According to Harrison, "Frankenthaler began working with Mixografía in Los Angeles in December 1986. For the process of Mixografía, created by Luis Remba, director of the workshop [along with his wife Shaye Remba and the Mexican artist Rufino Tamayo in 1973], an artist must first make a maquette, from which a copper plate is then made in the negative. Once the copper plate is inked, moist handmade paper is laid on top and placed in a press with extreme vertical pressure, thus forming a sheet of paper with the ink infused in its surface. The molds or maquettes can be made from a variety of materials . . . Guadalupe and Hermes (Harrison 166) are melted wax images over wax plates, materials that create a smooth ground for the large planes of color to play off.

Frankenthaler initially created eight molds, from which she chose five to make the [Mixografía] editions. The other three matrices were discarded, though there are a few proofs remaining in Frankenthaler's archive. Once the molds were completed, Mixografía sent the artist a number of un-inked white sheets formed from her copper plates. She used these to create nine monoprints by hand, working the surface with paint and pastel (Harrison 155-163). Although unlike any of the final edition [Mixografía] prints, these pieces helped Frankenthaler to adjust to the new medium and to develop her ideas." Harrison 164.