While the camera and photographic language informs my work, I am fundamentally a print artist, and find my work’s resolution through layering… In this case, I constructed the cmy digital print by building color layers and created a separate k layer that intensifies the texture and shadow of the image and integrates the text. The digital print and the gravure positive include registration marks and I attach tabs and pins. The positive is registered to the plate during exposure, establishing the registration system. With polymer gravure, there is no expansion or contraction to the image from positive to plate. Coated inkjet Aya paper is highly receptive to ink and permits dry printing. This results in a work where the digital pigment ink sinks into the paper surface and the gravure printing rests on top. A subtle veil hovers between the viewer and the environment. While the image information is carefully registered, minimizing the perception of layering, the physical difference of inkjet inks, paper and intaglio ink magnify the separation of visual surfaces. This method allows for variation in the relative legibility or visual prominence of images and words, much like the way sound ebbs and flows at the lake’s edge. [1]