Necessity was the inspiration for making a pour-over coffee pot, and it’s the challenge of making them that continues to drive me. Living in an off-the-grid home, I was in need of a low-energy method of brewing coffee and I had simply become bored with my French press. Working backward from a standard number-four coffee filter, I began sketching ideas using the general shape of the filter as an opportunity rather than a restraint, and built upon its proportions and curves.
Making coffee is a ritualistic activity and an experience to be enjoyed with all of our senses. With this in mind, I elongated the body of the pot to enhance the iconic dripping sound of coffee being brewed. Drawing influence from old enameled camping percolators, the tall brown insulated diner coffee pots from my childhood, and a traditional Arabic coffee pot that lives in my home, I attach an open-pitcher-like spout. Adding an abrupt directional change and high walls, the spout creates a turbulent, but contained pour, which accentuates the classic sound of a cup being filled with the beloved brew.
Throwing the Body
Begin with 3 pounds (1.3 kg) of clay to throw the main body to a height of about 11 inches (28 cm). Be sure to leave a substantial amount of clay at the rim to make a deep, sturdy gallery for the lid and pour-over cone to sit on. Once the cylinder reaches an adequate height, split the lip using the edge of a standard wooden knife (1). While the wooden knife is in your hand, trim away a bit of the clay at the bottom of the pot. Then, use a rectangular metal rib to give the cylinder long, elegant curves, as it leaves a clean, smooth surface that is appreciated later in the surface process. Use the same rib that shaped the pot to square and clean the gallery (2).
Now, take a precise measurement of the inside diameter with a two-sided caliper (3). Considering that multiple pieces need to fit nicely on the pot, it is essential that you get a good measurement and take caution to not bump the caliper off measurement. Tip: I use a small wad of clay pressed between the caliper arms to be sure this measurement does not change (4).
Throwing the Lid and Cone
The lid and cone are thrown from a single 2½ pound (1 kg) ball of clay. Begin by throwing the lid upside down, regularly checking the outside diameter with the calipers (5). Be sure to compress the bottom really well to avoid our arch nemesis, the “S” crack. Use a needle tool to cut the lid off of the hump, being sure to leave enough clay to trim a knob later (6).
With the remaining clay, throw the cone, which is essentially a funnel. I recommend referencing a number-4 coffee filter to achieve the correct size and shape (7). The hole in the bottom should be about 1 inch (2.5 cm) in diameter. Before removing the cone from the wheel, measure and cut the flange to the same size as the lid using the caliper for measurement (8).
Trimming
Once all the pieces have firmed to a soft leather hard, trim away excess clay to create even wall thicknesses, define curves, and then turn a knob that references the shape of the coffee pot body (9).
When trimming the cone, start by refining the hole in the center, trimming a smooth, straight wall that measures about 1¼ inches (3.2 cm) in diameter. Trim the continuation of the funnel angle through the bottom of the pot so that the coffee drips into the center of the pot rather than running down the sides of the foot (10).
Surface Decorating
For this demonstration, I have chosen my “All Over” flower decoration. I begin by dividing the pot equally around the circumference using my circle divider tool (from: loftedacrestudios.square.site), a straight edge, and a needle tool (11). Once divided equally, I set my spring divider to the width between the vertical lines and begin drawing semicircles in a horizontal row across the top of the pot. The spacing for the next row is determined by positioning one point of the spring divider between the four and five o’clock positions of a circle from the row above, and the other point of the divider on the vertical line that divides the circles from the above row (12). Once this point is determined, use a needle tool to draw a horizontal line on the pot as it spins on a banding wheel, and proceed to make circles at the intersection of this horizontal line and every other vertical line.
Caution: Be sure to check and adjust your spring divider width at the start of each new row to account for expanding or narrowing curves, as the size of the flowers needs to expand or contract proportionally.
You will repeat these steps all the way down to the bottom as well as on the cone and lid. For this particular design, I draw a second circle inside each circle that is half the diameter of the original. Now that the layout and outlines of the flowers are determined, begin “plowing” individual petals into the clay using the back end of a paintbrush. I refer to this method of mark making as “plowing” because when done properly the soft clay piles up on the surface of the pot just like how snow piles up in front of a plow truck. The motion starts with the tool tip in the middle of the “flower” and is pressed into the clay as you move the tool outward from the center (13). For best results and to avoid hand injuries, this process should be done at a very soft leather hard.
Pulling Handles and Shaping the Spout
I use a two-handed pulling method that I learned from a good friend and fellow potter, Adam Gruetzmacher. Begin by securing a large, tapered log of clay to the table with enough clay to work with hanging off the edge and pull using both hands (14). I find this method allows for more control in making symmetrical handles, and it allows you to push and pull clay off of the log making beautiful tapers. Once you’re happy with the size and shape of the handle, cut it from the log and set it off to the side to dry a bit. Be mindful of how you set the handle down and try to get it as close to its final shape as possible without muddying the surface (15), and be sure to make plenty of extras.
While the handles are drying, roll out a slab of clay that is about ¼ inch (6.3 mm) thick and cut out a 7 × 5-inch (17.8 × 12.7 cm) rectangle. Gently fold the slab in half lengthwise until it reaches a 45-degree angle. Using a sharp knife and a straight edge, cut from one corner of the slab to the center fold of the other side to create the tapered spout shape. Depending on the pot and variations in form, you can trim the spout to proportions of your liking. With the slab spout still soft and cut to final size, begin pinching the top ½ inch (1.3 cm) starting from the pot side working outward to shape, thin, and elongate the spout tip (16).
Once you’re satisfied with the spout, hold it against the pot exactly where you want it to be and mark the outside perimeter with a needle tool as a reference line. I use drill bits of tapering sizes from ¾ inch down to ¼ inch to open the pot body to the spout. Make sure to stay about ¼ inch (6.3 mm) away from the reference mark to account for the thickness of the spout (17). With the holes drilled and burrs cleaned up, attach the spout by scoring and slipping both the spout and the pot along the reference line.
By this time, the handles that were pulled earlier should be dry enough on the surface not to leave fingerprints, but are still pliable. Trim the handles to length and to the appropriate angles where they meet the pot. I like a long, stretched handle to accentuate the height of the pot. After scoring and slipping the connections, join the handles to the pot and cone by working the clay into the pot with your thumbs (18).
Matt Hiller attended the University of Wisconsin-Stout School of Art and Design before moving to Talkeetna, Alaska, where he is building his off-the-grid home and studio. For more of his work, including process videos, you can find him on Facebook and Instagram (@hiller.matt) as well as his website loftedacrestudios.square.site.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Please enjoy this complimentary article for the month.
For unlimited access to Pottery Making Illustrated premium content, please subscribe.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Subscribe to Pottery Making Illustrated
Necessity was the inspiration for making a pour-over coffee pot, and it’s the challenge of making them that continues to drive me. Living in an off-the-grid home, I was in need of a low-energy method of brewing coffee and I had simply become bored with my French press. Working backward from a standard number-four coffee filter, I began sketching ideas using the general shape of the filter as an opportunity rather than a restraint, and built upon its proportions and curves.
Making coffee is a ritualistic activity and an experience to be enjoyed with all of our senses. With this in mind, I elongated the body of the pot to enhance the iconic dripping sound of coffee being brewed. Drawing influence from old enameled camping percolators, the tall brown insulated diner coffee pots from my childhood, and a traditional Arabic coffee pot that lives in my home, I attach an open-pitcher-like spout. Adding an abrupt directional change and high walls, the spout creates a turbulent, but contained pour, which accentuates the classic sound of a cup being filled with the beloved brew.
Throwing the Body
Begin with 3 pounds (1.3 kg) of clay to throw the main body to a height of about 11 inches (28 cm). Be sure to leave a substantial amount of clay at the rim to make a deep, sturdy gallery for the lid and pour-over cone to sit on. Once the cylinder reaches an adequate height, split the lip using the edge of a standard wooden knife (1). While the wooden knife is in your hand, trim away a bit of the clay at the bottom of the pot. Then, use a rectangular metal rib to give the cylinder long, elegant curves, as it leaves a clean, smooth surface that is appreciated later in the surface process. Use the same rib that shaped the pot to square and clean the gallery (2).
Now, take a precise measurement of the inside diameter with a two-sided caliper (3). Considering that multiple pieces need to fit nicely on the pot, it is essential that you get a good measurement and take caution to not bump the caliper off measurement. Tip: I use a small wad of clay pressed between the caliper arms to be sure this measurement does not change (4).
Throwing the Lid and Cone
The lid and cone are thrown from a single 2½ pound (1 kg) ball of clay. Begin by throwing the lid upside down, regularly checking the outside diameter with the calipers (5). Be sure to compress the bottom really well to avoid our arch nemesis, the “S” crack. Use a needle tool to cut the lid off of the hump, being sure to leave enough clay to trim a knob later (6).
With the remaining clay, throw the cone, which is essentially a funnel. I recommend referencing a number-4 coffee filter to achieve the correct size and shape (7). The hole in the bottom should be about 1 inch (2.5 cm) in diameter. Before removing the cone from the wheel, measure and cut the flange to the same size as the lid using the caliper for measurement (8).
Trimming
Once all the pieces have firmed to a soft leather hard, trim away excess clay to create even wall thicknesses, define curves, and then turn a knob that references the shape of the coffee pot body (9).
When trimming the cone, start by refining the hole in the center, trimming a smooth, straight wall that measures about 1¼ inches (3.2 cm) in diameter. Trim the continuation of the funnel angle through the bottom of the pot so that the coffee drips into the center of the pot rather than running down the sides of the foot (10).
Surface Decorating
For this demonstration, I have chosen my “All Over” flower decoration. I begin by dividing the pot equally around the circumference using my circle divider tool (from: loftedacrestudios.square.site), a straight edge, and a needle tool (11). Once divided equally, I set my spring divider to the width between the vertical lines and begin drawing semicircles in a horizontal row across the top of the pot. The spacing for the next row is determined by positioning one point of the spring divider between the four and five o’clock positions of a circle from the row above, and the other point of the divider on the vertical line that divides the circles from the above row (12). Once this point is determined, use a needle tool to draw a horizontal line on the pot as it spins on a banding wheel, and proceed to make circles at the intersection of this horizontal line and every other vertical line.
Caution: Be sure to check and adjust your spring divider width at the start of each new row to account for expanding or narrowing curves, as the size of the flowers needs to expand or contract proportionally.
You will repeat these steps all the way down to the bottom as well as on the cone and lid. For this particular design, I draw a second circle inside each circle that is half the diameter of the original. Now that the layout and outlines of the flowers are determined, begin “plowing” individual petals into the clay using the back end of a paintbrush. I refer to this method of mark making as “plowing” because when done properly the soft clay piles up on the surface of the pot just like how snow piles up in front of a plow truck. The motion starts with the tool tip in the middle of the “flower” and is pressed into the clay as you move the tool outward from the center (13). For best results and to avoid hand injuries, this process should be done at a very soft leather hard.
Pulling Handles and Shaping the Spout
I use a two-handed pulling method that I learned from a good friend and fellow potter, Adam Gruetzmacher. Begin by securing a large, tapered log of clay to the table with enough clay to work with hanging off the edge and pull using both hands (14). I find this method allows for more control in making symmetrical handles, and it allows you to push and pull clay off of the log making beautiful tapers. Once you’re happy with the size and shape of the handle, cut it from the log and set it off to the side to dry a bit. Be mindful of how you set the handle down and try to get it as close to its final shape as possible without muddying the surface (15), and be sure to make plenty of extras.
While the handles are drying, roll out a slab of clay that is about ¼ inch (6.3 mm) thick and cut out a 7 × 5-inch (17.8 × 12.7 cm) rectangle. Gently fold the slab in half lengthwise until it reaches a 45-degree angle. Using a sharp knife and a straight edge, cut from one corner of the slab to the center fold of the other side to create the tapered spout shape. Depending on the pot and variations in form, you can trim the spout to proportions of your liking. With the slab spout still soft and cut to final size, begin pinching the top ½ inch (1.3 cm) starting from the pot side working outward to shape, thin, and elongate the spout tip (16).
Once you’re satisfied with the spout, hold it against the pot exactly where you want it to be and mark the outside perimeter with a needle tool as a reference line. I use drill bits of tapering sizes from ¾ inch down to ¼ inch to open the pot body to the spout. Make sure to stay about ¼ inch (6.3 mm) away from the reference mark to account for the thickness of the spout (17). With the holes drilled and burrs cleaned up, attach the spout by scoring and slipping both the spout and the pot along the reference line.
By this time, the handles that were pulled earlier should be dry enough on the surface not to leave fingerprints, but are still pliable. Trim the handles to length and to the appropriate angles where they meet the pot. I like a long, stretched handle to accentuate the height of the pot. After scoring and slipping the connections, join the handles to the pot and cone by working the clay into the pot with your thumbs (18).
Matt Hiller attended the University of Wisconsin-Stout School of Art and Design before moving to Talkeetna, Alaska, where he is building his off-the-grid home and studio. For more of his work, including process videos, you can find him on Facebook and Instagram (@hiller.matt) as well as his website loftedacrestudios.square.site.
May/June 2026: Table of Contents
Must-Reads from Pottery Making Illustrated
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
Click the cover image to return to the Table of Contents