An etching begins in my sketchbook, then I transfer the drawing to a copper plate, carefully planning for an image that will print in reverse of what appears in my sketchbook. The image is developed as the plates are etched and re-etched in multiple stages in a solution of ferric chloride until desired results (lines, darks, medium tones, textures) are achieved.

Next, to see the results of the etching, the copper plates are inked.

Ink is pushed down by hand into the "bitten" lines and textures of the copper plate.

The plates are then gently wiped to remove excess surface ink, leaving behind only the ink that sits in the lines and crevices of the copper.

These plates are wiped and ready to print on paper that has been soaking in water. Before printing, the paper is blotted to remove excess water.

A closer look at a wiped plate.

The plates are now arranged on the press bed. Next the dampened paper is placed on top followed by special printmaking blankets. The force of the roller pushes the dampened paper into the copper plate where it lifts the ink from the etched areas.

The plates and paper are rolled through the press (pressure of about 70 lbs per square inch).

This is the fun part -- seeing what all the etching, inking and wiping have developed.

Here's a look at the print. This entire process -- from the etching to printing -- is repeated many times until the image is considered 'done.' Prints made during development are called 'proofs.' The final etchings are then printed in an edition of a size determined by the artist, signed and numbered. No more prints are pulled once the edition has been printed, thus producing a 'limited edition' of prints. The plate is then altered (or 'struck') to ensure the integrity of the limited edition.