The “dry rope” ceramic technique is based on decorating a tile or other object with a drawing painted with some greasy element. Once the drawing is done, the gaps are filled with glazes inside a rubber bulb, which is pressed until the liquid reaches the line, which will be repelled by the grease and will not cross the line, until the desired glaze thickness is achieved.

Once the entire tile has been filled with the desired glazes, it is fired in the oven at 960ºC.

Screen printing is a printing technique that reproduces documents and images on any material and consists of transferring ink through a mesh stretched over a frame. The passage of ink is blocked in areas where there will be no image by means of an emulsion or varnish, leaving the area where the ink will pass free.

The printing system is repetitive, that is, once the first model has been achieved, printing can be repeated hundreds or even thousands of times without losing resolution.

The dry-cord pottery technique is older than that of cuenca or arista, it was known since the Umayyad period, and fully developed in Al-Andalus in the 10th century.

It was used in Andalusian ceramics, although its development in the Iberian Peninsula occurred within the Moorish and Mudejar culture, during the time of the Catholic Monarchs, mixing the Muslim influence with the Gothic-Renaissance.

Previously, the dry rope technique coexisted with two other techniques applied to unglazed ceramics: sgraffito and stamping, which became widespread during the Almohad period. Later it would end up being largely replaced by the basin or edge technique. In North Africa, the best example of decoration using dry rope as an element in architecture is the Zawiya of Sidi Qasim Jelizi, in Tunisia.