I took the cardboard home with me -- I have cardboard cutting tools at home, no sense in spending time on that during the course evenings.
As the design, I selected an impossible cube. The light lines were cut out, the dark lines were twice as high (I cut those same lines out of the carton and glued them in place) and the other ones were left as-is. The background was scraped so that it was less deep -- so I had four different levels.
Setting the right pressure on the press was a bit of trial and error -- and I had to use some serious muscle to pull it through. But with a heavy paper that was wet, I got some seriously good result!
It's hard to make a good photo of the embossing -- it certainly didn't come out from a scan. But the four different levels are very clearly seen, and you can still make out that it is an impossible cube. I really like this technique, and I'm already thinking of a way to combine it with line-etching and aquatint.
After that, I still had some time to make some prints of my sugar lift etching:
The first print, in turqoise. The five-storied pagoda was done with sugar lift, the rest with aquatint. I'm a bit dissapointed that the pagoda itself didn't come out as advertised: sugar lift etchings are supposed to have thick outlines but light centers -- I'm not sure what happened. But I do like the depth that was added by the aquatint mountains.
The same print, in burnt sienna. I like the turqoise better. Next time, I'm going to make a duo-print: once with a very light green and then prussian blue on top of it. I'm thinking that will be just the right color.
I already know what my next project will be!