of the times, but the red-figure style created better preconditions for presenting more elaborate scenes by exploiting the new arrangement possibilities. But in the meantime, a few innovative craftsmen could still give new impulses to the production of black-figure vases. The most imaginative potter of the time, also a talented businessman, was Nikosthenes. Over 120 vases bear his signature, indicating that they were made by him or in his workshop. He seems to have particularly specialized in producing vases for export to Etruria. In his workshop the usual neck amphoras, Little Masters, Droop and eye cups were produced, but also a type of amphora reminiscent of Etruscan bucchero pottery, named the Nikosthenic amphora after its creator. These pieces were found particularly in Caere, the other vase types usually in Cerveteri and Vulci. The many inventions in his workshop were not limited to forms. In Nikosthenes’ workshop what is known as the Six's technique was developed, in which figures were painted in reddish brown or white atop a black glossy slip. It is not clear whether Nikosthenes also painted vases, in which case he is usually presumed to be identical with Painter N. The BMN Painter and the red-figure Nikosthenes Painter are also named after Nikosthenes. In his workshop he employed many famous vase painters, including the elderly Lydos, Oltos and Epiktetos. The workshop tradition was continued by Nikosthenes’ successor, Pamphaios. Two black-figure vase painters are considered to be mannerists (540-520 BC). The painter Elbows Out decorated primarily Little Masters cups. The extended elbows of his figures are conspicuous, a characteristic responsible for his pragmatic name. He only seldom depicted mythological scenes; erotic scenes are much more common. He also decorated a rare vase form known as a lydion. The most important of the two painters was The Affecter, whose name comes from the exaggeratedly artificial impression made by his figures. These small-headed figures do not seem to be acting as much as posing. His early work shows scenes of daily life; later he turned to decorative scenes in which figures and attributes are recognizable, but hardly actions. If his figures are clothed they look as if they were padded; if they are naked they are very angular. The Affecter was both potter and painter; over 130 of his vases have survived. The Antimenes Painter (530–500 BC) liked to decorate hydria with animal friezes in the predella, and otherwise especially neck