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I always endeavor to find the formula. Some kind of answer, data, feeling which will make my next print unique, intriguing. To say it simply: not boring. To be precious, different.
The work can take few minutes, or a few days.

I begin with graphics. I am creating a narrative, a story of print - filling it up with creatures, or flowers, or stones; whatever it may be, I keep in mind how it will be used, worn, which size and pattern are best for human proportion. I literally already see in my mind the print on the clothing, and can edit it there. Then, all that is left is to develop the graphics on a computer.

And then it turns really vibrant, sexy, catching eyes when COLORS come and work properly. For that I always use definite, classical colorist principles which have amazed us for centuries. I would call it a recipe, but it is more like a symphony. That is why I so love color.

The core idea, even unspoken, will still make print strong. The point is not to solve all the riddles in Bosch's Garden of Earthly Delights, but to love it, just feeling something under the surface. When I am coloring a print, I enjoy thinking the Renaissance masters did almost the same, glazing the grisaille under-painting with color.