My interest in shaped composition carries over into printmaking.

I love the intricate process of copper and solar plate intaglio, I enjoy the painterly aspects of monotype, and I really like the simpler, more-rough-hewn mark-making of a carved relief plate.

In each of these printmaking processes, I have figured out how to make a shaped plate that presses a shaped image onto a sheet of paper. 

Often that paper stays rectangular, and acts like a wall hosting a shaped image.  I have also experimented with shaping the paper itself.  In either scenario, the empty space and the delicate physicality of the white paper have a powerful interaction with the image.