It’s often the little things that elevate a dish from ordinary to unforgettable—a splash of tangy balsamic vinegar, a drizzle of lip-tingling Sichuan peppercorn oil, or the bright burst of a refreshing citrus dressing. These finishing elements—oils, vinaigrettes, dressings, and sauces—are the quiet powerhouses of the kitchen. Often preceded by a “wait, wait, one more thing!,” they can be both game-changers and subtle background players, depending on how they’re used.
This ewer is designed with that duality in mind. It’s a vessel for those transformative touches, embodying the idea that a little truly goes a long way. With each pour, it reminds us that flavor is often found in the final detail.
This ewer is thrown in three parts—body, neck, and spout— all made separately off the hump. When throwing off the hump, pay close attention not only to how the clay looks, but also to how it feels. Visual comparisons, rather than weights, are used here because the right amount of clay is determined by your touch and hand shape, not a scale.
Preparing the Clay
Start by centering about 5 pounds (2.3 kg) of clay on the wheel. This amount provides enough material to make two bodies and multiple sets of necks and spouts. Center it into a tall, conical mound—this shape makes it easier to gather clay for each component.
Creating the Body
Section off a lump of clay that is roughly the size of a baseball. Center the lump into a doorknob shape with a flat top (1). Open the form by pressing your thumb downward while your pinky and ring finger support the base. Stop when your thumb is level with your ring finger. Be sure to thoroughly, yet gently, compress the floor of the body. Without the wheel head as a guide, it’s easy to under-compress (causing S cracks) or over-compress (creating a thin bottom). Go slowly and work by feel. Pull the body into an enclosed orb (2), then gently shape and compress into an oblong sphere—think of an onion, without the pointy top.
Mark the base with a knife or pointed tool (3). Cut it off with a wire while slowly turning the wheel. Set it aside. At this stage, I like to leave the body uncovered on a small ware board to dry while working on the remaining parts.
Creating the Spout and Neck
Re-center the clay mound if needed, and section off a lump of clay about the size of a golf ball (4). Leave the top of the mound intact—no door-knob shape here. Open the clay at least three fingers wide and about an inch deep, and pull up into a small cone. Collar in the top half, leaving the base wide. The form should resemble an upside-down funnel (5). The trick to throwing narrow, tall spouts is to use a wooden skewer. In this case, I use it as both a throwing stick and a gauge for the spout’s interior radius (6). Be generous with water and keep the wheel at a moderately fast speed to avoid catching or tearing the clay. Cut a line in the base of the spout in the same manner as the body. This time, however, cut an additional line about ¼ inch (0.6 cm) below the first line. Cut off the spout at this second line and remove from the wheel (7). Place next to the body.
To create the neck, begin as you did with the spout, forming another funnel-shaped cone. Use the skewer and a rubber rib to shape the funnel into an oval or egg shape. Collar in the base of the neck. Be careful not to make the opening at the base of the neck too small—it should be narrow enough for the ewer to function without a cork but wide enough to pour and fill comfortably. Use a skewer to clean away slip or to adjust the diameter of the neck if needed. Cut off the neck using the same technique as the spout (8) and place it on the ware board. Drape all parts with a sheet of plastic.
Trimming
Once the body has reached the leather-hard stage—but before attaching the neck and spout—trim the bottom using a chuck.
To make a chuck, throw a bottomless cylinder with a flared top that matches the curve of the ewer’s body. When the body is seated in the chuck, the rim of the chuck should cradle but not press against the pot’s walls. A poorly fitted chuck can easily warp or dent the surface, leading to unnecessary cleanup and potential distortion.
For these ewers, I prefer a shallow, narrow foot to give the illusion that the pot is floating just above the table surface (9).
Attaching the Neck and Spout
For assembly, gather the following tools: calipers, a scoring tool, slip, a bit of clay, a chuck, a knife, a banding wheel, and a rubber rib.
Move the chuck to a banding wheel and attach it securely. Flip the body right side up and return it to the chuck. Note: While this step may seem optional, I find it essential—it keeps the body stable and elevated, preventing deformation during attachment of the neck, especially when compressing seams. Using a chuck can also bring the pot to eye level (if you’re working with a low banding wheel), making alignment and finishing more precise.
Place the neck above the body and adjust the base of the neck as needed to ensure a snug fit with the body (10). Use calipers to measure the diameter of the flared base of the neck. Transfer this measurement to the top of the body (11). Using a knife at a 45° angle, cut inside the marked circle. Score and slip both the angled opening on the body and the edge of the neck, then attach the neck and gently compress the seam to ensure a secure bond. Carefully press a soft coil along the seam (12), but avoid smoothing the joint immediately; instead, wait until the slip and coil have stiffened slightly. Once ready, use a small, rounded wooden dowel or a thick skewer to roll over the joint, compressing and smoothing it at the same time (13).
Before trimming the spout, first visualize its placement on the side of the body (14). Lightly mark the area and angle where it will be attached.
You will need to trim the interior of the spout, where it was thrown and cut off the hump, so it fits snug against the curve of the body. Start by cutting less than you think is necessary—it’s always easier to trim more than to add clay back. Set the spout on the edge of a work surface and carefully cut the bottom at an angle, ideally around 45°. Hold the spout against the body, adjusting and trimming as needed so it nestles cleanly along the pot’s curve. Lightly trace the final spout position on the body. Using a knife, cut inside this traced outline.
As with the neck, thoroughly score and slip both the spout edge and attachment area. Press gently to attach and compress the seam, then add a small coil (15). Let the joint begin to set before smoothing.
Refining the Form and Firing
I would recommend against using a sponge to finish attachment points, particularly if you are using a clay with large particles or grog. A sponge can leave a “cat-licked” texture that detracts from the form’s crispness. Instead, use a soft-bristled brush and water—or even a bit of slip—for a polished, refined finish (16). Carefully refine the surface once stiffened to leather hard.
I fire my work in a range of kilns and atmospheric conditions, exploring the unique qualities each process brings to the surface of the work. Whether it’s wood, gas, or another firing method, I’m always seeking surfaces that are subtle and soft—finishes that complement the quiet strength of clean, deliberate forms.
For these ewers, I use slips and glazes specifically formulated for cone 6–8 reduction cooling in a gas kiln. These surfaces are developed from local materials—wood ashes and clays I’ve gathered around Logan, Utah—imbuing each piece with a strong sense of place. The interaction between these natural materials and the atmospheric firing yields finishes that feel rooted and tactile, echoing the landscape from which they come.
Caroline Roberts is a potter and a third-year graduate student at Utah State University. Roberts grew up in Minnesota and attended the University of Wisconsin-Madison, earning a BS in fine arts in 2020. She has been a long-term resident at Cub Creek Foundation in Virginia, and a short-term resident at Pleasant Hill Pottery in Oregon.
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It’s often the little things that elevate a dish from ordinary to unforgettable—a splash of tangy balsamic vinegar, a drizzle of lip-tingling Sichuan peppercorn oil, or the bright burst of a refreshing citrus dressing. These finishing elements—oils, vinaigrettes, dressings, and sauces—are the quiet powerhouses of the kitchen. Often preceded by a “wait, wait, one more thing!,” they can be both game-changers and subtle background players, depending on how they’re used.
This ewer is designed with that duality in mind. It’s a vessel for those transformative touches, embodying the idea that a little truly goes a long way. With each pour, it reminds us that flavor is often found in the final detail.
This ewer is thrown in three parts—body, neck, and spout— all made separately off the hump. When throwing off the hump, pay close attention not only to how the clay looks, but also to how it feels. Visual comparisons, rather than weights, are used here because the right amount of clay is determined by your touch and hand shape, not a scale.
Preparing the Clay
Start by centering about 5 pounds (2.3 kg) of clay on the wheel. This amount provides enough material to make two bodies and multiple sets of necks and spouts. Center it into a tall, conical mound—this shape makes it easier to gather clay for each component.
Creating the Body
Section off a lump of clay that is roughly the size of a baseball. Center the lump into a doorknob shape with a flat top (1). Open the form by pressing your thumb downward while your pinky and ring finger support the base. Stop when your thumb is level with your ring finger. Be sure to thoroughly, yet gently, compress the floor of the body. Without the wheel head as a guide, it’s easy to under-compress (causing S cracks) or over-compress (creating a thin bottom). Go slowly and work by feel. Pull the body into an enclosed orb (2), then gently shape and compress into an oblong sphere—think of an onion, without the pointy top.
Mark the base with a knife or pointed tool (3). Cut it off with a wire while slowly turning the wheel. Set it aside. At this stage, I like to leave the body uncovered on a small ware board to dry while working on the remaining parts.
Creating the Spout and Neck
Re-center the clay mound if needed, and section off a lump of clay about the size of a golf ball (4). Leave the top of the mound intact—no door-knob shape here. Open the clay at least three fingers wide and about an inch deep, and pull up into a small cone. Collar in the top half, leaving the base wide. The form should resemble an upside-down funnel (5). The trick to throwing narrow, tall spouts is to use a wooden skewer. In this case, I use it as both a throwing stick and a gauge for the spout’s interior radius (6). Be generous with water and keep the wheel at a moderately fast speed to avoid catching or tearing the clay. Cut a line in the base of the spout in the same manner as the body. This time, however, cut an additional line about ¼ inch (0.6 cm) below the first line. Cut off the spout at this second line and remove from the wheel (7). Place next to the body.
To create the neck, begin as you did with the spout, forming another funnel-shaped cone. Use the skewer and a rubber rib to shape the funnel into an oval or egg shape. Collar in the base of the neck. Be careful not to make the opening at the base of the neck too small—it should be narrow enough for the ewer to function without a cork but wide enough to pour and fill comfortably. Use a skewer to clean away slip or to adjust the diameter of the neck if needed. Cut off the neck using the same technique as the spout (8) and place it on the ware board. Drape all parts with a sheet of plastic.
Trimming
Once the body has reached the leather-hard stage—but before attaching the neck and spout—trim the bottom using a chuck.
To make a chuck, throw a bottomless cylinder with a flared top that matches the curve of the ewer’s body. When the body is seated in the chuck, the rim of the chuck should cradle but not press against the pot’s walls. A poorly fitted chuck can easily warp or dent the surface, leading to unnecessary cleanup and potential distortion.
For these ewers, I prefer a shallow, narrow foot to give the illusion that the pot is floating just above the table surface (9).
Attaching the Neck and Spout
For assembly, gather the following tools: calipers, a scoring tool, slip, a bit of clay, a chuck, a knife, a banding wheel, and a rubber rib.
Move the chuck to a banding wheel and attach it securely. Flip the body right side up and return it to the chuck. Note: While this step may seem optional, I find it essential—it keeps the body stable and elevated, preventing deformation during attachment of the neck, especially when compressing seams. Using a chuck can also bring the pot to eye level (if you’re working with a low banding wheel), making alignment and finishing more precise.
Place the neck above the body and adjust the base of the neck as needed to ensure a snug fit with the body (10). Use calipers to measure the diameter of the flared base of the neck. Transfer this measurement to the top of the body (11). Using a knife at a 45° angle, cut inside the marked circle. Score and slip both the angled opening on the body and the edge of the neck, then attach the neck and gently compress the seam to ensure a secure bond. Carefully press a soft coil along the seam (12), but avoid smoothing the joint immediately; instead, wait until the slip and coil have stiffened slightly. Once ready, use a small, rounded wooden dowel or a thick skewer to roll over the joint, compressing and smoothing it at the same time (13).
Before trimming the spout, first visualize its placement on the side of the body (14). Lightly mark the area and angle where it will be attached.
You will need to trim the interior of the spout, where it was thrown and cut off the hump, so it fits snug against the curve of the body. Start by cutting less than you think is necessary—it’s always easier to trim more than to add clay back. Set the spout on the edge of a work surface and carefully cut the bottom at an angle, ideally around 45°. Hold the spout against the body, adjusting and trimming as needed so it nestles cleanly along the pot’s curve. Lightly trace the final spout position on the body. Using a knife, cut inside this traced outline.
As with the neck, thoroughly score and slip both the spout edge and attachment area. Press gently to attach and compress the seam, then add a small coil (15). Let the joint begin to set before smoothing.
Refining the Form and Firing
I would recommend against using a sponge to finish attachment points, particularly if you are using a clay with large particles or grog. A sponge can leave a “cat-licked” texture that detracts from the form’s crispness. Instead, use a soft-bristled brush and water—or even a bit of slip—for a polished, refined finish (16). Carefully refine the surface once stiffened to leather hard.
I fire my work in a range of kilns and atmospheric conditions, exploring the unique qualities each process brings to the surface of the work. Whether it’s wood, gas, or another firing method, I’m always seeking surfaces that are subtle and soft—finishes that complement the quiet strength of clean, deliberate forms.
For these ewers, I use slips and glazes specifically formulated for cone 6–8 reduction cooling in a gas kiln. These surfaces are developed from local materials—wood ashes and clays I’ve gathered around Logan, Utah—imbuing each piece with a strong sense of place. The interaction between these natural materials and the atmospheric firing yields finishes that feel rooted and tactile, echoing the landscape from which they come.
Caroline Roberts is a potter and a third-year graduate student at Utah State University. Roberts grew up in Minnesota and attended the University of Wisconsin-Madison, earning a BS in fine arts in 2020. She has been a long-term resident at Cub Creek Foundation in Virginia, and a short-term resident at Pleasant Hill Pottery in Oregon.
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