The majority of the works they carry out are the reproduction of ornamental ceramics of a medium and large format. They use the new techniques and tools the field offers today including furnaces and clay kneader machines, which contribute to a better quality of the… pieces. This allows them to be more competitive in today’s market and to lessen the physical effort this type of work requires from the artisan.

The manufacture is artisanal, based on the techniques the ceramist artisans used centuries ago:

-Modelling is the first step to produce serial pieces, religious and non-religious images, and ornamental pieces. They are designed at the workshop and, once modelled or obtained by using profile tools, they create a mould in plaster, from which the reproductions of the piece will be obtained using the technique of pressing them with the aid of moulds or mold casting. The production of moulds is also one of their specialities. They carry out plaster and silicone moulds for reproductions made of plaster, resins, artificial stone, etc. 

-The pressing technique is used to manufacture serial pieces out of a mould. Unlike with the wheel, with this technique they reproduce pieces of whichever shape or form: polygonal, circular, embossed, etc. It consists of an open plaster mould, where the clay is manually pressed, adapting to the form of the mould. It is the main process of manufacture of the workshop. This technique, which is being used less and less everyday because of the new procedures which increase production and do not require specialised craftsmen, creates pieces with great strength and resistance, reason why it is the most adequate for large format pieces. Because of its completely artisanal character, it is the technique which most faithfully reproduces the ceramic pieces of past times. Once the piece is unmoulded, they go over it to eliminate the exceeding material and to leave the surfaces completely smooth. Finally, they let the pieces dry and then fire them for the first time before they start with their decoration. 

-Lastly, the decoration process. It requires the mastering of a wide range of decorative techniques. Their collaboration in many restorations has taken them to use traditional techniques to reproduce as faithfully as possible the pieces to be replaced: majolica decoration, cuerda seca (dry cord technique), with the use of water, turpentine, etc. After the first firing, the piece is immersed in the enamel base on top of which the motives will be painted with oxides. It is of great importance when it comes to replacing a piece to be as faithful as possible in the reproduction of the enamels and colours to be copied. Their vast experience in this kind of works has led them to create extremely faithful approximations of chromatic tones.