Dan Richards' technique is the sum of ten years of intensive research. He starts with a watercolour with special inks that while being applied will look like a film positive. He then takes a photography of the work and burns it on a lithographic plate. Many copies in black are then printed until one comes out to the satisfation of the artist. He then prints some parts of the black proof on a very thin paper which will be glued on a film that can be cut with an exacto. The parts having been cut to his satisfaction, the artist will use the empty spots as stencils to ink the final part of the work. Then the colours (inks of his own composition) are hair brushed on each sheet of paper that is part of the edition. Once dried, these same sheets will go through the press, one by one, in order to get finally inked again but by the lithographic plate in black only, in complementarity to the existing colours. It explains why his works look so much as a mezzotint.