In 1958, in Paris, he discovered lithography in the Arts-Litho studio, and regularly attended the studios of Fernand Mourlot and Jacques Desjobert. In 1964, he achieved Eight horses, his first portfolio done in relief, without colours nor ink, on the poems and calligraphy of Chou Ling who initiated his early research on the materials and techniques of making prints. In the 1970s, he brought out several porfolios of prints with some new and innovative techniques: relief engravings, embossing, etching on an embossed background, lithographs on doubled Japanese paper, lithographs and reliefs, serigraphs using a « technique of gilding » that he developed in the studios of Circle Fine Art in the United States.
In 1960, he published his first portfolio Lebadang with Éditions Au Seuil Étroit, with text by Suzanne Tenand, including three colour lithographs on Velin Dambricourt and a copy with six gouaches and six coloured lithographs on pearly Japan paper.
1964, This was the year of Huit chevaux (Eight horses), his first portfolio done in relief, without colours nor ink, on the poems and calligraphy of Chou Ling who initiated his early research on the materials and techniques of printmaking. The portfolio was made on paper from the Richard-de-Bas mill with a sequel on pearly Japan paper.
In 1967, he finished a portfolio of lithographs La nature prie sans paroles (Nature Prays without Words) on a poem of Lao Tzu. Altogether there were 16 lithographs in colour published by Weston Publishing, with text by Madeleine Petit and printed on Arches paper by Guillard and Gourdon in Paris. Each lithograph was immediately preceded by a page of callichromy. The two pages were linked and related one to another in a ceaseless exchange.
In 1978, he performed Lebadangraphy, a set of serigraphs using a « technique of gilding » that he developed in the studios of Circle Fine Art. He also achieved screens. In these serigraphs, the superimposing of the layers produces a unique silken material in which the thickness of the inking and the transparency and the opacity of the colours have been worked upon.
In 1987, he realized an important set of relief engravings with embossed technique on paper, Spaces on paper with inserted relief engravings or etchings, which he included under the title Beyond the Graphic.