▁in ▁London . ▁ ▁When ▁a ▁co pper ▁plate ▁is ▁rough ened ▁in ▁prepar ation ▁for ▁working ▁on ▁it , ▁thousands ▁of ▁tiny ▁holes ▁are ▁produced ▁on ▁the ▁surface ▁of ▁the ▁plate ▁to ▁hold ▁the ▁in k . ▁K ip n iss ' s ▁preference ▁has ▁been ▁for ▁mechan ically ▁rough ened ▁pl ates ▁because ▁of ▁their ▁greater ▁uniform ity . ▁Un like ▁many ▁mak ers ▁of ▁me zz ot ints , ▁he ▁pre fers ▁using ▁a ▁burn isher ▁rather ▁than ▁a ▁scra per ▁for ▁reducing ▁the ▁depth ▁of ▁the ▁holes , ▁a ▁process ▁that ▁controls ▁the ▁amount ▁of ▁in k ▁held ▁on ▁the ▁plate . ▁The ▁burn isher ▁allows ▁him ▁fre er ▁motion ▁and ▁a ▁greater ▁range ▁of ▁pressure , ▁as ▁a ▁p enc il ▁would , ▁giving ▁him ▁the ▁ability ▁to ▁create ▁an ▁image ▁that ▁looks ▁drawn ▁rather ▁than ▁machine ▁craft ed . ▁Over ▁time , ▁K ip n iss ▁sought ▁" nar ro wer ▁ranges ▁of ▁middle ▁t ones " ▁while ▁still ▁bringing ▁out ▁the ▁rich ness ▁and ▁reson ance ▁of ▁dark s ▁characteristic ▁of ▁me zz ot ints . ▁He ▁has ▁worked ▁with ▁master ▁printer ▁Anthony ▁Kirk ▁from ▁ 1 9 9 0 ▁to ▁the ▁present , ▁first ▁when ▁Kirk ▁was ▁associated ▁with ▁the ▁Connecticut ▁Center ▁for ▁Print making ▁in ▁Nor walk , ▁Connecticut , ▁and ▁then ▁at ▁Kirk ' s ▁own ▁studio ▁in ▁North ▁S alem , ▁New ▁York . ▁ ▁T all ▁Tre es ▁at ▁Night ▁is ▁one ▁of ▁K ip n iss ' s ▁many ▁me