Using imaging software, two photographs of forests were virtually separated into layers of the three channels of light: red, green and blue. Each channel was turned into a ‘bitmap’ coded version of itself, then printed out and cut-out by hand from two different weights of paper, heavy and light (Kozo), at the same time.

The heavy paper-cuts were employed as masks to expose three photo-etching plates using UV light, corresponding to the red, green and blue coded channels. Secondly, the three heavy paper-cuts were used to impress and lift off wax on soft-ground plates, which ultimately destroyed the paper-cuts. The three photo-etched plates were inked in translucencies of white and printed in sequential layers onto a digital print on Kozo paper of the same original photograph Seeing Vermont I; the same inking and printing process was applied to the three soft-ground plates with the second image Seeing Vermont II.

The three lightweight cut-outs of Japanese Kozo paper were layered between sheets of glass within a frame to make colourless composite pictures that mimic the software's screenic perspective (RGB Forest I and II).