Francesco Bartolozzi quickly recognized that this very demanding method of original printmaking was best suited for decorative works and portraits and scenes displaying flesh tones. He thus set up his famous London workshop which published renderings of either sentimental or mythological subjects, with such well known painters as Francis Wheatly, Angelica Kauffmann, Cipriani and Diana Beauclerk specifically creating designs for him to engrave.
Francesco Bartolozzi's success with the stipple was enormous. He was one of the first engravers granted a full membership to the Royal Academy, and in the last decades of the eighteenth century, a large following of English and transplanted Italian students sat in his studio to learn his techniques. (Some of his students later engraved the popular Cries of London series.) Stippling, however, was destined to live a very short life. It was extremely labourous and time consuming and soon gave way to the more convenient and mass produced forms of printmaking in the nineteenth century.