Similarly to the rest of the artists in the circle based around the museum in Cuenca, Rueda was interested in everything to do with graphic work and prints, particularly following his trip to Paris in 1960 with Zóbel (1924-1984) and Antonio Lorenzo (1922-2009).

His print work up until the nineties consisted solely of silkscreens, though afterwards he also started to engage with chalcography.

In Spain, for a long time silkscreen printing was generally reserved for industrial purposes, and it was not until the late sixties that it began to garner attention from the art world, undoubtedly thanks to the wonderful editions produced for the Museo de Arte Abstracto de Cuenca. In fact, he had made his first work, Horizonte, for the museum back in 1964, which was printed by Abel Martín ─who used to work regularly with Sempere since his time in Paris, and who was largely responsible for the editions by the group from Cuenca─ though throughout his career he would work with various different print workshops.

Rueda reconciled the clarity and forthrightness of the execution with sentiment, emotion and mystery. His work combines geometry with other less defined lines, which in some cases remind us of collages made using the decoupage technique.

Homenaje la alegría de pintar belongs to a portfolio printed by the Museo de Arte Abstracto Español as a tribute to Fernando Zóbel the year that he passed away. A Fernando Zóbel had seven silkscreens by  José Guerrero (1914-1991), Joan Hernández Pijuán (1931-2005), Antonio Lorenzo, Manuel Hernández Mompó (1927-1992), Gerardo Rueda (1926-1996), Eusebio Sempere (1925-1985) and Gustavo Torner (1925) and a litograph by Carmen Laffón (1934).

The piece by Gerardo Rueda stands out for the power of the color and for its original composition that appears like an architectural . This way of organizing the shapes, prefigures one of the most outstanding series by the artist: Diez más seis, printed by Estiarte in 1990.