Sherds were first divided into two broad categories - Halaf and Hellenistic/ Roman - and then further subdivided by three main variables: surface treatment, temper, and manufacturing technology. The classification of Halaf sherds into wares was a relatively straightforward matter. Two main groups, a coarser, thick-walled, vegetal-tempered category, and a finer, mineral-tempered and hard-fired ware, were easily distinguishable. Most of the mineral-tempered sherds exhibit some traces of paint. Painted vessels have rim diameters of ca. 10 to 20 cm; however, such measures have to be understood as approximations since many vessels had oval orifices. These fine wares, probably used for consumption of food, were carefully smoothed on the outside; burnishing or polishing was very rare. Approximately two-thirds of the ceramic assemblage consists of vegetal-tempered wares. These vessels are generally much larger than the fine ware ones, have thicker walls and often black cores. Among the vegetal-tempered wares, there is more variation than among the mineral-tempered categories. Temper varies in size, and surfaces were variously left untreated, roughly smoothed, streak-burnished or highly polished.
At Fistikli Höyük, shapes are notoriously difficult to identify because of the fragmentary nature of the vessels. We have so far identified 22 partial or complete shapes, including types of bases and lug handles. There is a clear association between painted fine wares and three shapes. One consists of tall-necked jars with body and neck made separately; at the join, surplus clay often forms a coarse ridge on the interior. These vessels usually have an inner rim decoration and painting on the outer neck and shoulder. They seem to be the most frequent fine-ware shape. Another frequently occurring shape is the straight-sided bowl, usually decorated on the outside and the interior rim. Some specimens have “potters’ marks” on the bottom. The third common shape consists of lids that are distinguishable from bowls since they are decorated on the flat top, often with motifs that divide the upper surface into four fields. The insides are usually undecorated. Much less common are Büchsen, Trichterrandschalen, four-lugged vessels and cream bowls.
Among the coarse-ware, vegetal-tempered vessels, there is a sharp divide between large and miniature shapes. Miniature vessels, of which there are only a few, are almost invariably rounded-walled bowls with simple rims or small, griddle-like vessels. Large vessels consist of sinuous-walled jars with simple rims, jars with a short, straight neck and hole mouth jars.
Motifs on the fine-ware vessels are predominantly geometric. The most frequently occurring motifs are cross-hatched patterns, parallel lines, horizontal bands, chevrons, cross-hatched diamonds with dots in the center, “egg-and-dot” motifs, zig-zags and the “Kazane patterns.” Painted motifs occur in red, dark (brown to black) and polytone colors. The largest proportion is painted in brown to black.
Naturalistic depictions include bukrania and birds. Bukrania occur singly between geometric elements and as rows. They are generally depicted vertically. Birds are typically shown from the side, marching towards the left. Another way to depict birds is from the front, with the wings wide spread out and with “hanging feathers”.
Two rare sherds depict human beings. One of them is clearly identifiable as the upper half of a torso and head of a human figure. The torso was drawn as an upside down triangle, and each finger on the hands is outlined clearly. The head seems to have a bushy crop of hair or a headdress, and the arms are half-raised. In one hand, the figure holds what appears to be a stick. Next to the figure is a rectangular, cross-hatched structure with a bird on top. Depictions of people on Halaf pottery are not common.