The title of this double plate etching is, MALTA ANGEL, from Edition ONE of THREE, and Print Number ONE of FIVE. The artist manually prints all etchings on a STRAND press. The two zinc plates employed for this work each measured 4 inches wide by 3 inches high, or 10.160cm by 7.6200cm. The image size is six inches high by 4 inches wide, or 16.510 cm x 10.160 cm. The print was ELEVEN inches high by TEN inches wide. The studio techniques include INTAGLIO, AQUATINT, DRY POINT Chine Collé. The media include a blend of three colors of oil-based etching inks, RivesBFK white paper, and mulberry bark paper from Thailand. This Di Falco etching was inspired by and adapted from my research into the ancient Goddess figures found on Malta, which have always hypnotized me. These rather corpulent figures, some believed to be over five thousand years old, speak of a culture immersed in poetic eroticism and matriarchal wisdom. Even though this work is somewhat cartoony in nature, it contains some very serious symbols. Please note that this etching is shipped to the buyer without a frame or mat. This keeps the price reasonable and also allows the collector a wide range of choice in framing selection. For shipment, a sturdy cardboard box is employed. The etching is first wrapped in two layers of acid free glassine and then placed between two archival boards. This is next placed into the shipping box and securely packed with bubble wrap. The price does not include any shipment cost. The hand done Chine collé process, which translates into Chinese pasting, is a difficult and laborious one. Methylcellulose powder is mixed with spring water and then painted onto a mulberry-bark paper. I use Unryu brand from Thailand In Japanese, the word Unryu translates as CLOUD DRAGON because the paper is integrated with long swirling threads of kozo fibers. This gives the paper a texture and the visual effect of clouds. Kozo fibers come the branches of the kozo bush, specifically the innermost of three layers of bark, which must be processed after harvesting. The treated Thai paper is allowed to dry overnight, and I cut it to exactly match the areas where I want color to exist in the print. These stenciled mulberry bark papers are dampened with water and then placed upon the already inked and wiped etching plate. The printing process continues, and a multi-colored image on paper results.