After discovering the fabulous possibilities of mezzotint printmaking, I decided to implement this in to my series of Norwegian landscapes in order to tie the prints closer to the style of the charcoal drawings, hence getting better continuity to my works. This has  especially been getting more and more evident during my exhibitions, as when shown together, the mono prints  always seem to come across as a series within the series, with their more abstract and colorful approach. I was looking for a better flow in the way my exhibitions are presented.

Introducing mezzotint plates as a basis, and then a roughly etched (plus sometimes other various mixed techniques) on second plate to give the print a weathered and atmospheric touch, gave me the perfect approach to get the line of prints desired.

Mezzotint is a painfully slow and hard, however rewarding process, as longs as you manage to stay on top of the challenge. I am now back to printing editions of 40, the absolute maximum the main plate (the mezzotint plate) would allow before it’s simply too worn to give the desired result.