This is the excerpt from an article I wrote for Pottery Making Illustrated on the making of my oil cruet. This article is present in the Jan/Feb 2020 edition of the magazine.
My dad started buying olive oil in a very large glass jar from a local market. He wanted me to make something so he could keep a small amount of the oil on the counter, ready for cooking and dressing salads. I am challenged by this form each and every time I make it. How can I make a better spout? How does each component work together visually? And of course, making an object that pours well.
Throwing & Shaping the Parts
I start with 2 pounds of clay for the cylinder and 1/2 pound for the base. First, using the 2 pounds of clay, open your clay all the way down to the bat and throw a 7 to 8-inch tall cylinder without a bottom. I don’t throw this cylinder super thin since I will be sure-forming it later to refine the shape. The base and top of the cylinder are slightly flared giving the thrown cylinder an easy, graceful hourglass shape (figure 1). Using calipers, measure the diameter of the bottom; this is the diameter for the base of the cruet. Before removing the cylinder from the bat, I use a metal rib to push in on one side of the bottom and at the opposite side of the top, creating a slightly undulated appearance (figure 2). When the cylinder is leather hard, use a sure-form tool to accentuate the undulating shape of the cylinder, following the line of the cylinder on each side (figure 2).
To throw the base of the cruet, make a really short cylinder. Using 1/2 pound of clay, I throw a cylinder that is about 2-3 inches high and I make the sides slightly concave. Use the calipers to ensure that the base is close to the same diameter as the bottom of the cylinder (figure 3). There will be some trimming with the sure-form tool, so it doesn’t have to be exact. This base will be flipped during the joining process so that the bottom will become the floor of the cruet and the rim will become the foot.
Next, when the tops and bottoms are leather hard, score and slip to join together (figure 4). Making several tops and bottoms allows you to mix and match to find the best pairings. I use a long throwing stick to help compress the inside attachment. I also compress the groove where the two pieces meet on the outside with a porcupine quill or similarly smooth, pointed tool. I like to cut out circles and shapes from the base as a decorative element. People are drawn to these cutouts and when they pick up a cruet to investigate, they notice how comfortable it is in their hand.
The Top
Roll out a slab and cut a circle about 1½” larger than the diameter of the top. Next, cut out a small triangle shape from the slab (figure 5). Score and slip each of those edges, bringing them together and attaching them to form a dart. This creates a point in the top. Drape this slab over some softly balled up plastic to create a curve in the top. Allow it to set up to leather hard.
To attach the top to the body of the cruet, place it on top of the cylinder and trim off any excess, leaving about 1/8” around the edge. Score and slip the rim of the body and the perimeter of the top. Using a soft rib, smooth the attachment around the edge of the top and around the side (figure 5). Place these under plastic to allow the attachment point to set up. Once set, use a sure-form tool to trim off any extra clay, creating a smooth corner transition between the body and the top of the cruet.
When the top has set up to a stiff leather hard, use a sharp knife to cut a 1/2” square. Roll out a thin 4” coil. Score and slip this coil and the edge around the opening and attach. Smooth the attachment of the coil to the top with your fingers, rounding the opening. This will be the rim at the top of the cruet where the olive oil is added.
The Spout
Create a paper pattern for your spout form. You can vary the length of the spout, creating the shape you like best. To create a symmetrical shape, fold a piece of paper in half, draw one side of the spout shape and cut it out. When you unfold the paper, you will have a symmetrical pattern for the spout. Roll out a very thin slab and place the it on thin plastic (think the feel of those bags you put vegetables in at the grocery store). Place the paper spout pattern on the clay slab, trace it and cut out the spout form (figure 6). The plastic helps prevent the spout from drying out while you are shaping it.
Using water, taper the edges all the way around the spout shape with your fingers. This is done before molding the spout and attaching the edges. With the tapered edges, you can overlap and smooth the two together for a seamless transition. Slowly work the sides of the spout around, creating the interior space. Gently bring the edges around, careful to keep the opening from collapsing (figure 7). A porcupine quill, or any other long, thin, smooth tool is great for holding the shape. Once you have formed the spout, peel off the plastic and allow it to set up, being careful that it doesn’t dry out too fast. Once the spout has set up and can be handled without crushing it, it is time to attach it to the body of the cruet.
Holding the spout up to the body of the cruet, determine where you will attach it and how much you want to cut off: do you want a shorter spout or a longer spout? With a needle tool, mark where you want to attach the spout and where to cut the spout. Cut an opening on the top, concave surface of the cruet (figure 8). Score and slip around the opening on the body and on the base of the spout. When scoring the spout, slightly flare the base, creating an edge to attach and smooth into the body. Carefully attach the spout. Using a sponge and small flexible rib, reinforce the attachment point. When all parts are attached I use a metal rib to smooth the texture left by the sure-form tool and finish up with a damp sponge, wiping down the entire form.