Cups come in all different shapes and sizes. They’re one of the most versatile pieces of pottery you can make. The obvious use is to hold liquids—and there are plenty of options to fill them with. But cups can also live on a desk to hold pens, or in a drawer to organize small parts and pieces. They hold things, and that’s what makes them great—any shape or size will be useful somewhere.

Cups might seem like a simple concept, but there’s so much opportunity to add character to them. The way we use cups—mostly to hold drinks—makes a difference too. We hold them, set them beside us, and sometimes even cradle them on cold mornings. We constantly bring them up to our face and stare into them as we sip. How many other pieces of tableware do we have that kind of relationship with? Cups can be very meaningful.

My cups have changed quite a bit over the years. Only recently have I settled into a somewhat consistent shape (more on that later). Still, I try at least one new variation almost every time I'm on the wheel. I used to think the only reason to make a cup was to add a handle and call it a mug—but now I mostly make handleless cups. Maybe it started from laziness, but now it’s a style I actually seek out. My philosophy: if it’s too hot to hold, it’s too hot to drink. I’ll get back to making more handles eventually, but right now, I prefer them without.

Short, wide, tall, skinny—I’ve tried all kinds of variations. About 10 years ago, I was obsessed with a shape that had a spherical base, then transitioned to slightly concave sidewalls (pictured below). The foot was always tall and sharply defined. That’s more fun to trim anyway.

Original Cups

These days, my obsession with cups leans toward short tumbler shapes. They can be used for drinks, but also work well for ice cream or snacks. As I drink less drip coffee and more espresso, the shape and size naturally evolve.

I still like a defined foot, but I approach it a bit differently now. A taller foot helps elevate the piece so it’s easier to pick up—plus it feels good in hand (in my opinion). The foot shape is usually triangular: sturdy and balanced, with a small, lightweight base. The tip of the triangle is slightly rounded to prevent chips or cracks. Defined feet are one of the signature elements I look for in pottery. They don’t have to be huge—even a subtle, well-defined foot adds character and craftsmanship to a simple form.

Surface decoration, carving, and texture are elements I’m always experimenting with. I used to use chattering on almost everything—not as much anymore. And if I do, it’s often paired with grooves or carved lines for more depth. Developing DiamondCore Tools led me into trying new styles and techniques. When designing tools, I end up testing them over and over—so I’m always developing the technique alongside the tool itself. These days I prefer slips and underglazes for adding color. They’re reliable, carve clean lines, and are great for fine details or sgraffito. Fluting and other traditional carving techniques are also fun, especially when paired with different glaze styles. I see fluting as pattern and texture, while sgraffito is more for drawing or illustration.

Tumblers and Textures

My go-to style today uses a concave base of varying heights, followed by a sharper transition into straight or slightly inward-curving walls. This base is trimmed into a tall foot—where the inside is hollowed (sometimes over 10mm deep), but the outer ring isn’t always defined. I’ve come to really like this form—it has a very clean, modern look and feel. For decoration, I often add a short ring of slip around the bottom edge—just enough to carve into, and it doesn’t take long to apply.

Modern Looks

The newest models, as I call them, combine a little of everything: concave foot bases, blended slip colors, and a glazed rim. Combined, they can be quite colorful—highlighting intricate carved details with a splash of glaze. The blue glaze below is Laguna Desert Sky. It works great as a standalone color, pools into darker crackles, and shifts slightly pink/purple when applied thin. I only use it on the outside of pieces, since it does crackle a lot. But for relief-style carving, it picks up the finest details like a celadon would.

All of this contributes to the personality of each cup—something you come to know over time as you use it. Even the blooper cups that didn’t quite make the cut still end up on our coffee table.

Newest Models

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Nicholai Busch

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