Decoration was influenced by regional variations in geography and contexts. In eighteenth- and nineteenth-century contexts in Southern Brazil, São Paulo, Rio de Janeiro, Goiás and Mato Grosso, the artistic decoration was more expressive, featuring a wide variety of incised motifs in single or parallel lines and a greater predominance of arches and zigzags, frequently combined with other decorative motifs and techniques such as engraving, stippling and imprinting with fingernails. Painting was less frequent. These patterns varied according to the region and were scant or absent in some contexts. Any explanation for such variations must take into account not only the cultural composition of each region, but also the question of domestic production compared to larger-scale production of pieces for sale. Similarities between ceramic vessels dating back to the eighteenth century and the first half of the nineteenth century do, however, suggest historical-cultural connections between the regions. Despite this, contemporary ceramic sets from Northern Brazil and the semi-arid Northeast region do not share these characteristics.  
De Souza and Lima (2016, p. 33) highlight the historical connection between regions in which the ceramics have been found and the São Paulo component, given that groups of São Paulo bandeirantes explored the South and the Centre-West of Brazil in the seventeenth and eighteenth centuries in order to capture Indigenous peoples and search for precious minerals. There is therefore a strong correlation with the African component, in particular with groups in Central Africa, which tended to demographically predominate these regions. African presence had far less significance in the north, on the other hand, where Indigenous populations were predominant, and in the semi-arid north-east, where the demand for enslaved people was lower because of the absence of mining and the presence of an economy that relied more heavily on the farming industry.