 It seems to be easy. You have a plate and you have a tool. Nothing else, you just engrave a line into the plate. You keep the burin steady and you move the plate. That's an important difference to other painterly gestures techniques. I'm Anton Werth, German printmaker. I started with engraving to explore another appearance of the line. I'm studying old master prints who did engraving. I appreciated the character of the line. Very good. He does it really good. This simplicity makes it difficult to master, to manage a certain movement, a certain swing on the plate. And that needs a lot of practice. Wow. These craftsmen, they did nothing else. It was craft, you know, specialists for typography, forges, parallel lines. Amazing. They entered the print shop at the age 10, 12 and started with wiping the floor. And step by step, they came close to the very technique and were introduced by the master. These books, they stand out to me because they appear as sample books, as manual books, showing patterns for craftsmen. Carpenters, jewels, metal workers. And that's the brain, the intellectual, the cosmos, the world. Wow. On the second view, and the more I look at them, the more they occur to me as an independent artwork in itself. And just with the excuse being a pattern book, they were able to publish it, I guess. It's my hypothesis that I put on these books. Every art historian would correct me, maybe.