From the artist – Drypoint technique:
“My drypoints start with the artwork, which is reversed before working from it to the printing plate. This can be zinc or acrylic (Perspex). Acrylic is easier to use as you can lay it over the artwork. I then use a sharp pointed tool to scratch lines/curves into the plate, crosshatching where I want to build up strong dark areas. When this process is complete I am ready for printing. Suitable printing paper is cut to size, dampened and the press is set up at the correct pressure.
I am now ready to ink up the plate. Etching ink is very tacky and is applied with printers mull (similar to baby muslin). The ink is rubbed into the lines and left in an even layer over the plate. With progressively cleaner mull, I then work into this surface layer, wiping back to the bare plate where I want the lightest tones. Different coloured inks can be used for tonal variation and colour highlights.
Because of the process I use, there is always some variation within an edition, as the plate is re-inked after each separate print. The plate is then laid face up on the printing bed within registration marks. The paper is then carefully laid over the plate within a second set of registration marks. Felts are dropped over the paper and the press bed is then wound through two rollers under pressure. The felts are then peeled back, as is the paper off the printing plate, and left to for several days. At this stage any watercolour can be applied for additional effect.”