How to Throw and Alter a Tall Pitcher Johnny Arvizu

In ceramics, it's a multitude of little details that come together to create really good pots. If you pay attention and learn to refine all these seemingly tiny details, your work will improve. 

Throwing the Pitcher Form

I start the process by weighing out 7–8 pounds (3.2–3.6 kg) of firm clay and throwing a tall and narrow cylinder for the pitcher. This cylinder will have no floor with an opening of around 2 inches (5 cm) wide, leaving the base walls slightly thicker to support the rest of the alteration process. I create a very slight curve that starts from the base to the two-thirds mark up the cylinder. I will then start a slight curve inwards at the last third of the form, keeping in mind the 1½–2 inch (3.8–5 cm) spout that will be added later. This is a very simple form that is exaggerated after the flattening process, and I start all the alterations directly after throwing the form.

Creating a Spout

When making spouts for my pitcher and katakuchi forms, I start by rolling a coil. For a pitcher, that coil is around ¾ inch (2.16 cm) in diameter. Then I cut the coil into 1½–2 inch (3.8–5 cm) logs (1) that I make into little crescent shapes and pinch out the general form of the spout (2). Once I have the spout pinched, I will then score it to the cylinder and start gently pulling and elongating the spout using the tips of my thumb and index finger (3). After I finish pulling the spout, I create a so-called chin. I believe the chin on my pitcher form brings a feeling of pride and makes it stand ever so slightly taller. I bring out the chin by supporting the sides of the spout with one hand and gently running my index finger along the spout with gentle downward force to curve it outward. It is important to leave a sharp, but not brittle edge when pulling a spout, this will allow for a clean stream that does not dribble at the end of the pour.

Darting and Altering the Form

Now that the form is starting to resemble a pitcher, I will mark a line down the middle of the pot and start the darting process. I learned about this way of altering during a Stuart Gair workshop. Stuart is one hell of a maker and a solid shot at basketball. After marking a middle line, I make two more marks, 1 inch (2.54 cm) below the rim and another about ½ inch (1.27 cm) below my fist size. This acts as a great guide before actually cutting into the cylinder. While there are many different shapes that can be used to dart a form, I cut out a raindrop shape that is slightly taller and wider than the size of my fist (4) and close off the hole that was just cut out by scoring and slipping, then joining the cut edges (5). Darting leans the spout back slightly and adds a perfect home for a handle.

After the spout and dart have been added, I cut the pitcher off of the wheelhead and start the flattening process. Instead of paddling the walls to reach the desired shape. I start by making a V-shape with my hands and cupping the walls of the pitcher, coaxing the form by gently squeezing down the length of the spout and dart (6). Add a slab bottom after shaping and refine (7).

Leaving a Mark

When I was studying in Japan, my sensei, Yuuki Matsuba, would give a demonstration in every class. While I learned a great deal about his throwing/trimming techniques, I always found myself admiring the way he showed great reverence in his mark making. Matsuba would leave behind beautiful marks that showed the process. I will never forget the time he demonstrated the making of a jar. Matsuba took a 10-pound (4.5-kg) ball of clay, placed it on the center of the bat, punched the floor of the jar out, and effortlessly threw a beautiful jar that showcased the process. I leave subtle marks of process when making a pitcher, like adding a slab base without blending or leaving score marks adds a small touch to be found upon closer inspection.

Creating Handles

Handles are a difficult process for me, and learning how to pull a nice handle takes years and years of practice. Something so small and seemingly simple is often overlooked and rushed. While they aren’t my strong suit, I always aim to add a comfortable handle that has enough visual weight to carry the form (8, 9). If necessary, I will beef up the handle by adding coils around the attachment points.

the author Johnny Arvizu grew up in a small border town called Douglas, Arizona. He is currently a post-baccalaureate student at Northern Arizona University, and plans to attend a master’s program shortly after. Learn more on Instagram @Johnny.Arvizu.