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Evaluating a possible blue/green.

4. Revision: At this point, with all the tones in
place, the image was still close to the composition
in the monotype. Now something about that
original composition felt wrong to Schwartz. She
and Burnet started covering up different parts of
the proofs to find new compositions and ended up
eliminating the window frame from the original
monotype. Burnet encouraged her to work directly
on the proofs with colored pencils, making
decisions on which areas needed re-etching.
5. As they got closer to finishing, Burnet asked Greg Burnet begins one of several runs of the print through the press.
Schwartz to go back in with a drypoint needle to
define some of the shapes. He urged her to be bold,
so the final image would have strong lines to break
up the tonal areas.

6. Schwartz describes completing the etching:
“The image was so close to being finished and yet
we both felt something wasn’t right. Here is a great
example of Greg’s collaboration in the process.
The greens were too strong in the image and were
fighting the oranges and reds. We tried lightening
the greens and made them more transparent. At
first, I liked it and then felt it looked too washed
out. So Greg came up with a perfect blue—then
the etching was finished.”
Burnet and Schwartz examine the final proof.

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Daniel Maidman.indd 48 6/29/16 11:51 AM