But by the 1590s elements of his style, including a taste for detail, were in favour, though after his death Mughal painting turned in the direction of simpler compositions emphasising human interactions. He did not have the gift for realistic portraiture which Mughal painting introduced to the Islamic miniature, and unlike many Mughal artists, shows few borrowings from the European prints and other art available in Akbar's court. In 1576, Akbar put Samad in charge of the Fatehpur Sikri mint, in 1582 he was made "overseer of commerce" and the next year put in charge of the royal household. In 1584, Akbar made him dewan (official in charge of finances) of Multan. He was given a "mansab" of 400 and honoured with the title of "Shirin Qalam" (sweet pen). The moves may have been in recognition of his talent for administration, but it has been suggested that "Akbar preferred a more robust approach than that of his romanticised Persian style of painting". But he continued to paint and his last known work is a miniature, of Khusraw hunting, in the illustrations of the 1595 manuscript of the Khamsa of Nizami. Works with his name inscribed include a drawing of "Akbar with a Dervish" (Aga Khan Museum, c. 1586–87). Another late work is a version of a famous Persian composition of two camels fighting by Behzād, which an inscription says was done at the request of his son Sharif when he was infirm. He "must have died in the last years of the century". He had two painter sons, Muhammad Sharif, and one called Bizhad, for the famous Persian artist Behzād (c. 1450 – c. 1535). Muhammad Sharif was a friend of the next emperor Jahangir, and like his father was given important administrative roles, a pattern unique among the many Mughal painter families. Not all scholars are convinced these sons were not just one, as while Muhammad Sharif is relatively well documented, Bizhad is apparently only known from inscriptions on miniatures.