b'the left side of the work. Close looking reveals partially hidden body fragmentsfaces, limbs, and eyesvisible throughout. This work also includes embossing in places where the acid was allowed to make holes in the metal. When printed, this technique creates three-dimensional areas in the paper. This is particularly visible in the upper register of the composition, where it appears that these heavily black-edged forms are raining down on the fleeing woman. The technique of embossing through deep etching was frequently used by artists in Hayters circle, and it is likely that Makuuchi was inspired by their example to investigate this visual strategy. The patterning created by Makuuchis etching perfectly supports not only the feeling of chaos and terror but also the visual appearance of burned flesh. Following the completion of his BA in Fine Arts in 1960, Makuuchi remained in Boulder for a year, taking graduate courses in education. In this pursuit, he was apparently less successful than he was in printmaking. Although his teaching supervisor, Ann Jones, praised him as sensitive to the needs of others, she went on to comment: Rarely do you find him unprepared as far as ideas go, but he is often without the written proof that he has considered things well.Under Blacks influence, Makuuchi applied and was accepted to the MA program in printmaking at the University of Iowa. In a recommendation, Black called Makuuchi one of my all-time best. He stated: It was on my insistence and encouragement that he go to SUI [State University of Iowa] to do graduate work with Mr. Lasansky. Believe meI would recommend only my best people to that privilege. Makuuchi enrolled at the University of Iowa in 1961, obtaining a teaching fellowship at the affiliated University High School, where he taught seventh-grade art. At this time, Lasansky was at the height of his powers as a graphic artist and influence as a teacher, having been, since the late 1940s, at the vanguard of a renewed interest in modern intaglio printing, a reinvigorated national and international series of print exhibitions, and new methods of teach-ing. At the end of his career, Lasansky described one of his methods of teaching as extending a personal challenge: I tell students to stick their hands down their throats and reach into their stomachs. What they bring up is a lot of crap, but its their crap. 38Lasansky was a charismatic teacher and ran a very organized shop. He favored intensive work on single subjects, such as natural history specimens or self-portraiture, as a way for students to develop facility with engraving and etching and, thus, the freedom to realize their ideas on the plate. 39According to Makuuchi, Lasansky felt that he needed to develop self-discipline and required that he eschew working with acid and devote his time to a single engraving for a full FIGURE \x0b H Maidens CHECKLIST #528'