This reduced the cost of producing their own prime material and enabled them to concentrate on the decorative aspects of each piece, which required smaller premises.For these reasons, these decorating activities consisted mostly of hand-painting porcelain figurines or tableware, but also in making small bits of porcelain (hats, small animals, flowers, handles etc) to attach to the original blanks to enhance their appeal.By the mid 19th C and as the popularity of porcelain increased and rapidly became more affordable for clients that did not necessarily come from the noble classes of society, there were more and more of these studios that established operations in the area.
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Although this was somewhat accurate to an extent since most blanks were supplied by them and many of their artisans also worked there, some marks used by the various independent workshops were remarkably similar to the famous Meissen’s crossed swords or they blatantly used the word on their products.
Meissen prosecuted the use of their trademarks by others by various legal means, but most studios continued using variations that were borderline different and thus acceptable in the eyes of the law.
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At first, kilns were small and the output quite limited for these studios, but that did not detract from the creativity and immense talent of their artisans.
In fact, many worked primarily at Meissen during the day and supplemented their income by helping at these workshops.
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The style applied by practically all these Dresden studios followed closely in the footsteps of the prevailing trends set at Meissen at the time.