Playing with the Pitcher Form Amy Sanders

The Pitcher and the Possibilities

The pitcher is such a precious form throughout history, deeply tied to both ceremonial and daily rituals across cultures and time. Pouring vessels symbolize generosity, with their primary role being to deliver and nourish. This act fosters an intimate connection between the pot and the user. Pitchers are often seen as intimidating forms due to their multiple components. Each part offers exponential creative possibilities and plays a vital role in the vessel’s overall function. The handle enables lifting and tilting, engaging the hand; the spout facilitates the offering, connecting the server, receiver, and vessel; and the body contains and nurtures through its volume. These elements must work in harmony to achieve both functional utility and visual expression. Yet, beyond its mere functionality, the pitcher must also create a meaningful experience for the user.

For most of my pitchers, I start with wheel-thrown bottomless cylinders (1). I use two cylinders to construct each pitcher, a taller one and a shorter one (2). I tend to throw more than I anticipate needing, to allow for more potential combinations. The smaller cylinders begin with 1½ pounds (0.7 kg) of clay, while the taller ones range from 2½ pounds (1.1 kg) to 3½ pounds (1.6 kg). The shape I aim for is a tapered cylinder with a wide base and narrow top. Since these forms will be stacked, it’s best to keep the walls a bit thicker, around ⅜ inch (9.5 mm), and leave a good ½ inch (12.7 mm) of clay on the rim. Each time I throw, I allow for subtle nuances between the cylinders, thus generating unique opportunities within each composition. These forms act as blanks for the more complex altering and darting that will take place. Once the clay is soft leather hard, I gently coax the cylinder into an oval shape (3), which helps visually remove the form from the wheel. 

Dynamic Darts 

During an intermediate ceramic course taught by my undergraduate professor, Jen Allen, I was introduced to the potential of the dart. After many, many, many darts, I found my own mode of alteration. Within my studio practice, I avoid using templates when darting. This lends to the notion that each one will be distinct and have its own inherent qualities. Instead, I mark a dividing line on the spine of the pot; this will serve as a guide to maintain an even dart. I then sketch the dart out (4). Sketching helps me to visualize the form before the cut. Frequently, I will re-sketch the cut until the shape feels lively enough. Sometimes the form calls for a dart on the opposite side. It is always worth sketching to see if another dart could enhance the form. Being adventurous and fearless can lead to dynamic darts.

I use a variety of darts, but the one I’m most drawn to resembles an hourglass shape. The dart can be wide or narrow, elongated or stout, each method rendering a drastically different form. I say, “Try them all.” It is worth mentioning that the two flaps created by the dart will not move freely unless the cut to the bottom extends approximately halfway around the pot. Once I am satisfied with the sketch, I cut the dart out with a sharp tool for clean seams (5). Once the dart is removed, I slip and score the seams. Joining the dart, I begin compressing the two parts together, starting at the top and working my way down (6). To prevent cracking, I reinforce the seam line by blending a pencil-thin coil along the interior. 

This type of dart creates a crescent-shaped gap that needs to be filled and patched (7). Roll a thick coil with tapered ends to backfill the hole (8). The coil must match the length of the hole. To guarantee the coil can also span the width of the opening, it must be flattened. The flattened coil is then filled from the inside and pressed outward. It’s important to take the time to smooth out the added clay. (9) Once the interior is uniform, I use my serrated rib to start blending the freshly added clay to the exterior seams (10). 

Constructing Compositions 

With the shorter cylinders altered and at my disposal (11), I begin to conceptualize these components as building blocks or puzzle pieces. Personally, this is my favorite part. My modular mode of constructing enables me to react and let intuition take way. There is no such thing as right or wrong in this game, just moments for play and experimentation. When I have found a composition that speaks to me, I slip and score the entire rim of both cylinders and carefully stack them. Filling in the negative spaces, I use the same patching process. Rolling, flattening, and blending a coil into the voids, ensuring the interior is completely smoothed and the exterior has been blended (12). Before adding any attachments, I let the form set up; it has been manipulated enough at this point. 

Covering All Our Bases and Establishing Delivery 

Since the cylinders are bottomless, we must add a slab for the base. The slab should be about ¼ inch (6.4 mm) thick and soft leather hard when attaching. I trace the exterior of the foot and cut the outline. Once the foot of the pot is slipped and scored, as well as the slab itself, it is time to attach. I will rock the form back and forth on the slab to completely seal the attachment. I then flip the piece upside down and finish by compressing the base with a few passes from my trusty red rubber rib (13). Once the slab is attached, I decide to either emphasize the seam of the foot or blend it into the body. Either is a fine resolution, as long as the pitcher has a bottom. 

the author Amy Sanders was born in Yueyang, Hunan, China, and raised in Allentown, Pennsylvania. She holds a BFA with a concentration in ceramics from West Virginia University in Morgantown, West Virginia. In 2022, she completed a year as a post-baccalaureate student at Montana State University in Bozeman, Montana. Sanders has served as a long-term artist in residence at the Morean Center for Clay in St. Petersburg, Florida. Currently, she is a master of fine arts candidate at the University of Nebraska-Lincoln. To see more of her work, visit www.amysandersceramics.com or follow along on Instagram @amysandersceramics.