In the midst of designing a template for a relief print, Benson's text provided plenty of insight into the technical procedures of all the various printing methods, which helped me find a clear direction in what I want to test and how integrating the principles of various methods can help me achieve it. The plates that we are using are made of chip board which- though alluding to intaglio- put it in a ballpark more similar to woodcuts. Reading about Bewick and seeing the anatomies of various machines by Rimbault showed me the mastery of creating value based on half-toning grooves of untouched and chiseled spaces. Yet, the use of chip board provides much more manipulability in its surface, able to be torn layer by layer to create textures within values. Though the traditional method of applying ink with a roller may not reach all the grooves necessary for my composition, there is the possibility of transferring ink onto the plate via the press bed, more associated with the intaglio family. If this works, the pressure should cover the entire relief with ink, enabling the transfer of these textured tears to be read as values in a landscape. Although a very grim printer, Goya made several prints using aquatint that in way translates my intentions with this print; to achieve the same quality and more with a textured tonal plain. It will be important to remember such endless options like these in transferring objects onto surface via ink and physical manipulation, because many will just say its faster on the computer. Everything's from the paper to the quality of the ink are the reasons digital printing will remain merely documental for those 'creating' with such fine art printing methods.