A white glaze background will be spread on the surface of the object to render it impermeable and make it possible to decorate. The glazing can be followed through with a paintbrush, sprayed, or following an antique technique, for immersion; this consists of immerging objects in a tub of white paint.

Seems simple, but this operation requires great ability by the potter, especially in depositing the right harmonious quantity of Glaze onto the entire surface. To avoid inaccuracy reoccurring in the design, often an antique technique of dusting is used. Using a piece of translucent paper pierced with a needle along its edges, it multiplies what is on the surface of the vase, and then is beaten with a wad of fabric containing coal powder. Thus, falling through the holes in the paper, it deposits on the surface, outlining the edges of the design to which colors are applicated.

The traces of carbon powder left is revised by the painter with a brush, and therefore is always applied with a paint brush. Colors are applied to complete the design. The special colors of ceramic are obtained with diverse metallic oxides, earth, and minerals. A green shade is produced with the oxide of copper, yellow with oxides of iron, while the oxide of cobalt produces blues and the oxide of manganese produces browns. The colors and enamels must be firing to obtain consistence and brilliance therefore, the vases are firing again for a second time, according to “its beauty” around 920-940°C.