As in other kinds of underglaze painting, it may be given as a general rule, that the colors are intensified in firing, in this, however, much more than in other methods. All the stronger colors are intensified to a degree difficult to realize before experience has taught the artist what to expect. They all become several shades darker, and, in the case of blues, blacks and greens, it is more difficult to obtain delicacy, than depth of tint. In the use of scarlet, crimson and yellow, a considerable amount of the color in proportion to the clay must be used for the darker portions to give sufficient depth. Only enough clay must be taken to give body to the paint, and the mixture should then be applied very thickly. The painter must also bear in mind the fact that the stronger color will overpower the weaker in mixtures, even when the latter is in such degree as to give the color to the mixture before firing. After firing, the stronger color will appear in excess. In making such mixtures, therefore, the stronger color should be used very sparingly, if it is desired that the other should predominate in the tint when fired. Otherwise, the colors may be found after firing to be entirely different from what was intended. METHOD OF PAINTING. Let us suppose that the artist wishes to paint a vase. A certain tint being selected for the ground, the color, or colors, which are to produce it are mixed in their relative proportions, according to the hints given above. A sufficient quantity should be prepared to paint the whole ground, especially if a mixed tint, which it would be difficult to reproduce in its exact proportions. It will require some little experience to enable the artist to judge how much will be needed, and, perhaps, it will be somewhat difficult for any one accustomed to painting in other methods, to realize the quantity of paint used in this. It is better to have too much mixed than too little, as it can be kept and used another time. The color, or colors, for the ground having been rubbed down until perfectly smooth, as directed before, may be mixed with more or less clay, according to the shade of color desired. The first tint may be made to represent the darkest shade in the ground, and a comparatively small amount of clay should be used. After the color has been mixed with the clay, it can be placed on one side of the palette. By taking portions from it and adding more clay, other shades of the same color may be made. First, a light tint may be prepared for the first coat upon the vase.