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My process starts first with an idea, often vague and unformed, followed by drawing on the copper plate, and trying out different mark-making techniques. I like to juxtapose a certain amount of precision with chance: chance comes from the fact that you can’t really see what you’re doing (and also it’s back to front), and there are plenty of technical bumps in the road with intaglio. But I love it – and when I finally pull that first proof, it’s always surprising, and satisfying. But then the real work starts. I put a lot of thought and work into each image, so if there are any happy accidents in the final print, they seem justified.