The process of creating these luxuriously inlaid objects is somewhat complicated and has multiple stages. First, designs are formed on the surface of the metal (usually copper or brass) by relief, piercing, engraving, or chasing. Color is then added to the crevices of the surface by encrustation, overlay or, most commonly, inlay of precious metals. These metal inlays could be sheets or wires hammered into place. The area around the inlaid design was often roughened or covered with some sort of black material. Each craftsman in the industry had their own personal specialization. This specialization could be in a particular metal, technique, object, or step in the process. There are two reasons the casting step of the process usually took place in an urban workshop. The first is simply because most patrons were located in these urban areas. The second is because it would be too difficult to move all of the heavy equipment necessary for casting from one rural location to the next. Inlayers and precious metalworkers were able to travel with ease and were not confined to the workshops as casters were. There were three main inlay innovations that are believed to have originated in Mosul in the thirteenth century- gold inlays, black inlay, and background scrolls inlaid with silver.
The designs themselves are quite varied in subject matter. Some of the popular motifs include: astrology, hunting, enthronements, battles, court life, and genre scenes. Genre scenes, images of everyday life are particularly prominent. Among the original design traditions there is evidence that can trace them to East Asia through the designs within textiles. Mosul was a great textile industry during the same period that they were producing these inlaid objects and they happened to specialize in reproductions of Chinese silks. It is speculated that many of the traditional metalwork designs were heavily influenced or even direct copies of these silk reproductions.
Historically, many scholars have argued that the Mongol sack of Mosul led to the demise of the luxury metalworking industry, however modern scholarship and an abundance of evidence disproves this. For example, it is known that Mosul metalworkers received an imperial commission by Il-Khan Abu Sa'id in the last years of the Ilkanate. Not only did Mosul continue to produce elaborate inlaid objects after the Mongol sack, they also altered their traditional stylistic choices to coalesce with Mongol taste. There was a new emphasis on minuscule style, the figures represented reflect the Ilkanhid fashion of the period, and they started to put more emphasis on pattern over figuration.
One of the finest examples of the Mosul school of metalworking is the Blacas Ewer.
Another item tentatively attributed to Mosul is the Courtauld bag, which is thought to be the world's oldest surviving handbag.