Dürer never copied any of his paintings directly into prints, although some of his portraits base a painting and a print on the same drawing, which is very similar. The next stage began when Titian in Venice, and Raphael in Rome, almost simultaneously began to collaborate with printmakers to make prints to their designs. Titian at this stage worked with Domenico Campagnola and others on woodcuts, whilst Raphael worked with Raimondi on engravings, for which many of Raphael's drawings survive. Rather later, the paintings done by the School of Fontainebleau were copied in etchings, apparently in a brief organised programme including many of the painters themselves.