These new activities inspired major china and dinnerware brands around Europe and the US to open boutique art-pottery studios, where gifted artists and chemists were often given free rein to experiment, throw pots by hand, and test glazing thoughts. Some
studios focused on glazing and firing techniques, striving to obtain the ideal color, opacity, and texture. In particular, the firing method often led to unpredictable outcomes, similar to uneven color, veins, or blisters��such "imperfections" gave every bit a unique character. Often the pots were plain match, blank canvases to adorn with beautiful colors, textures, and painted imagery. French
Art Nouveau craftsmen built two-tone marbleized and crystalline effects, in addition to deep flamb�� reds and metal glazes in rich blues, yellows, oranges, and purples. Other ceramists put their energy into growing unique shapes for their pots, making fluid-browsing vases inspired by Japanese ceramics. Three-dimensional relief results were achieved by sculpting damp clay into flower blooms, plant stalks, animals, or maidens. Handles were shaped like scrolls, branches, leaves, or even seductively arching women. The rim of the vase could be manipulated into the shapes of leaves or flower buds. Finally, Art Nouveau pottery produced by major factories, as antagonistic to particular person artists, tended to emphasise surface decoration over experimental glazes. These pieces were decorated with imagery inspired by Viennese Secessionists and Jugendstil artists as well as Japanese art, adding blooming plants, exotic birds like peacocks, and the hugely familiar femme-fleur, or flower woman.