Four hands, one square foot
Oxblood, ochre, mustard and teal are ground from oxides each morning — the master adjusts by tone until the wet paste matches yesterday's dried tile.
The glass — never a mould — gives the finished surface its glossy face. Brass dividers hold the geometry while the colours are laid in by hand, one field at a time.
A backing of grey cement is tamped over the pigment, pressed flush, and left in the courtyard. Sun and shade cure the tile across four to seven days — no kiln, no glaze.
The dry tile is rinsed and lightly polished; only then does the oxide read true. Rejects are returned to the courtyard floor — the colour, after all, has not been lost.