Getting a Grip: Making Clay Handles with Purpose and Patience

Learning PotteryPottery InspirationHistoric Pottery
Written By Brynn Capwell

Learning is fun, but it can be dangerous, risky, and time consuming. But even if it’s filled with the potential for mistakes, breaks, and risqué maneuvers, we wouldn’t have it any other way. So, let’s talk about clay handles.

During a recent club night at the studio a member was observed swinging a bisque mug proudly by its handle. This particular mug was intricately decorated, lovingly crafted, and proudly displayed, albeit in a somewhat risky manner.

Luckily, before anything happened to their work, they realized the piece was perhaps not the most durable and they quickly and sheepishly adjusted their grip.

Later that evening another conversation ensued, once again about handles. This time however, the conversation was about how to fabricate, proper timing, attachment processes, and “rite of passage”. 

What exactly was this rite of passage? The ability to pull a handle, which infamously, is also one the more tame, yet risqué appearing pottery skills a person can learn. 

Why exactly do we see that as a rite of passage? And what exactly does that have to do with a fragile bisque handle mentioned earlier? 

We Can’t Handle Being Taken for Granted

Creating ceramic forms can be a delicate process. With so many potential timing, material, and fabrication decisions to consider at all stages, it’s easy to become eager to see the end result, and make a decision we could regret.

As we learn and make work with clay, it’s important to give ourselves goals or “rites of passage” as others may say, but also give ourselves breaks and time. Sometimes our goals may need to change, or certain skills just aren’t meant for us, our path may lead elsewhere, and thats okay.

Even after centuries of development, across continents and cultures, there is still so much about clay to consider, and forms to make our own. Clay is incredibly individualistic, expressive, and full of possibilities, and at our club that is what we believe makes the pottery making experience so great.

The most experienced teachers, clay masters, and social media influencers have broken their handles, they’ve made mistakes, and they may or may not pull handles. It’s all part of the experience, and creating our own identities in clay.

Push, Pulled, Sculpted and Attached

Examples of Clay Handles on Handmade Mugs

A collection of pottery mugs at the Wheel & Slab Pottery Club

There are so many different ways to make a handle for pottery forms. Some potters swear by certain handle fabrication techniques, while others, like ceramic artist Dani Montoya, love to explore different options like pulling, rolling and extruding.

But why add handles to our work in the first place? Montoya states on her website about her clay mugs “In my opinion, handles are one of the most important parts of the mug. It’s what the user feels and besides sipping, it’s their interaction with the mug.” 

In her case the handle has a function, it allows the user to use the mug. They can easily hold it, potentially protect their hands if the liquid is hot, and easily control how much liquid they drink. 

3 Types of Handles, Categorized by Purpose

In a thesis paper, entitled A Study of Clay Handles and Ceramic Forms, author Glenda Taylor suggests that in addition to functional handles there are 2 others, and those are decorative, and structural. 

Taylor goes on to explain that all handles shared a similar core purpose, but these categories really helped to classify the makers priorities when designing, creating and attaching them.

Let’s take a closer look at Taylor’s categories, using examples from The Met Collection.  

Functional Handles

According to Taylor these are handles whose primary purpose was to perform a function for the user. This could be as a handle that allows you to pour a pitcher, carry a mug, or serve a dish. 

Pictured, from the Met Collection:
Terracotta one-handled cup ca. 2200–1900 B.C.
The Cesnola Collection, by exchange, 1914




Decorative Handles

While these handles could be functional, their primary purpose is that of adding visual impact. Decorative handles typically helped to embellish a form, featuring detailed carving, textures, and other features that were less practical and more stylish.

Pictured, from the Met Collection:
Teapot with cover c a. 1719–30
Gift of Irwin Untermyer, 1970

Clay Feline Stirrup Bottle at the Met

Structural Handles

In regards to structural handles Taylor states “...there are certain handled pots found which do not seem to fit in either the functional or decorative categories.” These handles typically featured larger proportions, were more sculptural, and when added helped to create a whole new form.

Pictured, from the Met Collection:
Stirrup Spout Bottle with Felines 4th–7th century
Gift of Nathan Cummings, 1967

In Conclusion

Taylors category system isn’t exact, but it’s a great place to start. Many handles on historic forms and modern day pots fit in multiple categories, so it’s really impossible to classify them solely in one category. 

But like with all things in life, nothing is clear cut, and when it comes to handles there really are no set rules. Instead there are things to consider, elements we can prioritize, and always new processes to learn.

In our recent article about William Underhill we noted how he felt each piece of work had a spirit, and that everyday experiences played an important part in shaping the work he created. 

If we recognize that our work has a purpose, a value, and a spirit we can better design and create handles that fit our pieces. And, as we saw in the samples mentioned above, handles can look and be integrated into our forms in all sorts of ways.

The decisions we make can elevate functionality, structure and appearance, it’s really up to us. Whether you are learning pottery for the first time, looking for inspiration, or just curious about the possibilities, it's important to know there is no right or wrong way to make a handle.

Sources

Brynn Capwell

Brynn (she/her) is a potter, educator, business consultant, and co-founder of the Wheel & Slab Pottery Club in Rochester, NY. For over 10 years, she’s been learning about clay, glazes, and the art of making ceramic work. She’s passionate about creating a strong clay community in the Western New York area, enjoys brainstorming and loves a good bit of thought-provoking conversation.

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