Echoing Ron's theme, I gained multiple layers of knowledge and information at the workshop. Most of the techniques and tools were familiar to me, at least in the abstract, but now I was able to see them practiced by someone who put them together in a complex way, using multiple techniques at a time rather than one technique alone. Chine collé, brayering, subtracting paint, stamping, masking, drawing: all might go into any one print. And new techniques, such as using the edge of a brayer to draw, as well as new tools, such as Stabilo's "Woody Pencils", were added to my repertoire.
In addition to the tools-and-techniques aspects of the workshop, it was tremendously helpful to spend three days in a working print studio, with designated workstations for various tasks and processes, and to hear Ron's suggestions about work flow and arrangement of tools. One of the first things I did upon returning home was to rearrange my studio and acquire an additional worktable. I moved the press into the middle of the room, and now have an easier set-up for the whole monotype process. Ron works on Arches 88, an unsized paper that does not require dampening, and uses the Akua line of water-based inks. For the duration of my studies with him (three more workshops through April), I am doing the same, which means that I can dispense with both the space and the time required for soaking paper, The resulting freed-up space is welcome, and makes the logistics of working in my little studio much more fluid.