There was a day, at the beginning of electronic imaging, that many experts felt printmaking should stay a pure, unadulterated medium. A printmaker could be excluded from publications and exhibitions if the computer reared its ugly head within the work. Those days are gone, but for a few who blazed trails at the start, it is no surprise that the word “digital” is finally accepted in association with printmaking.

I had studied printmaking under Professor Moishe Smith who was a Guggenheim Fellow. In the summer of 1979 he brought in his friend Misch Kohn from UC Hayward to teach a two-week workshop in chine colle using deep etched copper plates. I was greatly influenced by Misch Kohn and I have used his methods ever since. Chine colle in French is chine or tissue and colle is pasted. I found I could run Japanese papers with Kozo fiber through the laser jet printer thus completing the transfer from digital scan to image on paper. Finally, I could run the combined support paper with the pasted Japanese paper
through the etching press to achieve an intaglio monoprint.

This catalog of selected intaglio work should be considered a portfolio overview. It covers a time span of 35 years with some lapses in working caused by my interests in other art media. There are also other techniques illustrated here such as aquatint, soft ground and line engraving that I learned from the great Hungarian printmaker, Zolton Janvary. I have patiently practiced and taught these techniques over the years and I believe printmaking will reach even broader horizons in the years to come.