In the Ming Dynasty, purple clay colors were predominantly purple and red, while the Qing Dynasty introduced more variations, including a type with pear-skin-like speckles called "pear blossom spots" or "osmanthus sand." The former had coarser particles, and both were collectively termed "pear skin." "Pear blossom spots" were common in the early Qing era, whereas "osmanthus sand" became prevalent during the Yongzheng and Qianlong reigns. Post-Republic China, colors expanded to include ink-green and black, achieved by blending clays or adding metal oxide pigments. Master artisans guarded their unique clay recipes closely, creating exclusive materials.

Black clay, now a star in purple clay art, is typically made by mixing base materials like purple or green/white clay with chromium, iron, manganese, or cobalt oxides. Early "black iron sand" incorporated manganese. Purple clay-based black exhibits a reddish-purple tint due to high iron content, while green/white clay yields a bluish-black hue. True black requires oxide additives, unlike Shandong black pottery, which relies on carbon infiltration and fades at high temperatures.

Emerald green clay, another hybrid, combines green clay (sometimes with purple clay) and cobalt/chromium oxides. No natural purple clay fires deep green; this technique began in Republic-era factories, hence the name "Republic green." A unique batch from that period used cobalt ore instead of pure oxide, creating a distinct tone. Similarly, cobalt in purple clay produces blue-purple shades, while manganese in clean clay yields purple. White comes from white clay; green from cobalt oxide and local green clay; blue from cobalt and white clay; red from refined mountain yellow clay or iron oxide; pink from raw white and red clay; and brown-yellow from black and raw red clay.

Industrialization introduced chemically colored teapots with over 20 hues, including iron-blue, chestnut, and ebony. However, these often underperform. Some mimic glossy surfaces using excessive glass water or spray coatings. Claims of color-shifting teapots are attributed to borax (3%–5% blends alter colors) or "kiln transmutation," where heat naturally blends hues without additives. Skepticism remains, as centuries of craftsmanship have exhausted natural clay's chromatic potential.

Temperature-sensitive pigments, like those turning brick-red Qing clay blood-red when heated, are deemed novelties. These reversible pigments (e.g., red below 31°C, colorless above) are printed or embedded in teapots. Critics dismiss such tricks as marketing ploys for low-end products (priced under thousands), as respected artisans view them as degrading precious purple clay.