DeAnn L Prosia

About The Artist

Born in Chicago, Illinois, DeAnn received her education at Northern Illinois University and the Art Institute of Chicago.

DeAnn’s work is very detail oriented as  evidenced by the tight-knit lines of her etchings which at first glance appear to be aquatint.  Her etchings take between 20 and a few hundred hours to complete depending on size.

In 1995, DeAnn moved to Connecticut where she became a member of the Silvermine Art Guild and the Society of American Graphic Artists(SAGA).

In January 2007, DeAnn moved  to Germany where she lived until October, 2009. During that time she studied the history of the art in the area (the Gutenberg Museum, where the first printing press resides, was close by) and  experimented with other media along (watercolor and colored etchings).

Her work is included in the collections of The New York Public Library Print Collection, New York, NY and The New York Historical Society Museum and Library, New York, NY.

She now resides in Newtown, CT.

Artist’s Statement

I have always been fascinated by how society has historically built beautiful and interesting architecture to fill the needs of people in their everyday lives.  With my etchings, I’m structurally creating images by building up layers of lines to create tone.  Recently, I’m finding myself interested in complex structures in unrecognizable locations hoping people will focus on the technique and detail I’ve built up through my cross-hatching and the construction of my work.

Artistic Media

Line Etching, a form of art practiced as early as the fifteenth century, but popularized in the seventeenth century by mostly Dutch artists, such as Rembrandt.  The process entails coating a copper plate with a thin layer of acid resistant ground and drawing upon it with an etching needle.  The plate is immersed in an acid bath, forming grooves where the copper is exposed.  The plate is then stripped of the ground, ink is worked into the grooves and an edition is printed.  I ink and hand-pull my own prints.

Subject Matter and Technique

My subjects are mostly architectural scenes. I use tight-knit fine lines for darker darks to create delicate, yet detailed images mimicing aquatint and other techniques. By using black and white or sepia inked etchings as the medium, I hope to create an antiquity in the images. and to “pull” the audience into the scene by creating a familiar and peaceful feeling.


Paper is critical to the printmaking process. Years ago, the standard assumption was that a paper needed to be 100% rag to be an archival sheet. Eventually, Printmakers came to realize that rag content alone was not an indicator of archival quality. As most artists are aware, the PH of the paper is the real indicator of longevity. A PH neutral sheet can have anywhere from 0 – 100% rag content. There are many factors that influence the choice of papers today. Obvious choices would include choices of color, size, PH, pricing and suitability for the intended process. Less obvious factors influencing the selection process would include the degree of sizing, presence of deckled edges, presence of watermarks, method of manufacturer and general aesthetic qualities.??I use a paper called German Etching. Mouldmade in Germany, it contains 75% cotton and 25% high alpha cellulose. It has four deckled edges and is an excellent paper for printmaking. German Etching is one of the most expensive papers on the market.

The inks that I use are made by Graphic Chemical and Ink Co. There are two inks that I use, either by themselves or in combination. The first is 514 Bone Black which is an ink manufactured using Bone Black (Ivory Black) pigment. The other is Sepia.


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