The intention of this thesis is to chronicle my journey within the ever expanding and fascinating realm of non-toxic printmaking. This document will showcase the 'Howard Four Color Inversion Intaglio-Type Printmaking Technique' and at the same time bring the reader's attention the plight of one of humankind's oldest and arguably most vulnerable companions trees. "Always in the big woods, when you leave familiar ground and step off into a place, there will be, along with the feelings of curiosity and excitement, a little nagging of dread. It is the ancient fear of the unknown, and it is your first bond with the wilderness you are going into. You are undertaking the first experience, not of the place, but of yourself in that place. It is an experience of our essential loneliness, for nobody can discover the world for anybody else. It is only after we have discovered it for ourselves that it becomes a common ground and a common bond, and we cease to be alone."('The Unforseen Wilderness', Berry) Berry's words not only describe the mystery and magic of "big woods," they also vividly describe my own trek within the magical world of non-toxic printmaking. From my first studio "feelings of curiosity and excitement," to the exhilaration of being involved with pushing the limits of accepted printmaking procedures into new and unchartered waters, my journey quickly became "common ground and a common bond," as Berry so eloquently states.

Library of Congress Subject Headings

Intaglio printing--Themes, motives; Intaglio printing--Technique; Trees in art; Environmental degradation--Pictorial works; Nature--Effect of human beings on--Pictorial works

Publication Date


Document Type


Department, Program, or Center

School of Print Media (CIAS)


Sodervick, Zerbe

Advisor/Committee Member

Sheppard, Luvon


Note: imported from RIT’s Digital Media Library running on DSpace to RIT Scholar Works. Physical copy available through RIT's The Wallace Library at: Z252.5.I5 S93 2010


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