The exposition in December 2019 was the first opportunity I had to apply some of my ideas around moving the deep mapping concept of layers to the presentation of prints. I wanted to find ways of showing these layers either within a single print or by stacking multiple thin prints on top of each other. 
My first thought was to use a semi translucent paper, or acetate to print onto. The acetate which utilised the laser copiers proved to be a time consuming, relatively costly, and not particularly successful venture, as when I finally managed to get the prints to 'work', by utilising only the midtone and shadows in each print, and allowing the paper base to suggest highlights, the shadow details were lost when placed upon other prints. This was due to the printer narrowing the shadows to black, meaning there was little differentiation between the shadows of each layer, giving little obvious detail to view from prints below. Utilising colour worked slightly better, however I would need to tone done the shadows on the top layer, and areas of highlights had no tone to mask any detail beneath, lessening the effect I was after.
Instead digital printing on washi paper became the best choice. Which I had seen some examples of through he platinum/palladium process, which could allow me to move this back into the darkroom. 
Platinum printing on Washi paper by Masayuki Nishimaru
Awagami Kozo Washi paper became the paper of choice for the digital printing, namely as it was the only Washi/semi-transparent paper that Becky had in the print studio. 
My initial plan was to produce prints that could lie on top of each other using the washi paper, but this proved unsuccessful through my test prints. However having spoken to Annette in passing, she had suggested an approach of embossing. This had worked well in a small sample, however the process of embossing on an a3 print would need either a stencil or an etching made to emboss through or press into. 
I opted to utilise the laser cutter/engraver and cut into an MDF board an illustrator file that mapped the route taken through the wild land area, from an ordinance survey map, with personal descriptions to replace place names or annotations. 
With Neil's help I transformed this illustrator file into a raster path for the engraving. 
Laser etching process
The resulting board
The attempts to emboss with the board proved unfruitful, as the burnt MDF residue applied itself to the print, and the detail did not read clearly, and was not raised enough to allow for it to be read tactilely. Instead it was suggested to use a transparent printing ink, and a printing press to apply the details from the board to the back of the print, which thankfully with the help of Jon and Cam, worked really well. 
This method was distinct enough it could be read, and when multiple layers were applied of the washi paper it became a bit more obscured, requiring the reader to peel away at the surface to uncover the details accurately. This detail was however obscured or non-evident without back lighting, which required the handling of the print, which was my aim. 
For display I chose to lie a series of prints next to a lightbox on a plinth, with a simple interpretation board, and a sign giving permission to touch the prints. I hoped this would be suffice to encourage manhandling, which would hopefully lead to the wearing down of the surface. 
Unfortunately the show was at a time when the undergraduate had vacated the building due to marking week(?), and the footfall at the exposition was minimal, as such my ability to observe behaviour of viewers and to see if people interacted with it, was limited. 
I do feel that this was starting to move in the right direction for my goals for the project, and barring a pandemic that makes the touching of surfaces taboo, I would like to have explored this further. 
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