Painting on porcelain is performed with ceramic paints which are fixed by baking in a muffle oven under 700-850 degrees’ temperature. Some paints require high temperatures, therefore do not fade under low temperatures. Other paints require low temperatures, and they can burn out when the temperature is high. That is why the painting technology on porcelain is not like oil, or watercolour painting method. First, it is necessary to work with refractory paints and burn them and then use others. It is the first problem of ceramic painting. The second problem is the fact that ceramic paints change their colour in fire and some change colour considerably. This problem is particularly serious when painting a human body. Finally, some colours are not compatible with each other.

Taking into consideration that the set of paints is 130-150 colours, to puzzle out their features, and master the art of painting the tones of a human body is beyond the achievement in porcelain painting. Mainly decorative compositions are usually painted on porcelain, as it takes only one or two firings to complete them. You can find replicas of well-known works created in other techniques on porcelain vases.

Only the greatest ceramic painting masters undertook such work. These works make you admire and wonder! It is so difficult to create such work of art that I would not want to make any remarks. Especially in porcelain painting no one tried to solve other more complex tasks in the 19th century.

But the more difficult task was successfully solved in the 20th century by one painter! It is author's easel painting on porcelain layers when the image subject is a nude body of a white woman. Paints that are used to create such painting, we call as corporal. These are variety of ochre, red, brown, and others. The colours have their reserved additional names and different numbers. For instance, there is red colour with 1007 number and there is a number of red colours, differing in tones and shades and they have their own numbers. I will not list all the differences and nuances that are necessary to know. All these paints behave differently in the fire. These paints change colour or interact differently with other paints. For example, some red paints when inflicted on flaxen yellow almost completely disappear. And when are combined with the blue colour, they do not convert into the corresponding mixture formation. Only special studies and long-term practice can provide the master with the necessary skill level skill in ceramic painting of flesh tones. Typical for a white body is that we can see the cold and warm tones. That is why the task in ceramic paints painting is to manage to combine incompatible colours, or keep the red colours on the "ivory" yellow, whose fluxes weaken them. These tasks are not comparable in complexity to those solved in "daisies and roses" depicting. It was Krylov, who first performed ceramic painting on porcelain layers with tactile fulfilment flesh tones.

There were also the original paintings on porcelain performed for several Russian museums:

• Series of unique compositions dedicated to the Decembrists’ wives were completed for the St. Petersburg history museum.
• Portraits of famous women who led the revolutionary movement in Russia. Such as Kollontai, Armand, Ulyanov and others were made for the Revolution museum in St. Petersburg.
• Portraits of Trubetskoy, Volkonsky, Davydov and others were made on porcelain for the museum of Decembrists in Petrovsk city.
• Portrets of all Ulyanov family members were made for the Lenin central museum in Moscow.
• Other orders also were rated highly by arts councils and were accepted by the painting Board.
• Unique art by Krylov, member of the Union of Russian Artists has been numerously mentioned both in various publications and on TV.
• High assessment of creative work also was given in the State Hermitage withdrawal signed by the Director of the Hermitage Boris Piotrovsky.