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The minimal title — a lowercase letter and numeral — functions as a catalog or filing designation rather than a descriptive name, possibly indicating the work's position within a numbered series or its placement on a contact sheet of preparatory drawings. This kind of provisional or systemic titling is characteristic of contemporary printmakers who treat individual works as units within larger investigative projects. Within Bouman's practice, where archaeological investigation provides the conceptual scaffolding, such cataloguing language reinforces the framing of artworks as evidence or artifacts rather than autonomous compositions. Technically, a woodblock print of this kind would foreground the carved mark — the gouge tracks, knife cuts, and unprinted negative space that distinguish relief printing from intaglio or lithographic media. The matrix's wood grain may register on the paper as subtle texture, particularly if the print is hand-burnished rather than press-printed. Her training in illustration at HKU University of the Arts Utrecht emphasizes legible compositional structure, and her woodblock work likely retains this illustrative clarity even as the medium imposes its own constraints on line, color separation, and tonal range.