Although his still life easel paintings are typically conceived and executed in the studio,


Reigo's print- making
has tended to draw on a body of spontaneous casual drawings and incidental colour sketches executed for their own sakes.

With the exception of "Annapolis Valley",

which was based on a small acrylic sketch, done in Nova Scotia,

the subject of these landscapes is southern Ontario,

ranging from the shoreline around Picton to the farm land around Hanover

and along the Saugeen River valley,

and up to the rocky shores of Georgian Bay.

The serigraphs shown here are in roughly chronological order.
The earliest prints





from the late 70's to the mid 80's are the product of a stencil-making process in which
halftone separations are airbrushed directly on the screen fabric.

This process is described in detail in
Screen Printing,
American Artist
and Art Times

The prints from the 90's onward pursue a variety of other ways of making separations.

These include works
in which cross-hatching replaces airbrushing,
and later, computer assisted works




in which separations are digitally printed to film.