Hundertwasser's comment on the work

Again and again I tried out the techniques of the Old Masters and invented new ones. My textbook for technique was by Max Doerner with the equivalent title "Painting Technique and Its Use in Pictures". It's incredible, all the things I tried out: watercolour; egg tempera; acrylic paint; casein, home-made, but also Casearti; from cheap Pelikan watercolour sets to the jars from Schmincke and Windsor; self-ground and purchased oil paints; polyvinyl acetate; on paper; packing paper; canvas, which I often sewed together myself, with the seam sticking out; on plywood panels, wood-particle panels; newsprint, cardboard, often of my own making; paper mounted on canvas by means of a technique I invented myself; painted with varnish, wax and wax tempera. Only rarely did I paint the normal way like other painters, with oil on canvas (see also 279 Tree Rocket of the Ancient Masters) In print graphics it was similar. I maintained a spatial separation of the techniques: copperplate engraving in Vienna, lithography in Paris, silkscreen printing and metallic-stamp printing in Venice and woodcut in Japan. Often I mixed these techniques with one another, and moreover I was probably the only one who used metallic stamping, phosphorus and reflecting substances. I have printed on a gouache priming (305 Freshly Found Labyrinth), often used a virtually infinite number of combined printings, with every single colour numbered and registered in a colour-separation sequence on the margin of the graphic. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 332)