Step two with interruptions by Robyn Thomas.

Ten additional sheets of Stonehenge paper of approximately the same size were prepared by Robyn and Petra working together.

One at a time Petra's paintings were evenly sprayed with water from the spray bottle while Robyn dampened a sheet of the unpainted paper. Robyn then laid the damp, blank sheet of paper on top of the dampened painting. Laying a buffer sheet over top Robyn then proceeded to apply pressure to and rub the pieces of paper together with a Japanese baren. The papers were then peeled apart and allowed to dry for a couple of hours. A faint ghost image from the paint was transferred to the blank sheet of paper.

After drying a bit, but still damp, Petra took brush, watercolor and gum arabic and began to paint in areas of the paintings in response to the ghost image on the no longer blank print. Robyn then laid the paper back on top of the paper, and after laying a buffer paper on top rubbed the section with the fresh paint with the baren.

After another round of drying the papers were laid together in two different orientations, one emphasizing the mirroring, the other flipping the papers so the mirroring generated by the printing process is less obvious. These were then scanned on the printer scanner, cropped slightly and rotated to a landscape orientation by Robyn.

Here are the results. The image, uncropped, is approximately 6 inches x 9 inches [15 cm x 22.5 cm] with ragged edges.