I throw away many more abstracts than I save, which I think has something to do with their accidental and spontaneous nature. In fact, I often start with a plate that has been damaged or corroded and build on the lines and textures that are already there.

      It is easier to do a static, iconic print that is strongly centered than a more loosely structured image that suggests motion and energy. Prints like “PC Manual” and “Corinthians” for instance, turned out pretty much as I planned them. “Schism Trail,” on the other hand, developed in fits and starts with much proofing and correcting along the way.

      The need to pull proofs, I suppose, accounts for the predominance of drypoints in this small collection. Acid baths between each test proof would slow the process substantially and make it far from spontaneous.

      I have sometimes had students go outside and scuff a plate on the cement driveway, even stand on it and do the “twist” to establish random marks. This often eliminates tension and apprehension for a beginner is a very satisfactory way.