Pots Explained: Ceramic Types, Uses and How to Get Started

Updated

A pot is a vessel shaped from clay and hardened by firing, and the four types most people encounter are earthenware, stoneware, porcelain and raku. The right choice depends on what the pot must do: earthenware suits decorative pieces and gentle indoor use, stoneware is the practical all-rounder for domestic ware, porcelain rewards precision and suits fine tableware, and raku is for display rather than daily use. If you want to learn to make pots rather than buy them, a local ceramics society is one of the cheapest routes in — Wey Ceramics Society, for example, charges a low annual membership fee of £25 and gives members access to demonstrations, exhibitions and shared practice.

The four main types of pot

The differences come down to clay body, firing temperature and how porous the finished pot is.

Type Clay and firing Character Typical use
Earthenware Lower-fired, more porous body Warm colours, softer surface, can chip; not fully watertight unless glazed Decorative pots, planters, sculptural work
Stoneware Denser body fired high enough to vitrify Strong, chip-resistant, usually watertight Mugs, bowls, ovenware, everyday domestic pots
Porcelain Fine, pale body fired very high Translucent when thin, hard, less forgiving to make Fine tableware, decorative and sculptural pieces
Raku Rapid firing and cooling, often in reduction Crackle glazes, dramatic colour, thermal shock Display pieces only — not for food or water

A useful rule of thumb: the higher the firing, the tighter and more durable the pot. Raku sits outside that logic because the dramatic cooling that creates its look also leaves it fragile and unsuitable for holding food or liquid.

Matching a pot to its purpose

Before choosing or making a pot, decide where it will live and what it must survive.

  • Food and drink: choose stoneware or porcelain with a food-safe glaze. Avoid raku and unglazed earthenware for anything eaten or drunk.
  • Plants: earthenware and stoneware both work; porous earthenware dries out faster, which suits plants that dislike wet roots. Check for a drainage hole.
  • Outdoors: frost resistance matters. Dense, high-fired stoneware copes best; thin or porous pots can crack in a hard frost.
  • Display and sculpture: raku and heavily textured earthenware are the natural choices, since durability is not the point.
  • Oven and microwave: only use pots explicitly made and glazed for it — do not assume stoneware qualifies.

Common pot forms and what they suit

Domestic, decorative and sculptural ceramics overlap, but the form usually signals the job:

  • Open bowls and dishes — serving, mixing, display.
  • Cylinders and mugs — drinking vessels; handle attachment is the weak point, so check the join.
  • Closed forms with narrow necks — bottles, vases, jars; harder to throw, better for keeping contents contained.
  • Planters and garden pots — heavier walls, drainage, frost tolerance.
  • Sculptural vessels — form over function; often earthenware or raku.

How pots are made

There are two main making routes, and both end in firing and glazing.

  1. Hand-building — pinching, coiling or slab-building. Start with a soft clay body, join pieces with scored and slipped seams, and dry slowly and evenly before firing to avoid cracks.
  2. Wheel throwing — centring the clay on a spinning wheel, opening it, then pulling up the walls. Expect to practise centring far longer than anything else; it is the step most beginners underestimate.
  3. Drying — the slowest and least glamorous stage. Uneven drying is the most common cause of cracked pots.
  4. Bisque firing — a first firing that hardens the pot so it can be glazed.
  5. Glazing and glaze firing — applying glaze and firing again to melt it into a glassy surface. Glaze thickness and kiln temperature decide the final colour and finish.

The verification step is simple: after firing, check for cracks, crazing in the glaze, and whether the base rings cleanly when tapped. A dull thud can indicate a hairline crack.

Learning locally: societies, demonstrations and workshops

For beginners, a ceramics society offers structured exposure without the cost of a kiln. Wey Ceramics Society, based in Surrey and covering adjoining counties, welcomes makers and non-makers alike — teachers, professional ceramicists, enthusiastic amateurs and people with a general interest in ceramics.

Membership brings friendship, exchange of views and practice, access to demonstrations by other potters and sculptors, and the chance to take part in exhibitions, for a low annual membership fee of £25. The society's diary shows the kind of hands-on learning on offer: a pit pot prep session in August, an AGM in September, a pit firing event on 19–20 September, a workshop with Pascale Wilson on 25 October, a raku firing on 31 October, plus other demonstrations through the year.

Practical points to check before joining any society: whether membership includes kiln access or firing fees, whether workshops are extra, and whether you need your own tools and clay. The Wey page lists events and a "Join the Society" section with its Data Privacy Policy, but does not state firing costs or class fees — ask directly.

Making the decision

  • Buying a pot for daily use: stoneware or porcelain, food-safe glaze, no raku.
  • Buying for the garden: high-fired stoneware with drainage; avoid thin earthenware in frost.
  • Buying for display: raku and earthenware give the most character.
  • Starting to make pots: try a taster workshop or demonstration first, then consider society membership if you want regular practice and a community. At £25 a year, Wey Ceramics is a low-risk way to test whether the craft sticks.