Potters Bowl 2006, Brian Simmons

Brian Todd Simmons' Potters Bowl 2006 Report

My Theme for This Year: "Primitive Pottery--less in the sense of an art style, more in the sense of a skill level"

My History with the Event I first threw for the 2000 Potters Bowl, and have contributed to each Bowl since.

I began as a student at Hagerstown Community College, then threw as an alumni/staff at the college's studios.

My "Process" for 2006 I made an early commitment to the 2006 Potters Bowl, notifying Carol Mendelsohn in October 2005. (I usually did not commit until my bowls were thrown and nearly finished--say, the week or two before the dinner!) I knew I would be throwing in a new venue, in a new state, namely Shippensburg University's Ceramics Department, Pennsylvania. Uh, where's my trusty SureForm™ Pocket Blade?

On Sunday, 8 January, I began to wedge 153 reclaim stoneware. It was a bit hard, which meant I had to put some extra muscle into it. Unfortunately, I have no extra muscle. But I persevered. The last few wedged balls were the product of cutting the clay into thin strips, sparying with water, waiting, then wedging. It helped some.

Shippensburg being in between semesters, the studios were quiet. New Ceramics Professor Ben Culbertson (also referred hereafter as "BC") was renovating and making improvements to the studios he took over with his employment in August 2005. Perhaps I served as company.

I knew I would miss the camaraderie of his former Hagerstown Community College (CP-126) studios, where, in between semesters or not, the associated mudslingers there took on the Potters Bowl as a community project.

But, the endeavor would be therapeutic for me, as always--this year to distract me from dual grievings. Add a kind student aide who listened to my tale of woe--and few nights of intoxication from the mélange of paint fumes from studio renovations, gas fumes from a small leak at work, and caffeinated cola on a half-empty stomach--which acted as a truth serum, and it was singular, mostly positive experience.

I have thrown twenty-one bowls for the Potters Bowl--ten on Sunday, 8 January with a Brent and eleven the following Sunday with a spanking new Shimpo Whisper. About half with 153; the other half with brown stoneware. The Shimpo wheel is exceptionally quiet. Clean-up was a true mess though. The bat nuts loosened on my shake-down "cruise," but it did not bother my throwing. The pedal is not as precise on speeds as I would expect.

I also threw a small wide vase from the brown and a bud vase from 153 reclaim.

I trimmed the twelve works thrown on the 15^th from the 17^th thru the 22^nd, driving about thirty miles (one way) almost each night. Ben showed me an interesting foot treatment using the fettling knife. I made a few innovations in my "carvings."

The 23 works were bisqued on Wednesday, 1 February, after a week's delay.

On Thursday, 2 February, Ben's interns unloaded the kiln and my works were on the table in a group when I arrived at 8:30 pm or so. All were there! There was a lot of kiln dust to get off, but so what. And, it's official: I have 23, not 22 works. The bewilderment was from labeling two as "U"s. Only my "squared oval" brown stoneware bowl had a crack; Ben said it'd be fine.

I began glazing several, trying out this studio's home glazes. My first, Shaner's Red betrayed me. Too thin. Ben recommended a second dip. It remained too thin (or broke) at the rims on the two I used it on. It still had not dried at transfer to a shelf, and came off on me. Touch up is needed.

This St. John's Black applied well--oh, please don't crawl.

The janitor got a tour of my collection, and she liked the works!

I must work tomorrow--and so I must go home. 'Tis a long drive, and I usually had to stop at stop at Wal-Mart to get lunch for work the next day. Sleep time took a cut throughout. From Thursday Night, 2 February thru Tuesday Night, 7 February, I made the trip up to do a little glazing. I made the trip on Friday Night, 3 February, but only got as far as Ben's house.

To add value to the endeavor, I though a web page on my doings--including putting my glaze log into an HTML formatted table would be of interest to some. I turned one of my old on-line résumé websites into my 2006 Report on Wednesday, 8 February--at Shippensburg.

I also battled MS Word (Mac) to produce calling cards for the bowls. the cards would include my address and website. After printer woes, I continued the battle on Thursday, 9 February at Hagerstown Community College. I won this time.

On Friday, 10 February, I once again drove to Shippensburg after work. The mission: cut out each calling card, check on the delayed glaze kiln, and finish this web page. Mission completed. the firing was successful, but is still in cool-down. as I work Saturday, 11 February, I will not see my bowls before they are shipped down.

I left explicit instructions to those to whom I am already wholly beholden. I committed to ten bowls and wanted to donate twelve. I got to do so.

The rest of the bowls--again, if all went well--were to be a start on Potters Bowl 2007.

Glaze Matrix
Designation Title Stoneware Type Description Glaze Comments

A Runnel Visions 153 (small) looped (in & out) bowl Woo Blue Brown Double dipped, as the glaze was thin.

B Autumnall 153 (small) looped (in & out) bowl Sequoia Shino (in), Temoku (out) Applied outer (second) glaze after BC demo.
Result: The shino was cursed. It may not have gotten hot enough. It crawled a littel and remained milky white. Disappointing.

C Earth Kicks 153 (small) looped bowl Sequoia Shino (in), Woo Blue Brown (out) BC demonstrated how to apply outer (second) glaze with this piece.

D Braun Flare 153 "hipped," inverted bell bowl Temoku One of the few "bell" bowls thrown this year.

E Signs 153 bowl with vertical, horizontal, and diagonal pattens on outside near the bottom Buttermilk with Cobalt stain sponged over Stain had to be reconstituted; I tried a new carving pattern.
Result: What a lovely result! Nearly purplish, but hints of Buttermilk white. Someone picked it.

F Egg Cached 153 bowl with small oval carvings Grass Green BC remixed and reconstituted this glaze with epsom salt (as flocculant) and "brack" water.
Result: It crawled out of many of the carvings, and hardly "broke" any. Probable discard.

G Jupiter's Sidekick 153 small, square pedestal bottom bowl Shaner's Red with Val's Satin Black Sponged over Shaner's was still thin after second dip; I used Val's for safety--and I have experience with this combination.

H Offering 153 bowl with two flumes St. John's Black This should be a good bowl.

I Hendrix Toller 153 "hipped" bell--a vase-like bowl Purple Haze Thick particles from glaze dip were left on bowl surface; I smoothed them out some.

J Traces 153 bowl with throwing rings, fettled square bottom ½ Buttermilk over ½ Val's Satin Black BC demonstrated the fettling knife trimming technique used at the bottom.

K Retained 153 inward-lipped bowl Ben's Blue-Green Satin This bowl should work out fine.
Result: Slight pitting; possible refire. Should be offered at Bowl '07.

L Native Standard Brown flat-bottomed bowl with my "three-stroke basket weave" pattern engraved near the bottom Woo Blue Brown This is one of my classic styles.
Result: The glaze changed color halfway up the outside. Someone's pick at Bowl '06!

M Penn Perù 153 Incan-like bowl with two engraved rings on the outside in my "three-stroke basket weave" pattern Woo Blue Brown The glaze will belie its ancient Incan style.
Result: A fine little bowl for Bowl '07.

N Solemnity Brown vase-like tall bowl with carved curves engraved with my "three-stroke basket weave" pattern Val's Satin Black (in), Val's Satin Black wiped off outer surface except in pattern BC suggested this glaze choice--this may be one of my best works!
Result: Slight "pitting" of Val's Black. It is a fine piece.

O Pahoehoe Harvester Brown squared oval bowl Shaner's Red with Val's Satin Black Sponged over Shaner's was still thin after second dip; I used Val's for safety--and I have experience with this combination.
Result: One of the first chosen, this bowl's red did not fail. The val's Black dripped in 3-D fashion. Although not a style I had strived for, many find it charming.

P Bowl Unpretending Brown tall bowl with fettled square bottom St. John's Black If successful, this is an elegantly understated bowl.

Q Try-dent 153 thin bowl with three flumes Woo Blue Brown First alteration was erased (carved off)--hence the thinness. This bowl began to impress after it was bisqued.
Result: The glaze was fine. This should be a good match for someone at Bowl '07.

R Apparently So Brown tall bowl with evident throwing rings St. John's Black This ball was altered little, hence the title.

S Sunshine In Brown vase-like bowl with "waist" Sequoia Shino (in), Sequoia Shino on outer top "bowl"--bare on lower "bowl" This should have been an excellent bowl. The Sequoia did not get hot enough and turned milky white and gray. It crawled out of carvings. BC suggested heating it with a heat gun, then applying the new batch of Guston Shino over it for more of an orangeness. Success! The second Shino highlighted the sun carving inside by breaking tan-orange.
I gave this bowl as a retirement gift to my former co-worker, Doris Bream, on Thursday, 30 March 2006.

T Dogwood Blossoms Special Brown tall bowl with a dogwood blossom carved in the bottom of the inside and outside John's Orange (in), Val's Satin Black (out) I used a small loop tool and then a needle tool to remove the glaze from the outside carving.
Result: Some pitting in the Val's Black. Possible refire.

U-Bowl Rising Sun Brown vase-like bowl with sun carving inside John's Orange The orange will break at the sun carving, but it will remain understated.
Result: I thought I would regret this, but what an excellent bowl! Unfortunately, what I thought was another bowl's glaze having dripped on its rim at firing turned out to be a foreign element within my clay surfacing during the firing. Perhaps this is why it was not chosen. Carol Mendelsohn allowed me to take it back so I could repair and refire it. Look for this stunner in 2007!
Ben Culbertson helped me grind off the imperfection in April, and I re-applied glaze over the flawed spot after Easter. It awaits refiring.

U-Vase Jeannie's Bud 153 flat-bottomed bud vase altered in the Art Nouveau style John's Orange with Val's Satin Black over only at the rim Yes, I accidentally designated two pieces with "U." This was unacceptably altered a previous time; fortunately, the piece was thick. The pebbled finish on the middle outer surface was the result of peening the area with the fettling knife handle. The carving was a very primitive takeoff of Moroccan design. The John's Orange glaze will emphasize the carving; the Val's Satin Black will reinforce the break from inside and outside and top from its surroundings. BC suggested the slight "nicks" at the foot to create more shadow.
Result: The John's Orange broke well, defining the carvings. It was more white on the outside, more orange in--a temperature variance? Val's Black did fairly well at the top.

V Corrugated Cluster Brown vase with long grooves from small loop tool--some grooves not parallel Temoku This glaze has worked well on such a rough surface before, as it "breaks" at edges.
Result: It did superbly, save for some "overglaze" inside at the bottom, where it covered the carving.
I gave this bowl as a birthday gift to my boss, Trish Twentey, on Monday, 24 April 2006.

The Dinner

I chose a Chris Foxwell bowl; my friend Rita Haldeman chose a Tammy Staley bowl. We added to a "rogue" Potters Table, as the official Potters Table was filled. Judy Hoffman-Bolton and her husband were also joined by Haydon and Rita Rudolf, and Julie and Jay Cooper.

I started off with a ladle the Sausage and White Bean Soup--and a double ladle of Mushroom Barley. I went back for Maryland Crab Soup, the Italian Vegetable Beef Soup, and the Chicken Matzoh Ball Soup. I ended with Pasta e Fagioli.

My friend Rita bought a second bowl and some of the soups.

Aftermath Although a good idea, nine days later, no one who chose one of my bowls has come onto this website. (The heretofore recorded hits (three) were from my demonstrating my endeavor to Ben and referring two friends onto the site--before the Potters Bowl.) I did included the site on my "calling cards."

It is a good idea, and may be the best way to title the works. I once (or twice) tried to title the works on the calling cards, and the cards were mixed up in prep for the dinner stage display--what a nightmare! Titling them before they are finished was also tried--the work can turn out different than envisioned--the gas kiln can be fickle, for example.

The other works from the firing have yet to dealt with--including the "twelfth bowl."

On Thursday Night, 23 February, Ben Culbertson looked at the remaining works and believes all all well worth a second firing. The Sequoia Browns need glaze dappled where it crawled, as does the Grass Green bowl. The Val's Satin bowl need not be refired, but I will try it to get rid of the pitted places inside.

On Friday Night, 3 March, I finally got to prep for refiring eight of the nine works. I used a heat gun to prep the piece to accept new galze, and at Ben's advice, dried out the glaze on a couple of the works with the heat gun in order to avoid the water coming out of the new glaze and streaking down as the pieces dried.

The test tiles for the studio's glaze palette reveal Sequoia Shino to be a graish white on a good firing. I envisioned an orangey-ness for this work and assumed Sequoia--light brown--Shino would live up to its name. So, on Ben's advice, instead of just refiring Sunshine In (S) for better Sequoia Shino color, I used a heat gun of the glazed areas and then applied Guston Shino, which is known for subtle "breaks" at edges and orangey-ness..

Ben and his intern, Allison S., loaded and started the kiln on Sunday Evening, 5 March 2006. It should be unloadable Tuesday Morning, 7 March. Allison kindly agreed to reshelve my work at the unloading.

Still to be Dremeled^TM and refired: Rising Sun (U-Bowl). It was back in my car trunk, half a mile away. It was just too cold a night Friday, 5 March to go and fetch it. There will be other firings.

On Friday Night, 24 March, potters Ben Culbertson, Jackie Shaw, and Brian Simmons--and Trinity Lutheran Church Pastor Quentin Fleming--were among those affiliated with this year's Potters Bowl who attended Shabbat service at B'Nai Abraham Congregation at 8 pm. As part of the service, there was a ceremonial turning over of this year's check of $15,045.61 to the Community Free Clinic, with Carol Mendelsohn doing the honor.

Brian Simmons'
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Designation	Title	Stoneware Type	Description	Glaze	Comments
A	Runnel Visions	153	(small) looped (in & out) bowl	Woo Blue Brown	Double dipped, as the glaze was thin.
B	Autumnall	153	(small) looped (in & out) bowl	Sequoia Shino (in), Temoku (out)	Applied outer (second) glaze after BC demo. Result: The shino was cursed. It may not have gotten hot enough. It crawled a littel and remained milky white. Disappointing.
C	Earth Kicks	153	(small) looped bowl	Sequoia Shino (in), Woo Blue Brown (out)	BC demonstrated how to apply outer (second) glaze with this piece.
D	Braun Flare	153	"hipped," inverted bell bowl	Temoku	One of the few "bell" bowls thrown this year.
E	Signs	153	bowl with vertical, horizontal, and diagonal pattens on outside near the bottom	Buttermilk with Cobalt stain sponged over	Stain had to be reconstituted; I tried a new carving pattern. Result: What a lovely result! Nearly purplish, but hints of Buttermilk white. Someone picked it.
F	Egg Cached	153	bowl with small oval carvings	Grass Green	BC remixed and reconstituted this glaze with epsom salt (as flocculant) and "brack" water. Result: It crawled out of many of the carvings, and hardly "broke" any. Probable discard.
G	Jupiter's Sidekick	153	small, square pedestal bottom bowl	Shaner's Red with Val's Satin Black Sponged over	Shaner's was still thin after second dip; I used Val's for safety--and I have experience with this combination.
H	Offering	153	bowl with two flumes	St. John's Black	This should be a good bowl.
I	Hendrix Toller	153	"hipped" bell--a vase-like bowl	Purple Haze	Thick particles from glaze dip were left on bowl surface; I smoothed them out some.
J	Traces	153	bowl with throwing rings, fettled square bottom	½ Buttermilk over ½ Val's Satin Black	BC demonstrated the fettling knife trimming technique used at the bottom.
K	Retained	153	inward-lipped bowl	Ben's Blue-Green Satin	This bowl should work out fine. Result: Slight pitting; possible refire. Should be offered at Bowl '07.
L	Native Standard	Brown	flat-bottomed bowl with my "three-stroke basket weave" pattern engraved near the bottom	Woo Blue Brown	This is one of my classic styles. Result: The glaze changed color halfway up the outside. Someone's pick at Bowl '06!
M	Penn Perù	153	Incan-like bowl with two engraved rings on the outside in my "three-stroke basket weave" pattern	Woo Blue Brown	The glaze will belie its ancient Incan style. Result: A fine little bowl for Bowl '07.
N	Solemnity	Brown	vase-like tall bowl with carved curves engraved with my "three-stroke basket weave" pattern	Val's Satin Black (in), Val's Satin Black wiped off outer surface except in pattern	BC suggested this glaze choice--this may be one of my best works! Result: Slight "pitting" of Val's Black. It is a fine piece.
O	Pahoehoe Harvester	Brown	squared oval bowl	Shaner's Red with Val's Satin Black Sponged over	Shaner's was still thin after second dip; I used Val's for safety--and I have experience with this combination. Result: One of the first chosen, this bowl's red did not fail. The val's Black dripped in 3-D fashion. Although not a style I had strived for, many find it charming.
P	Bowl Unpretending	Brown	tall bowl with fettled square bottom	St. John's Black	If successful, this is an elegantly understated bowl.
Q	Try-dent	153	thin bowl with three flumes	Woo Blue Brown	First alteration was erased (carved off)--hence the thinness. This bowl began to impress after it was bisqued. Result: The glaze was fine. This should be a good match for someone at Bowl '07.
R	Apparently So	Brown	tall bowl with evident throwing rings	St. John's Black	This ball was altered little, hence the title.
S	Sunshine In	Brown	vase-like bowl with "waist"	Sequoia Shino (in), Sequoia Shino on outer top "bowl"--bare on lower "bowl"	This should have been an excellent bowl. The Sequoia did not get hot enough and turned milky white and gray. It crawled out of carvings. BC suggested heating it with a heat gun, then applying the new batch of Guston Shino over it for more of an orangeness. Success! The second Shino highlighted the sun carving inside by breaking tan-orange. I gave this bowl as a retirement gift to my former co-worker, Doris Bream, on Thursday, 30 March 2006.
T	Dogwood Blossoms Special	Brown	tall bowl with a dogwood blossom carved in the bottom of the inside and outside	John's Orange (in), Val's Satin Black (out)	I used a small loop tool and then a needle tool to remove the glaze from the outside carving. Result: Some pitting in the Val's Black. Possible refire.
U-Bowl	Rising Sun	Brown	vase-like bowl with sun carving inside	John's Orange	The orange will break at the sun carving, but it will remain understated. Result: I thought I would regret this, but what an excellent bowl! Unfortunately, what I thought was another bowl's glaze having dripped on its rim at firing turned out to be a foreign element within my clay surfacing during the firing. Perhaps this is why it was not chosen. Carol Mendelsohn allowed me to take it back so I could repair and refire it. Look for this stunner in 2007! Ben Culbertson helped me grind off the imperfection in April, and I re-applied glaze over the flawed spot after Easter. It awaits refiring.
U-Vase	Jeannie's Bud	153	flat-bottomed bud vase altered in the Art Nouveau style	John's Orange with Val's Satin Black over only at the rim	Yes, I accidentally designated two pieces with "U." This was unacceptably altered a previous time; fortunately, the piece was thick. The pebbled finish on the middle outer surface was the result of peening the area with the fettling knife handle. The carving was a very primitive takeoff of Moroccan design. The John's Orange glaze will emphasize the carving; the Val's Satin Black will reinforce the break from inside and outside and top from its surroundings. BC suggested the slight "nicks" at the foot to create more shadow. Result: The John's Orange broke well, defining the carvings. It was more white on the outside, more orange in--a temperature variance? Val's Black did fairly well at the top.
V	Corrugated Cluster	Brown	vase with long grooves from small loop tool--some grooves not parallel	Temoku	This glaze has worked well on such a rough surface before, as it "breaks" at edges. Result: It did superbly, save for some "overglaze" inside at the bottom, where it covered the carving. I gave this bowl as a birthday gift to my boss, Trish Twentey, on Monday, 24 April 2006.