Some Avocado Southwestern Bowls

[Brian Kent]

I have a couple of weeks off work, so I have time to turn.

These are my Southwestern form experiments, from very dry avocado wood. A couple of them have some interesting worm holes.
I have posted three of these in the past and three are new. I am also trying different finishes. The left one has a waterlox finish that has not yet been rubbed out. The two on the right have a dewaxed shellac finish which I can leave as is or top with something else.

[Michael Stafford]

Brian, I like your explorations of the different southwestern forms. I wish the lighting was better so I could see all the beautiful wood you used of which I am envious. One of the first bowls I posted on SMC was a southwestern form similar to your bowl on the front left so I have an appreciation for the form.

I would love to see them individually in profile with less glare which hides your beautiful work.

[Dennis Nagle]

Very nice work. I need to see good works like this today......bad day at the lathe.

[Brian Kent]

I tried some photos outdoors in the shade.

[Brian Kent]

And the rest…
A couple of these still have the tenons attaches for further finishing and polishing.

[Michael Stafford]

Thank you Brian for these photos which do your work much more justice. Having seen them all in profile I have to say my favorite is the bag of sand form of the last one pictured in your last set of photos. I like the way the upward curved grain orientation lifts the piece off the table.

Nice work!

[Doug Herzberg]

Looking good, Brian. You're getting really good at this.

[John Keeton]

Excellent assortment, and I agree with Mike - the pick of the litter is the last one pictured.

[Brian Kent]

I like the "Bag of Sand" description.

My biggest challenge has been the vibration of the bowl gouge or scrapers in deep. The Raffan video helped me. I have been setting the tool rest higher and angling the scrapers slightly downward. That has helped avoid catches and lessen vibration.

I also ordered a set of Benjamin's Best scrapers that includes a 1" x 3/8" thick scraper. Not bad with 2 for $39.91 including tax and free shipping from Amazon. Hopefully the added thickness will help give a bit more reach.

[Robert Henrickson]

Nice selection of shapes and wood. Nicely finished.

The shapes are typical not just of the SW US. Putting on my Near Eastern archaeologist / pottery specialist persona, the couple forms with sharp shoulders are essentially the same as in the ceramic assemblage I wrote my dissertation on -- typical of western Iran and adjacent areas of Iraq 2700-2300 BC. Almost nothing is unique to a single time and place.

[Brian Kent]

I would like to hear more about this. My sister is a middle eastern anthropologist- especially the various cultural zones of Egypt. Where could I get more info about the pottery you described?

[charlie knighton]

very nice Brain, keep exploring, some side trips do not have to be productive

[Brian Kent]

Check out these pottery pieces from India, and how close they are to the Acoma Pueblo pottery, even in the painting style:
http://www.culturalindia.net/indian-crafts/indian-pottery.html

[Michael Stafford]

I like the "Bag of Sand" description.

My biggest challenge has been the vibration of the bowl gouge or scrapers in deep. The Raffan video helped me. I have been setting the tool rest higher and angling the scrapers slightly downward. That has helped avoid catches and lessen vibration.



Brian, the deeper you are with a scraper the lighter the touch must be. Rather than scraping think of the action as being a feathering touch. I had the opportunity to have Richard Raffan give me a few lessons with a scraper and he admonished me about the amount of pressure I was using. Using a light touch removes feathery shavings and in the long run provides more control. One exercise I strongly recommend about using scrapers is to practice on a piece of wood several inches away from your tool rest so you can see what is going on with the tool. This practice will make it second nature for you to feel your way inside a piece when you cannot see what you are doing. Also, using a scraper with an edge shaped so that you are using only a small part of the curve or the straight edge for that matter increases your control. The more of the edge you engage the more likely you are to have a catch. I hope this makes sense to you as I know how hard it is to describe cutting actions in words.

[Brian Kent]

Brian, the deeper you are with a scraper the lighter the touch must be. Rather than scraping think of the action as being a feathering touch. I had the opportunity to have Richard Raffan give me a few lessons with a scraper and he admonished me about the amount of pressure I was using. Using a light touch removes feathery shavings and in the long run provides more control. One exercise I strongly recommend about using scrapers is to practice on a piece of wood several inches away from your tool rest so you can see what is going on with the tool. This practice will make it second nature for you to feel your way inside a piece when you cannot see what you are doing. Also, using a scraper with an edge shaped so that you are using only a small part of the curve or the straight edge for that matter increases your control. The more of the edge you engage the more likely you are to have a catch. I hope this makes sense to you as I know how hard it is to describe cutting actions in words.

Yes, that is very helpful. I'll try the practice exercise.

[Brian Kent]

And another just finished…

[Robert Henrickson]

I would like to hear more about this. My sister is a middle eastern anthropologist- especially the various cultural zones of Egypt. Where could I get more info about the pottery you described?

Unfortunately little seems to be available online. An entry I wrote for Encyclopedia Iranica is online but has very limited illustrations (covers 3000 years of pottery from an area half the size of the US)
http://www.iranicaonline.org/articles/ceramics-vii -- a couple relevant pots embedded in [ http://www.iranicaonline.org/uploads/files/Ceramics/ceramics-7-fig26.jpg ]
Most of what I wrote dates back at least 20 years ago and is in only in limited access areas (mostly JSTOR) online. I'd have to scan some illustrations from paper copies and post them -- between the dissertation and articles it runs to about 100 pages of illustrations. This is one example that not everything is readily available online.

[Brian Kent]

Thank you Robert. I found them with an online search. Very interesting. Where do you ply your trade now?

[Reagan Kent]

Nice work.

[Brian Kent]

Nice name - Kent.

Brian Kent

And welcome, Reagan!

[John Keeton]

Check out these pottery pieces from India, and how close they are to the Acoma Pueblo pottery, even in the painting style:
http://www.culturalindia.net/indian-crafts/indian-pottery.htmlGood form is good form - regardless of geography. As Bob indicates, similar form can be found worldwide, even without commerce between the civilizations. The similarity in painted design is interesting, too.

[Michael Stafford]

Good form is good form - regardless of geography. As Bob indicates, similar form can be found worldwide, even without commerce between the civilizations. The similarity in painted design is interesting, too.

John is so correct. Good form is timeless and it always tickles me when someone claims a particular shape in turned wood as their "signature form" as if no one in the history of the world has ever created that shape before. In my limited experience and exposure to the world of pottery and ceramics wood turners have a long ways to go before they come up with an original form. Just about every shape imaginable has been created in pottery and ceramics. Of course they are lucky to have such a pliable medium. If you are looking for inspiration just go to sites with pottery and ceramics and visit a few art shows where clay items are on display. We are forced to deal with beautiful wood which has constraints on what we can do with it. But as time and experience goes on even those constraints are being challenged by the most imaginative and technically creative of those in our craft.

[Robert Henrickson]

Thank you Robert. I found them with an online search. Very interesting. Where do you ply your trade now?,

Since 1988, I have been working at Gordion in central Turkey (near Ankara) -- where Alexander the Great cut the Gordian Knot (ca 330 BC) and Midas was one of the most powerful kings in the Near East ca 800 BC. I've worked on local Hittite, Phrygian, Persian, and Hellenistic pottery (1600-150 BC). An abundant source of shapes to try in turning.

[Brian Kent]

,

Since 1988, I have been working at Gordion in central Turkey (near Ankara) -- where Alexander the Great cut the Gordian Knot (ca 330 BC) and Midas was one of the most powerful kings in the Near East ca 800 BC. I've worked on local Hittite, Phrygian, Persian, and Hellenistic pottery (1600-150 BC). An abundant source of shapes to try in turning.

Now that is awesome.

[Brian Kent]

John is so correct. Good form is timeless and it always tickles me when someone claims a particular shape in turned wood as their "signature form" as if no one in the history of the world has ever created that shape before. In my limited experience and exposure to the world of pottery and ceramics wood turners have a long ways to go before they come up with an original form. Just about every shape imaginable has been created in pottery and ceramics.….

My signature form for turned bowls is the kind that is round when you look at it from the top. That way every time people see a round bowl they will say, "Oh look, a Kent-style bowl."

[robert baccus]

Really nice work and a lot of it too. I assume you found the SW bowl book you asked about. Go visit that corner of the country. N. Geo. indicated that is one of the 2 areas in the country that have kept their culture and heritage. Nice people. Also said was that 70% of the original art in the US comes from northern N.M. Louisiana was the other region--turn off main and you go back hundreds of years. 90% of the crawfish comes outa Cajun country and most of their art is in their very old boats.

[Kathy Marshall]

That's a very nice collection Brian! I like the variety of different forms.

[Brian Kent]

I tried another "bag of sand" form.

Yes, I got the "Southwestern Pottery" book. Actually, they sent two. One used in good condition and one a library discard they probably just needed to get rid of. I'll keep one for the house and one to keep open near the lathe while trying ideas.

I am also painfully aware of what a novice I am at the inside of semi-closed forms and pots. I need to take advantage of one of the mentors from San Diego Wood Turners and learn some techniques.