My art practice is informed by the experiences in life that fill me with joy. My warmest memories of childhood are lush with scenes of nature and family. Days in grandma’s garden, woodland adventures with siblings, and foraging for mushrooms all come to mind when I reminisce on growing up in rural Indiana. Ever since childhood, I have been inclined to capture these beloved scenes in my art. While I aim to convey the beauty and joy of nature in my pieces, I also desire my artwork to highlight the necessity of preserving our local ecosystems.
Getting Started
This vase, and much of my other work, is inspired by time spent at Eagle Creek Reservoir in Indianapolis. I decided to carve two Great Blue Herons, one standing and one flying. Deciding the composition in advance helps me determine the vase’s form, with the largest volume at the height of the flying heron’s wings. For coil-built vessels, I use a mid-range white stoneware called White Bear.
I use thick, hand-rolled coils to build up volume quickly. As I gain height and width, I continuously step back to get an accurate view of the pot’s profile, while simultaneously thinking about the design that will wrap around the form.
Concept
While creating the design, I am thinking mostly about the expressions of animals, movement of composition, and the contrast between light and dark. Sourcing reference materials is the most mentally involved part of the process for me, so I take many photos while visiting Eagle Creek Park that focus on the details of the environment. A collage of cattails, native hibiscus, and ducks flash in my head until I start to carve.
Since the focal point of the vase will be the herons, I draw them out on some kraft paper first (1). This helps me keep proportions true and builds my confidence before starting on the sgraffito portion. I then trace the drawings onto the clay surface with a wooden stylus and use that as a guide to push out the clay into the silhouette I just traced (2).
Adding Dimension
I start with altering the form to integrate my drawings with the ceramic vessel so that they mimic one another. The trickiest part of altering the form is timing. I make sure the clay is still pliable enough to stretch, but not so wet that I risk warping the rest of the form. With one hand on the inside of the vessel, I begin pushing out and use my other hand on the exterior as a support to push against (3). This helps keep the clay compressed to avoid splitting or cracking. I have also found that starting with a wet sponge on the inside hand and repeatedly applying light pressure is much better than being aggressive.
Preparing the Surface
After pushing out the silhouette of the Blue Heron, I go back in with a wooden tool and lightly sketch the details that were lost earlier in the process (4). The eyes and critical characteristics of the bird are marked so I have guidelines when carving later.
When the vessel is soft leather hard, use a Surform tool over the whole surface, in opposite directions, to take off some extra weight and to remove any divots or lumps. Then, take a straight-edged metal rib to scrape and smooth the surface (5).
Now I’m ready to add underglaze/slip. I’m a huge fan of Amaco’s Velvet Jet Black underglaze and I apply about 2–3 coats over the entire surface (6).
Sgraffito Time
My carving style reflects my experience with relief printmaking, and I draw upon watercolor and stained glass as inspiration for the color in my work. I primarily use four tools when carving: a small-loop Diamond Core tool, a Diamond Core stylus, a Kemper loop tool, and a soft bamboo brush (to wipe off shavings). It’s important to me to have different sizes of tools for texture and mark making.
First, I carve the focal points, in this case, the herons, along with anything else that will be in the foreground. Using the smallest stylus tool, outline the most important details like the eyes, beak, and silhouette (7). After that, use the smallest loop tool in the lightest areas of the drawing (8).
Always working light to dark, I prefer more contrast than less and work in areas of 6–7 inches (15.2–17.8 cm) before moving on. When working with large pieces, it’s helpful to use a banding wheel for easier access to all sides of the vessel.
Next, because this part often gets dry first, carve the border on the top of the vase. The borders I carve are often inspired by wood trim patterns, storybook illustrations, and ironwork (9). After this is done, loosely cover the top with plastic.
Carving away the background is saved for last, which ensures that I don’t carve out any important space needed for the figures. Often the negative space that’s carved away is what I see as the sky or water (10). If I have two areas that are similar in value, I prioritize contrast by alternating the texture or line direction to separate the two (11). My favorite pieces have three different depths of field and a few camouflaged surprises (12).
The Finish Line
When drying out a large vase, I leave it fully covered for a day or two before switching the plastic bag out for a bag that has small, poked holes. Then I will slowly uncover it for an hour or so at a time until I feel confident enough to leave it uncovered for most of the day or overnight. Thisprocess takes about a week to a week and a half.
Typically, on glazed work, I bisque fire to cone 04 and then add color using Mayco Stroke & Coat pigments. After letting those layers dry, I paint a thick coat of Amaco’s Zinc-Free Clear glaze before glaze firing. For this wetland vase, I decided to once fire at cone 5 in an oxidation atmosphere. The black underglaze becomes a soft satin finish, which unifies the blue herons with their environment.
Marret Metzger is an Indiana-based artist with a love of printmaking, gardening, and visiting National Parks. She wants to explore studios across the US to create work while traveling in her Ford transit van. If you want to connect with Marret on her travels, she invites you to message her on Instagram @marretmetzger, send her an email at marretmetzgerstudio@gmail.com, or by visiting www.marretmetzgerstudio.com.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
You have read of of your complimentary articles for the month.
For unlimited access to Pottery Making Illustrated premium content, subscribe right now for as low as $3.60/month.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Subscribe to Pottery Making Illustrated
My art practice is informed by the experiences in life that fill me with joy. My warmest memories of childhood are lush with scenes of nature and family. Days in grandma’s garden, woodland adventures with siblings, and foraging for mushrooms all come to mind when I reminisce on growing up in rural Indiana. Ever since childhood, I have been inclined to capture these beloved scenes in my art. While I aim to convey the beauty and joy of nature in my pieces, I also desire my artwork to highlight the necessity of preserving our local ecosystems.
Getting Started
This vase, and much of my other work, is inspired by time spent at Eagle Creek Reservoir in Indianapolis. I decided to carve two Great Blue Herons, one standing and one flying. Deciding the composition in advance helps me determine the vase’s form, with the largest volume at the height of the flying heron’s wings. For coil-built vessels, I use a mid-range white stoneware called White Bear.
I use thick, hand-rolled coils to build up volume quickly. As I gain height and width, I continuously step back to get an accurate view of the pot’s profile, while simultaneously thinking about the design that will wrap around the form.
Concept
While creating the design, I am thinking mostly about the expressions of animals, movement of composition, and the contrast between light and dark. Sourcing reference materials is the most mentally involved part of the process for me, so I take many photos while visiting Eagle Creek Park that focus on the details of the environment. A collage of cattails, native hibiscus, and ducks flash in my head until I start to carve.
Since the focal point of the vase will be the herons, I draw them out on some kraft paper first (1). This helps me keep proportions true and builds my confidence before starting on the sgraffito portion. I then trace the drawings onto the clay surface with a wooden stylus and use that as a guide to push out the clay into the silhouette I just traced (2).
Adding Dimension
I start with altering the form to integrate my drawings with the ceramic vessel so that they mimic one another. The trickiest part of altering the form is timing. I make sure the clay is still pliable enough to stretch, but not so wet that I risk warping the rest of the form. With one hand on the inside of the vessel, I begin pushing out and use my other hand on the exterior as a support to push against (3). This helps keep the clay compressed to avoid splitting or cracking. I have also found that starting with a wet sponge on the inside hand and repeatedly applying light pressure is much better than being aggressive.
Preparing the Surface
After pushing out the silhouette of the Blue Heron, I go back in with a wooden tool and lightly sketch the details that were lost earlier in the process (4). The eyes and critical characteristics of the bird are marked so I have guidelines when carving later.
When the vessel is soft leather hard, use a Surform tool over the whole surface, in opposite directions, to take off some extra weight and to remove any divots or lumps. Then, take a straight-edged metal rib to scrape and smooth the surface (5).
Now I’m ready to add underglaze/slip. I’m a huge fan of Amaco’s Velvet Jet Black underglaze and I apply about 2–3 coats over the entire surface (6).
Sgraffito Time
My carving style reflects my experience with relief printmaking, and I draw upon watercolor and stained glass as inspiration for the color in my work. I primarily use four tools when carving: a small-loop Diamond Core tool, a Diamond Core stylus, a Kemper loop tool, and a soft bamboo brush (to wipe off shavings). It’s important to me to have different sizes of tools for texture and mark making.
First, I carve the focal points, in this case, the herons, along with anything else that will be in the foreground. Using the smallest stylus tool, outline the most important details like the eyes, beak, and silhouette (7). After that, use the smallest loop tool in the lightest areas of the drawing (8).
Always working light to dark, I prefer more contrast than less and work in areas of 6–7 inches (15.2–17.8 cm) before moving on. When working with large pieces, it’s helpful to use a banding wheel for easier access to all sides of the vessel.
Next, because this part often gets dry first, carve the border on the top of the vase. The borders I carve are often inspired by wood trim patterns, storybook illustrations, and ironwork (9). After this is done, loosely cover the top with plastic.
Carving away the background is saved for last, which ensures that I don’t carve out any important space needed for the figures. Often the negative space that’s carved away is what I see as the sky or water (10). If I have two areas that are similar in value, I prioritize contrast by alternating the texture or line direction to separate the two (11). My favorite pieces have three different depths of field and a few camouflaged surprises (12).
The Finish Line
When drying out a large vase, I leave it fully covered for a day or two before switching the plastic bag out for a bag that has small, poked holes. Then I will slowly uncover it for an hour or so at a time until I feel confident enough to leave it uncovered for most of the day or overnight. Thisprocess takes about a week to a week and a half.
Typically, on glazed work, I bisque fire to cone 04 and then add color using Mayco Stroke & Coat pigments. After letting those layers dry, I paint a thick coat of Amaco’s Zinc-Free Clear glaze before glaze firing. For this wetland vase, I decided to once fire at cone 5 in an oxidation atmosphere. The black underglaze becomes a soft satin finish, which unifies the blue herons with their environment.
Marret Metzger is an Indiana-based artist with a love of printmaking, gardening, and visiting National Parks. She wants to explore studios across the US to create work while traveling in her Ford transit van. If you want to connect with Marret on her travels, she invites you to message her on Instagram @marretmetzger, send her an email at marretmetzgerstudio@gmail.com, or by visiting www.marretmetzgerstudio.com.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
Click the cover image to return to the Table of Contents