The etching process.

Etching a piece is truly a labor of love. This short video offers a glimpse into the intricate, multi-step process behind each work.

It begins with research—one of my favorite parts. I source historic images and maps from the Library of Congress, often sifting through materials that are centuries old and worn with time. Once selected, the image must be carefully restored, cleaned, and cropped.

Historical map of Washington, D.C., showing streets, the Potomac River, and surrounding areas with labels like George Town and Capitol.
Blueprints or maps of a city with detailed street and layout information, one of which is covered by a semi-transparent blue sheet, on a workbench with tools and gloves nearby.

Next, the image is printed onto transfer paper using laser jet ink. This particular ink serves as a resist, protecting parts of the metal from the acid used in etching.

With the help of heat and pressure, the ink is transferred onto the metal sheet. The back of the sheet is sealed with tape to prevent the acid from eroding unwanted areas.

A hand holding a black marker drawing on a vintage-style map, with various maps and plans spread out on a table.
Gold-colored map of a city with streets and landmarks, held in a person's hand, with blue tape roll and blue clipboard in the background.
A screen printing setup with ink, a stencil, and a squeegee on a workstation, with a person wearing a blue glove preparing to make a print.
A person holding a reflective copper-colored map of D.C. after coming out of the etching vat, with a blurred background of a tree and outdoor scene.

The metal is then submerged in a solution of acids and salts that slowly bite into the exposed areas, creating the raised and recessed textures that bring the image to life.

Person wearing a blue glove cleaning or restoring antique metal plates with a cloth on a wooden work surface. The plates have intricate designs or text, and tools like a hammer and a bottle are also visible.

Once the etching is complete, the metal is neutralized with baking soda. The tape is peeled away, and the ink resist is removed using acetone.

The piece is now ready for patination. This step enhances depth and contrast by darkening the recessed areas. Multiple layers may be applied to achieve the desired richness.

Finally, the piece is cut, sanded, filed, and hammer-formed by hand. The last step: a meticulous polish that brings the surface to a shine.

Person hammering a metal bracelet or cuff on a wooden work surface, with plants and a window in the background.
A workbench with a metal city map coaster, a file, and various small tools and objects.