Randy tries to stay out of the studio during the afternoon, convinced that his influence interferes with Gail’s finding her voice for that day. She works in silence, foregoing her favorite NPR programs to maintain the intensity and concentration. He comes downstairs from time to time, and then they put the plates on the easel, stand back and look at and discuss them. If there are pieces that both think are ready, he will often print them then, especially if Gail is eager to see how a technique will turn out or wants to use that plate again.

In the late afternoon Randy prepares their main meal, which they eat between 4 and 6. Then, while Gail is cleaning up and perhaps taking a short rest, he goes downstairs to prepare for printing. By this point the paper has been soaking in water for several hours, so the fibers have swollen, and the ink can penetrate and become part of the paper. But since oil and water repel, the first step is to remove all loose water. One sheet at a time, he puts the paper between 4 blotters and presses out the water with a rolling pin; then he wraps the paper in plastic so that they remain damp and supple for several hours.

Before a piece is printed, they put the plate on the easel one last time and consider it. When they’re satisfied, Randy engages the paper face down between the roller and the bed, and aligns the plate, face up, according to gridlines on the bed. He covers the plate with the paper and protects the whole thing with felt blankets, sets the pressure, and cranks the bed between the rollers. With the margin of the paper still engaged, he folds back the blankets, carefully peels the paper off the plate, and calls Gail to come look. They discuss the piece again, deciding whether it needs more pressure and whether Gail should make some modifications to the image on the plate. If need be, he lowers the paper back onto the plate, re-blankets it, and continues printing. Finally, when they decide that this stage is complete, he peels the monotype completely off the plate, covers it with a clean sheet of newsprint, puts it between dry blotters and weights it with a 1” thick piece of particle board. Finally, he cleans the bed of any paint that may have been on the bottom of the plate and goes to the next piece.