For those new to the medium, the artist creates a design using colored clay (slip) on a clay slab, known as the matrix. Material is then placed on some or all of the slab, and the print is transferred to the material.

After the print is made, some of the clay design remains on the matrix. An interesting aspect of the medium is that the next print is designed over top of the previous rather than starting over. This results in a bit of randomness as portions of previous designs appear along with the new design.

For the Machinations print, I used all of the slab/matrix for the print — the first time in a while, so elements of different, smaller prints are combined. In fact, most of the elements in this print are remnants of previous designs. I did, however, add the 3x4 set of blocks in the first noted area and the dark teal line in the center at area 3.

Area 1 - You'll see three rows of three squares, using red, yellow, and orange. Above this set is another row of three dark teak clay.

In the image, you'll see a black rectangle "above" the blocks. This shape was actually from a previous print, with the new small squares placed on top. When the new print was made (pulled), the clay from the squares transferred, but so did the black rectangle underneath, reversing the order on the pulled print. (There's that randomness!)

Area 2 - If you look closely, you'll see a line of a few black dots. Not only wasn't this in the new design, but it was from several prints ago and hasn't appeared in a print since November! Sometimes these "memories" from previous designs create happy accidents. (Your clay slab is a diary of your work.)

Area 3 - The dark teal line was added last, and I almost made the print without it. A last-minute look at the matrix led me to feel the object was necessary. Interestingly, Caetlyn mentioned in the previous look at this print that she thought this line was necessary. I'm glad I added it!

Area 4 - Persistence. I've been doing geometric art lately and wanted to minimize this unusual black shape, so I painted a layer of plain off-white clay over it. It did soften it a bit, but it still raised its voice!

The clay monoprint artist never has complete control; sometimes, the clay speaks for itself.