On the recommendation of friend and agent, Ray Hughes, Furlonger flew to Berlin in March 2004 to begin working with Lutz Nessing, a third-generation printer from former East Berlin. Nessing used old Eastern Bloc presses that lacked sophisticated technology but produced prints with a wonderful handmade quality. Later, Nessing came to Australia for a month to experience the environment and experiment with papers and colours on a rudimentary handpress.

Returning to Berlin, Furlonger took three days to cut the landscapes, working from pencil sketches, photographs and memory, then established their colours using the press’s traditional oil inks blended with watercolours. For its unique texture, he chose commercial vintage technical paper over traditional art paper. Working over several weeks, Nessing used a press rarely seen outside a museum for the larger prints, including (South East Queensland landscape).