized by at leasts 40 native bird species. When we visited, this plant was just starting to leaf out but a visit later in the season may favor us with the floral display.

Another important fruit-bearing plant is the American Black Currant (Ribes americanum), which was blooming when we visited the island. Like Spicebush, the flowers are quite tiny and greenish yellow. A member of the gooseberry family, these are small shrubs - up to 4-1/2' in height. The fruits - which make outstanding jams and jellies - are also utilized by native avian species as a desirable food source.

Native Violet (Viola) species

Scattered along the walk were numerous colonies of native violets, similarly-hued but much more desirable than the spreading invasions of Periwinkle (Vinca minor) we saw. Although violets aren't particularly popular with many gardeners, this is generally due to the aggressive, large-leaved, purple-flowering violet despaired of by so many of us. But there are numerous, lovely native violets, including Downy Yellow Violet (Voila pubescens), Canadian White Violet (Viola canadensis), Long-spurred Violet (Viola rostrata) and Common Blue Violet (Viola sororia), which provided a cheerful highlight along - and even in - the asphalt walkway. Despite our mixed reactions to them, Violets are important host plants for native Fritillary butterflies, so their value in the native garden should not be minimized.

Jack-in-the-Pulpit
(Arisaema triphyllum)

Finally, our perennial favorite - Jack-in-the-Pulpit. This native member of the Aroid family - like Eastern Skunk Cabbage (Symplocarpus foetidus) and Green Dragon (Arisaema dracontium) has been in decline along this stretch of the island; whereas nine years ago we saw numerous colonies of many individuals, this year they were much fewer and farther between. It is certain that, as the years pass and effects of the deer continue to abate, the environment will evolve. What used to be primarily large trees and open spaces now has a great deal of shrub cover, mitigating the amount of sunlight reaching the ground and these woodland plants. The effects of the Emerald Ash Borer (Agrilus planipennis) are also visible, with many more snags and downed trees, making passage through parts of the area difficult if not treacherous.

Each year, the environment continues to change, with the ebb and flow of the seasons and the continuing impact of human activity on the island.

All photos copyright to Don Schulte and Notable Greetings.

Spring Is Sprung

I was recently given authorization to write another article on native plants for Michigan Gardener Magazine. By way of some backstory here, I wrote the first article on native plants to appear in that publication back in May 2012; I penned an article on non-vining Clematis for the 2013 season and have articles on combining natives and exotics and on invasive Phragmites on deck for 2014. The third article for 2014 takes as its topic the various strategies plants have evolved for "getting around" - maximizing genetic diversity through various seed-dispersal technologies.

Most of the plants I took for examples exist in my home garden on Detroit's east side. These was one plant, however, that I had tried to grow (as yet) unsuccessfully that I wanted to discuss - Eastern Skunk Cabbage (Symploycarpus foetidus), a plant with very specific, difficult to replicate, cultural needs. Not surprisingly, this plant is not something you just "happen upon" on a casual stroll through your neighborhood.

Why would I want to grow this plant? Well, there are lots of reasons. First, I've become something of an obsessive native plant "collector" - partly for my own satisfaction but also in an effort to introduce as many people as I can to as many native plants as I can at my semi-annual garden tours - everything from native Michigan Eastern Prickly-Pear Cactus to water-loving Marsh Marigold. Plus, I'm not one to shrink from a horticultural challenge - and growing Skunk Cabbage is challenging. And then there's the idea of having a "zoo" garden - a garden of plants with animal names - including Cardinal Flower (Lobelia cardinalis), Turtlehead (Chelone glabra), Fox Sedge (Carex vulpinoidea) and Goat's Rue (Tephrosia virginiana), among many, many others. (I may do a post on those yet!) Plus, it's one of the coolest plants you'll ever see.

Cool? How could a plant called "Skunk Cabbage" be cool? Well, one of the very "coolest" things about Eastern Skunk Cabbage is that, through a chemical reaction, it is able to generate temperatures of up to 95ºF warmer than the surrounding atmosphere, making it one of a very few plants capable of thermogenesis (creating its own heat). It isn't unusual to see the plant's clumps emerging right up out of the snow as it creates little "islands" of heat.

Eastern Skunk Cabbage is one of five species within its genus. Although both are members of the Aroid family, Western, or Yellow, Skunk Cabbage (Lysichiton americanus) is of a different genus. (Both genera have species native to North America and Asia.) Its nearest relatives in Michigan include Green Dragon (Arisaema dracontium) and the ever-popular Jack-in-the-Pulpit (Arisaema triphyllum).

The first part of the common name, as well as the second part of its Botanical Latin name, refers to the plant's strong musty odor (especially noticeable when the plant is crushed), which attracts early-season pollinators, including flies, stoneflies and bees; the scent may also discourage larger animals from disturbing it. The leaves, which are quite cabbage-like, emerge after the plant has flowered.

The flowering bodies of all members of the Aroid family (referred to as "Araceae") - including such floral favorites as the Peace Lily (Spathiphyllum cochlearispathum), Calla Lily (Zantedeschia æthiopica) and Anthurium spp.  - consist of two parts: the "spathe" - a large bract forming a sheath - around the "spadix", or flower cluster, which actually contains the plant's reproductive parts. The spathe (note the Botanical Latin name for Peace Lily, in which both the genus and epithet contain forms of the word "spathe") protects the reproductive parts of the plant from the elements, assisting in more successful pollination. The heat generated by the plant may also help better spread its distinctive odor while making for an attractively warm haven for any passing pollinators.

Like the Jack-in-the-Pulpit, there is quite a bit of variation in the spathe's coloring, although it is always a combination of burgundy and mustard yellow. More frequently mostly burgundy, the balance between the two colors varies widely, even within a single clump.

Eastern Skunk Cabbage is a wet-land obligate - meaning that it must have wetland conditions to survive. It does like a certain amount of sun and benefits from late winter/early spring exposure in deciduous woods, when there is little leaf cover while it flowers. It also has contractile roots, which actually pull the plant further into the ground as it grows - so the crown is always at the surface while the root system drives down further into the soil, making it difficult - if not impossible - to transplant.

Seeds are born in a club-like structure, most of which eventually rots away, leaving the seeds to fall into the surrounding mud to be dispersed by animals or seasonal flooding.

When I first decided to include this plant in my article on seed dispersal, the first issue was finding someplace to photograph it. I contacted a number of folks in my native plant network who suggested a number of possible locations, including Seven Ponds Nature Center in Dryden, Michigan. My photographer, Don, and I took a drive up that way on April 2 and found a sizable colony in full bloom behind the main building. Some clumps were still surrounded by snow and the ground, though beginning to thaw, was still fairly firm.

We spent the better part of two hours out there - despite dropping temperatures, increasing cloud cover and rising winds. (One very good thing about photographing this plant: no matter how windy, it stays perfectly still!) We took numerous frames - Don calling the shots; I assisting in whatever ways I could. Finally, my hands started getting blue (I had left my jacket in the car as it seemed pretty nice out when we left the parking area!), so Don gave me his jacket. We found the plants utterly captivating, finding one vignette after another to further "explicate" this unusual plant, capturing each blossom's unique form, the transition of the seasons around us and the complexity of the natural community in which they exist.

I'm now thinking of ways to recreate these beautiful forms in clay, from the jug-like spathe and complex spadix to the subtle shading of burgundy and mustard yellow. I also hope we'll have the opportunity to further document its annual cycle later this season.

2013 Annual Spring Garden Tour

Saturday, June 1, 2013, 10:00am-2:00pm

Free and open to the public!

The Gardens. Cheryl's life-long love of Clematis and more recent obsession with native plants are both immediately apparent as you arrive at the property.  Designed as an educational space rather than a design show-stopper, the gardens include dozens of Clematis, representing over 10 species as well as large-flowering hybrids, and over 200 species of native plants, ranging from Spring ephemerals to large trees - all nestled in a typical 40x120 urban lot in the heart of the Motor City.  Become acquainted with some of the lesser-known small-flowering species Clematis varieties and the beauties of our native flora, as well as cost-effective sustainable gardening strategies.

Cheryl's garden was featured in the July 2009 issue of Michigan Gardener and she penned the first article on native plants to appear in that publication, in May 2012, as well as her most recent article on Clematis which appeared in that publication's April 2013 issue. She has another article on natives slated for 2014.

Everything Else.  We also feature local garden art, live music and refreshments, as well as two hands-on workshops. Last year's Hypertufa Planter Workshop, led by Chris Hopp of Farmbrook Designs, was a huge success, so we'll be offering it again. Guests will also have the opportunity to work with local artist Christine Laikind to create a unique botanical monoprint using materials from the gardens. (There is a charge for the workshops. The rest of the event is free and open to the public.)

The 2012 Summer Garden Tour was a great party, with over 100 folks enjoying the gardens, art and entertainment - we hope you can join us to make this event even more fun and exciting.

All events are at 3903 Grayton St., Detroit, MI 48224. Contact Cheryl at cenglish@blackcatpottery.com for additional information about the workshops. Register online using the buttons to the left.

Large Prairie Dock Leaf Sculpture

A couple of years ago, I purchased, among other things, some Silphium terebinthinaceum (Prairie Dock) to include in my native plant garden. Prairie Dock is a member of the Rosinweeds, including such varied, but invariably gigantic, species as Cup Plant (Silphium perfoliatum), Compass Plant (Silphium laciniatum) and the name species, Rosinweed (Silphium integrifolium). These are all planted side by side in my garden so visitors can see both their similarities and differences - their common height (close to or over nine feet, oftentimes), their beautiful yellow flowers, their differing foliage form and arrangement.

They've also been a consistent source of inspiration for my pottery. In 2011, I collected a number of leaves from my (and a friend's) Cup Plants as well as small leaves from my young Prairie Dock in order to create a series of rather large cupped leaves, using varying stains for the upper faces and many of the warm earth-tone glazes from my repertoire. Like the sunflower leaves I had worked with that season, they had thick midribs which I reinforced with various designs in applied clay. They were as much sculptures in their own right as usable serving pieces - and, personally, I would have preferred them to have been appreciated simply for their botanical beauty.

Prairie Dock is characterized by a basal rosette of large - sometimes three-feet long! - paddle-shaped leaves from which arise the tall, nearly naked, flower stems. It was these larger leaves - perhaps not three feet long, but as long as my material would permit - that I hoped to use in my work to create some really outstanding pieces, if only due to their very size. It's always rewarding to share some of these larger leaf pieces with my audience, informing them in the process that the leaf was actually ten to twelve percent larger when the fabrication process began, that the piece has actually shrunk quite a bit as it has dried and then been both bisque and glaze fired.

In 2012, I harvested a couple of large leaves and made two pieces. I followed my typical process of rolling out a fairly thick slab, removing the texture, rolling in the (in this case, fresh) leaf and cutting it out with a sharp tool. I then carefully flipped it over on the canvas and designed and applied the decoration at the base of the mid-rib. I have found a series of spiraled arabesques (made using clay extruded from a Kemper Clay Gun with a round die) is both highly functional for this purpose - the support is strengthened as their arrangement "knits" everything together, both visually and structurally - but is also a popular motif with many of my clients.

In this case, I took a long coil and made a small spiral at the far end of the overall supporting design and carried it out to the very tip of the leaf as an additional flourish. One dried too quickly and I was unable to rescue the leaf for a second attempt. The piece I thought would not survive - as I had arranged it in the mold asymmetrically, putting additional stresses on the material - actually made it through the bisque firing in one piece.

I finished the piece by staining the top with Woodland Mason Stain and glazing the bottom and edges with Amaco's Potter's Choice Ancient Jasper. Although the color palette for this glaze is very similar to that of the Ironstone glaze from the same series, the results is startlingly different - it really does have the mottled appearance of a piece of polished jasper. Altogether, it makes for a beautiful and unique piece that is a interesting when viewed from the bottom as from the top. It would be quite effective displayed on a glass-topped table with a mirror in the base, so as to enjoy both faces at the same time! 

I harvested the remaining dried Prairie Dock leaves at the end of the season in Fall 2012. I hope to have time to work with them some more this winter.

Hanging Bird Bowl

Although my "first" love outdoors is probably the plants, it is tempered by the profound awareness they they are but one part (if, perhaps, the most critical part) of an overall web which includes the members of the animal kingdom. The relationships between plant and animal species are significant and, sometimes, exclusive, as the species evolved together in an intimate dance of interdependence. Every plant has at least *a* function in the natural world - the world in which it evolved - and often has many roles, none of which evolved for our particular benefit.

I am also profoundly aware of the degree to which we have altered the environment here in the continental United States, especially to the East of the Mississippi River, where less than five percent of the land mass can be characterized as "undeveloped". Just as our plant species have lost ground and, in some cases, have been extirpated from their native range, the animal species have suffered in turn, including everything from native insects through our birds and our mammals.

I am familiar with the fact that a bird will not get into a birdbath that is too deep for it. Furthermore, birds don't have pads like humans and many other mammals but must cling  solely with the help of their nails; sticking to a slippery glazed surface would not be an easy task. It was with an eye to providing something beautiful as well as highly functional that I designed my Hanging Bird Bowl to address both of these concerns.

Detail of Ladybug and Branch

I start out with a slab of clay which I slump into a mold, using an elephant-ear sponge and a rubber kidney to work it well in. I tear the edge of the clay bowl to create an irregular and naturalistic edge. Rolling out a coil of clay, I texturize it with a wooden tool or roll it on a textured surface to give it the appearance of bark as well as to give a more complex surface which will be easier for a bird to cling to. I then score and slip the coil and apply it to the bowl in an irregular, naturalistic fashion - smooth curves tend to look contrived whereas subtle bends seem to convey more the idea of a real wooden branch.

Rolling out another, thinner, slab of clay, I scrape away the canvas texture with the flat side of a metal kidney. I roll a large leaf into the clay and cut it out with a sharp tool. Scoring and slipping the underside of the leaf, I attach it to the bowl in such a way that it is cantilevered over the bowl, providing a secure perch for a bathing or drinking bird. (A small sponge or wad of newspaper can be used to prop a "floppy" leaf up until it dries sufficiently to stay in place on its own.)

Using a half-inch round Kemper Klay Kutter, I cut three holes in rim of the bowl, reserving one of the cut-outs to make a ladybug, as described in my previous post about the Spring Green Woman. AFter the piece is dried, I carefully sand the edges of the bowl and the leaf cout-out with synthetic steel wool so they are all smooth. (A sharp edge, once glazed, can become sharp enough to inflict a small cut.) The piece is then bisque fired.

Glazing is a seven step process. The "branch" is stained with Burnt Umber and the excess removed with a damp sponge. A Mason Stain of choice (in this case, Titanium Yellow) is applied to the leaf in the same manner. Three coats of Amaco Celebration Series Scarlet Red are applied to the ladybug's body and two coats of Amaco Sahara Black to the head and spots. Then the branch, leaf and ladybug are all coated with wax resist. Once that is completely dried, I glaze the entire bowl and fire on a stilt to Cone 6.

Detail of Branch and Lark's Head Knot

Once the piece is out of the kiln, I use a diamond grinding attachment to smooth the stilt marks on the bottom of the piece. (I could just as easily not glaze the bottom and not have to use stilts but, because the piece is designed to hang, I prefer to glaze the bottom as well.) Three five-foot lengths of leather lace (available in various colors, including Black, Beige, Tan, Medium Brown and Dark Brown, at Michael's stores) are folded in half and looped, one through each of the holes, and secured with a lark's-head knot. The three are joined together at their ends using an overhand knot. Your Hanging Bird Bowl is ready to hang from a small tree. Be sure to use a non-abrading hanging arrangement that will not injure the tree's cambium.

I also have a welder who makes custom-designed ring stands for these pieces for those folks who don't happen to have a convenient small tree.

A Garden Visit

Brenda feeding the goldfish

Back in August, I had the opportunity to visit my good friend Brenda Hershberger in Mason, Michigan. I had been planning a trip to the Lansing area in order to stop in at Wild Type Nursery, also in Mason, for one of the nursery's last public sale days of the season, hoping to fill some gaps in my garden and maybe discover some heretofore unknown botanical treasures.

Brenda and Allie, who has now
been joined by Dom P

Brenda is also very much a native plant enthusiast and, considering she's so close to the nursery, it was easy to put a trip together to visit her beautiful garden and home and stop in at the nursery. Brenda frequently posts images of her garden (and cats) on Facebook so I was really looking forward to visiting in person. Although the drive was rather frustrating, with
I-96 West down to one lane on the same weekend that students were making their annual migration to East Lansing for the start of the school year, the anticipation of visiting a good friend's garden and selecting plants at one of my favorite nurseries kept me going.

Feeder goldfish are less expensive and seem
less attractive to marauding Great Blue Herons

I made it into Mason late in the morning, just in time for lunch. After a brief tour through the front yard, especially a prized Eastern Redbud (Cercis canadensis) slated for major pruning by the local power company, Brenda invited me in and we had a delicious meal of gazpacho, brie and artisanal bread, with a fresh fruit salad for dessert. Her little gray kitty, Allie, was very friendly - and also very interested in helping us with lunch. Brenda has been very supportive of my pottery and has collected quit a few of my pieces, which she has integrated seamlessly into her beautiful home. It was a wonderful opportunity to see where some of my favorite pieces had come to roost.

In touring the gardens, the highlight is clearly Brenda's pond, stocked with feeder goldfish (Great Blue Herons were nabbing the more expensive Koi, so she opted for sustainable quantity), beautiful waterlilies and native and exotic plants by pond's edge. The pond - with a natural-looking stone waterfall and integrated plantings - has the lived-in look of the best designed larger garden features. Its "naturalness" is attested to by the abundance of native frogs, who bask on strategically-placed rocks and take cover in the lush plantings.

After our tour, we headed to the nursery separately (it was on the way home for me) and shopped the remaining native plants. I was able to purchase another Fragrant Sumac (Rhus aromatica) for the front yard and, especially, exciting, Orange-fruited Horse Gentian (Triosteum aurantiacum) and Pointed-leaf Ticktrefoil (Desmodium glutinosum), both of which went into a planting of Penn Sedge (Carex pensylvanica) in my tree lawn.

The drive home was less frustrating, as I took a detour to avoid the construction, which took me by a corn stand with the last of the season's harvest, which I enjoyed for dinner that night! What a great day!