In particular, the firing procedure often led to unpredictable outcomes, akin to uneven color, veins, or blisters��such "imperfections" gave each bit a unique character. Often the pots were plain suit, blank canvases to adorn with desirable colors, textures, and painted imagery. French Art Nouveau craftsmen constructed two-tone marbelized and crystalline results, as well as the deep flamb�� red referred to as sang-de-boeuf and metal glazes in rich colors like blue, yellow, orange, and purple. Other ceramists put their energy into growing unique shapes for his or her pots, making fluid-shopping vases inspired by Japanese ceramics, some even shaped like plant life or foliage. Three-dimensional relief results were accomplished 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 can be manipulated into the shapes of leaves or flower buds. Finally, Art Nouveau pottery produced by major factories, as adversarial to individual
artists, tended to emphasize surface ornament over experimental glazes. These pieces were embellished with imagery encouraged by Viennese Secessionists and Jugendstil artists in addition to Japanese art, adding blooming plants, exotic birds like peacocks, and the hugely ordinary femme-fleur, or flower woman. Slip, or colored liquid clay, was often used to decorate Art Nouveau pots. Minton in specific favourite
"tube-lining" by which slip is squeezed onto a vase in thin lines, in much an analogous way icing is utilized to a cake.