kingdoms the elaborate geometric designs found in tilework, brickwork, wood carving, plasterwork, ceramics, and ornamental metals of Al-Andalus. Objects, as well as ceilings and walls, were often decorated with rich and complicated designs, as Mudéjar artists were not only interested in relaying wonder, a key feature of Islamic art and architectural traditions, but in conveying the sumptuousness of materials and ornament. Many decorative arts were applied to architecture, such as the tiling and ceramic work, as well as carving practices. To enliven the surfaces of wall and floor, Mudéjar art developed complicated tiling patterns. The motifs on tile work are often abstract, leaning more on vegetal designs and straying from figural images (which is common in Islamic work). The colors of tile work of the Mudéjar period are much brighter and more vibrant than other European styles. The production process was also typical of techniques that had been used in Islamic Iberia, the tile was fired before it was cut into smaller, more manageable pieces. This approach meant that the tiles and glaze work shrank less in the firing process, and retained their designs more clearly. This allowed the tiles to be laid closer together with less grout, making the compositions more intricate and cohesive. Ceramics Ceramics had been a sophisticated art form during the period of Islamic rule in the Iberian Peninsula and Mudéjar style ceramics were built on the techniques developed in the previous centuries of Islamic art. Pottery centers all over Spain - e.g. Paterna, Toledo, Seville - focused on making a range of objects, from bowls and plates to candlesticks. Mudejar style ceramics were typically worked in three “styles:” green-purple ware (manganese green), (cobalt) blue ware, and gold-glazed ware (lusterware). Mudejar artisans introduced their perfected glazing techniques to Medieval Europe where Mudejar pottery from Manises, Paterna, and Teruel were the most popular. A transparent glaze could be achieved through the mixing of lead and tin for an opaque, shiny white glaze, and mixtures of metal oxides were applied to the glazed and fired surfaces to create lustre decoration. This technique was carried on from the Nasrid period. Typically, artisans would apply a layer of opaque white glaze before the colors. On top of the white, cobalt blue, green copper, and purple manganese oxides were used to make vibrant, shimmering surfaces with the appearance of gold and other precious metals. Similarly to tile and stucco work, ceramic