In the interest of restoring the paint surface after decades of wear, they connected with O'Higgins who was also a founding member of the printmaking collective known as Taller de Grafica Popular.

[4] O'Higgins had close associations with many prominent artists working in Mexico including, Luis Arenal, Leopoldo Mendez, Sarah Jimenez, Jose Clemente Orozco, and David Alfaro Siqueiros.

[3][5] As they established their new facilities, the workshop developed roster of collaborative partnerships, publishing printed editions by artists including: Karel Appel, Leonora Carrington, Gunther Gerzso, and Rodolfo Morales.

[5][6] Tamayo's primary interest was in achieving similar effects to those he employed in his paintings, noted for their heavy impasto and textured surfaces created through his use of non-traditional materials.

[3] From 1978 to 1981, Luis and Lea Remba operated a small gallery in Los Angeles, primarily to distribute Tamayo's prints to the American art market.

The workshop formulated a paper making technique that allowed for a degree of pliability due to the cotton pulp's high moisture content after being mixed into a slurry.

[1][5] The paper mill involves a series of containers and mixing devices that combine the dry cotton pulp with a liquid solution with alkaline buffering agents to create a semiliquid slurry.

[2] The paper's high moisture content and loosely bonded fibers allow it to withstand the heavy pressure from the rolling press, in order to hold the form of the printing plate and its textured surface without tearing.