Miró used prints as a means to reach a much wider public. His inventiveness and experimentation with new materials afforded many new approaches in the process of engraving that added further expressiveness to the work. The end results were undoubtedly those of a master who broke away from academic conventions yet without reneging on tradition.

From 1967 onwards Miró began to use the carborundum printmaking process invented by Henri Goetz (1909-1989). As opposed to traditional methods which required working with metal and tools such as , and acid, the new method used relief material and a structure made of elements resistant to pressure. The larger paper size, up to 160 x 129 cm, enabled almost monumental prints, both in terms of size as well as in the depth of colour and the precision and power of the lines, reinforced by the material used in the carborundum process.

In 1971 Miró dedicated a portfolio of fifteen lithographs in colour, with their corresponding proofs in black, to his friend Joan Prats (Homenatge a Joan Prats). The series was exhibited that same year at Sala Gaspar in Barcelona and then one year later at Sala Pelaires in Palma de Mallorca.

In these compositions we can appreciate Miró’s signature colours -red, yellow and blue- further enriched by green and his perennial black, together with his usual signs: the eye, the star and the moon. These are excellent examples of the poetic language of the Catalan artist, populated with signs that give good account of his gestural expression and creativity.