While I enjoy using many kinds of printmaking, at the moment I mostly gravitate to collagraph/drypoint (I use plates made from mountboard but don't always stick anything on to them - the description for that seems to be up for debate). My working practices mean that no two prints in an edition are exactly the same, although I consider them similar enough still to be described as variable editions. Enough, often deliberate, variation between prints might lead to them forming a series instead of an edition. Each monotype is, of course, a one off.
Plates - sometimes just a section, or after further cutting to develop the design - are often reused in different combinations with other plates and/or printmaking methods. Landscape, approached from various directions, remains the main source for my work.