In addition to traditional printmaking techniques and newer digital processes, Bourgeois occasionally turned to other means for her printed and editioned works. She sometimes availed herself of photocopy, for example, or other mechanical copying techniques, as she determined the ultimate form of a composition. She might make photocopies in various sizes before deciding on final dimensions, or create a photocopy or a tracing to mark up with new ideas, or to aid in the process of transferring drawings onto printing plates. As certain compositions evolved, she sporadically employed monotype as a way to test out a tonal effect, or to obliterate earlier drawn elements. She also might utilize an unusual fabric technique, like weaving, or experiment with Mixografia®, which intrigued her with its possibilities for producing textures on paper. Transforming fabric collages into book pages is yet another example of the ways she worked outside the realm of traditional techniques.

Bourgeois also made a group of works known as “multiples,” which are small-scale sculptural objects fabricated in relatively large editions. In these instances, her choice of materials varied and included rubber, latex, marble, bronze, or whatever else suited her purpose. Since such works are often produced by the same firms that publish prints, they are often documented with an artist’s printmaking, as they are here for Bourgeois’s work.