Lauren Nauman uses a technique in which she applies porcelain clay via a pipette so that it runs down the inside of a smooth cylindrical pipe. She applies each line of porcelain close to another. Once the clay has dried she carefully removes the object from the mould. Firing shrinks and alters the porcelain, and the rigid cylinder shape collapses. The shape can be partly influenced by placing different supports in the kiln, but she doesn’t know what the result will be like until she opens the kiln door; about half the objects break in firing.

There was nostalgia for an older, safer era following World War I, leading to a conservatism in design. After decades of printed patterns, hand painted décor or patterns that expressed “hand painted” became popular. This felt modern. For the same reasons and to increase sales, the word faience came back into use, despite the use of creamware. Rörstrand received attention at the Baltic Exhibition in Malmö in 1914 for its new products inspired by the Swedish 18th century. At Gustavsberg, Wilhelm Kåge was strongly influenced by 18th-century faience painting. Arthur Percy at Gefle Porslinsfabrik and Edgar Böckman at Höganäs also worked in the same style.