12 Although Aviado had done woodcuts and rubbercuts at Ateneo, the artist began his first serious lessons in printmaking during his sessions at the Contemporary Graphic Arts Workshop, the new place of Rodriguez on San Andres Street. As recommended by Rodriguez, Aviado first worked on stone lithography, then proceeded to the etching press. Aviado wanted to pursue a course in fine arts and decided to transfer to the University of Santo Tomas (UST), where Rodriguez was teaching. Victorio Edades, who is recognized as the Father of Philippine Modern Art, reviewed his work and wrote a letter of recommendation to the UST registrar stating that “I have just been looking over the drawings, woodblock prints, watercolors made by Mr. Virgilio Aviado, and I have been very much impressed by their high quality.” However, he was unable to register at the Dominican university; the artist thinks that his Jesuit education may be the reason. Instead he enrolled at the Philippine Women’s University (PWU), where he was one of two male students and where his mentor, Rodriguez, was also with the faculty. As a college student, Aviado will study fine arts at PWU, take his academic subjects at the Ateneo and continue his printmaking sessions at the workshop with Rodriguez. It was a fulfilling, productive, and educational time when he honed his skills in the graphic medium while meeting fine arts students from other universities and meeting interesting personalities from the art scene like writer Leo Benesa and artists Cesar Legaspi and Jose Joya. More importantly, Aviado the student was learning directly about technique and about famous printmakers from the master himself, Mang Maning. “Sometimes Mang Maning (Rodriguez) would join my experiments…I asked him what process should one begin with when going into printmaking. He said that one can start with as many things one is capable of doing and do them all at the same time, like him. After doing and learning the process, I was delighted with the results…Lithograph became my stepping-stone to printmaking.” Other than sessions at Contemporary Graphic Art Workshop during this period, Aviado was also spending time attending exhibitions at the nearby gallery of the Art Association of the Philippines, where he would often meet Fernando Zobel. During exhibition openings, Zobel would introduce him to other artists like Roberto Chabet and Mars Galang, who in turn would introduce him to his other contemporaries like Lee Aguinaldo, Bencab, Fred Liongoren, Jaime de Guzman, and Ben Maramag. When Rodriguez was commissioned to do work elsewhere, the printmaking workshop sessions on San Andres street stopped, and Aviado had his own printing press fabricated from spare parts found in a junk shop and set his own studio workshop in his parent’s home. With his own printing workshop, Aviado introduced the art of printmaking to other artists like Bencab, Raymundo Albano, Restituto Embuscado, Efren Zaragoza, and Lucio Martinez. He believes that the skill in printmaking he is sharing with fellow artists enhances their art because “the wealth of technical knowledge … from printmaking will open up new vistas and possibilities.” Aviado also began printing editions for prominent artists like