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I lived in Alaska for 12 years. Though I left over ten years ago, my heart is still there. My “Raven Series” began in 1992 as book illustrations for an Alaskan Native writer John Smelcer ( http://www.johnsmelcer.com/books.html) and I have continued to explore the images associated with this incredible bird. I use traditional and fictional mythologies to create these image of Raven. These are Intaglio (etchings) prints on paper.

HOW I CREATE MY PRINTS
I often find inspiration from a traditional or historic account of the raven. First I decide on my title. Having a title helps me with the image and mood of the piece. Humor is often important but I also select titles that force the viewer to think more about the imagery.
Next I look through references to find the right pose or gesture for the raven or ravens. Then I spend hours doing preliminary sketches, followed by a series of drawings using pencil, traditional gouache (opaque watercolor), ink and charcoal. My next step involves using digital technology. I scan the drawings and rework them with Photoshop. This digital tool allows me to adjust the value of the drawing and I can even move and reorganize the image. I use filters if needed. Next I print the drawing from my computer and continue to draw with the traditional tools. I repeat this process several times so the traditional and new technologies merge seamlessly.
In 2009 I began working with photopolymer etching plates. In the past an etching involved coating the plate with a petroleum bases sealer then emerging the plate into vat of acid, cleaning with solvents, recoating, and more acid baths. The process was extremely hazardous to the artist as well as the environment. In 2009 I began working with newly perfected and safe photopolymer etching plates. These are UV light sensitive printing plates, which are exposed in sunlight and processed in tap water!! In the past I would has spent 20-40 hours creating the printing plate. Now I use that time to do my finished drawing. I use my computer and printer to transfer my drawing onto a transparent sheet of plastic. This serves as my negative for the exposure to the sun! I use the photopolymer process to transfer the original drawing to a printing plate from which I can hand print an edition. Finally, I write a narrative. This usually takes me the most time of all!
Stamps are one of the reasons I became an artist and printmaker. As a child, looking at tiny stamp images excited me, inspired me, and sparked my interest in the engraving process. My "stamp" prints are NOT tracings or are reproductions, the are very carefully drawn and crafted.
to learn more about the process:
www.youtube.com/watch?v=SNKn4PORGBI