All pottery here is hand-made. Jars were made with middle to small sized grit, used as tempering, in grey, brown or buff. Some had mica inclusions, weren't fired well, were hand-smoothed, had a slip in red, brown or grey. They were burnished to avoid flaking of the slip. Most were monochrome, some were incised (spirals, semi.meander, triangle, rhomboid; enriched by dots; incisions and dots were often encrusted with white material). They rarely had handles. 
Some had relief-decoration (e.g. hanging wheat heads, snakes) on their shoulders. Reliefs occurred mostly in Levels II and III, found in buildings as well as graves; reliefs were often applied below the neck, on the shoulder, rarely on the rim. Reliefs were made of paste that was applied to the vessel and shaped per hand. Depicted were mostly living beings (male/female deities, bulls, cows, goats, donkeys, deer, gazelles, leopards, turtles, frogs, snakes, birds, fish), sometimes symbolic abstractions. There was either one motif on the vessel, but several times, or a theme with more motifs (e.g. donkeys being hunted, cows were milked, females dancing hand in hand, a snake that had caught a fish). Symbolic motifs: crescent, sun on the shoulders (--> night and day), a woman's arms and breast (--> mother goddess, fertility), eye-shaped symbols; the relief decoration can be compared to finds from Tepecik-Çiftlik.
A few jars were painted on the slip surface (in brown, red, yellowish-white or cream) with broad bands or line drawings (crosshatching, arcs, spirals)