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I have become well versed with the centuries old techniques developed for intaglio printmakers to erode the surface of copper plates: hard ground, soft ground, sugar-life ground, aquatint, white ground, spit bite, and dry point.. But I have added a new twist to the process: my an affinity for using paper. This desire to experiment with paper and printmaking has led me back to Japanese paper with intaglio printmaking using Japanese paper. The long-fibered, flexible paper allows me to overlap and layer images, taking many passes through the press with different plates without embossed plate marks. My favorite Japanese paper is one that has a hint of reddish earth tones. I find that this slight tone unifies the colors, whether subtle or bright.
