cobalt and a body somewhat modified to produce a ware that was slightly greyish in appearance. Pearlware was developed in order to meet demand for substitutes for Chinese porcelain amongst the growing middle classes of the time. By around 1808 a fully whitened version of creamware (known as White Ware) was introduced to meet changing market demand. Forms During the partnership between Thomas Whieldon and Josiah Wedgwood from 1754 to 1759, moulded creamware in a variety of forms was developed, especially in collaboration with the talented block-cutter William Greatbatch, who produced a variety of Cauliflower, Pineapple, Fruit Basket and other popular wares. There was considerable inventiveness of form and the use of moulds allowed both greater complexity and ease of mass-production. Several creamware types used moulds originally produced for the earlier salt-glazed stoneware goods, such as the typical plates illustrated opposite. Combined with increasingly sophisticated decorative techniques, creamware quickly became established as the preferred ware for the dinner table amongst both middle and upper classes. Decoration Creamware during the 18th century was decorated in a variety of ways: Lead-powder The early process of using lead-powder produced a brilliant, transparent glaze of a rich cream colour. Small stamped motifs similar to those used at the time on salt-glaze wares and redware were sometimes applied to the ware for decoration. Dry crystals of metallic oxides such as copper, iron and manganese were then dusted onto the ware to form patches of coloured decoration during firing. Tortoiseshell method The early lead-powder process led directly to the development of the tortoiseshell method and other coloured glazes which were used with the new fluid glazes. Here, patches of colour were sponged or painted onto the biscuit surface before a clear glaze was applied to the whole and then fired. Coloured decoration could help disguise imperfections that might arise during the firing process. Transfer-printing Transfer-printing of pottery was developed in the 1750s. There were two main methods, underglaze printing and overglaze. For overglaze printing, an engraved copper plate was prepared and rubbed with oil. The surplus oil was wiped off and an impression was taken onto thin paper. The oily print was then transferred to the glazed earthenware surface which was then dusted with finely ground pigment in the chosen colour. Excess powder was then removed and the ware was given a short firing in a muffle kiln to soften the glaze, burn off the oil