I, I took up etching, and there was another guy who was of the same mentality as my teacher at grammar school, a man called Norman Webster, who, I think he’s still alive, and he must be over ninety now. And, I went to do etching in my first year at Leeds Art School, and, I really liked it right from the start. He showed me how to put a hard ground on, and I did that, and then I started to do, do all sorts of other things. But... But he was very encouraging, and he, he always gave me metal and paper. And I had done, I’d done a big steel plate. I used to work on steel because it cost nothing. And, I’d done a big steel plate which, I’d drawn direct on the plate, of the church. And, and I was finding it difficult scrubbing off the acid-resisting ground before I could take a print. So, I put it in a box of, of solvent and leather shavings, to soak while I went off and had a cup of tea. This is my first year at art school, at Leeds Art School, in about 1956 or 7. And, I went off and had a cup of tea, and I came back and I went to the box, and I couldn’t find the plate. The plate wasn’t here. Where’s the bloody plate? So I’m walking... ‘Who’s stolen my plate?’ you know, and I’m looking. Somebody might have taken it out and propped it. No. Couldn’t find it. And, I walked past... We used to tape, when we took prints we used to tape them up on a board, so they would dry flat as the paper dried. And I walked past this picture, about four or five times, and then I, I thought, well where’s the plate? And I stopped and I looked at this picture that was taped on the wall. And I suddenly realised it was mine. And while I had been having a cup of tea, the etching teacher had taken the plate out, cleaned it. And he’d had a beautiful piece of Whatman paper, damp, ready. Inked it up, and printed it, and taped it up on the wall, and then he’d gone off for his tea. And I looked at it, and, it was absolutely beautifully printed. I mean he really could print. And he had just printed this plate, and it just was singing on the wall. I just couldn’t... God, did I do that? You know. [laughs] You know, I couldn’t believe I’d done it. And when he came back, I, I confronted him with it, and everything, and, he said, ‘Well look, there’s the ink, I’ve soaked some more paper. Why don’t you see if you can print it just like that?’ you know. And so I, I started to... I realised, I’d got to learn how to do this really well, and, and he knows how to do it, so I might as well, that’s what I’m here for, you know. And he was terrific. He showed me. And I printed, in the next few days I printed several. Didn’t quite match his. But at that time, we used to have a Yorkshire equivalent of the Summer Exhibition, which was the Yorkshire Artists Exhibition. And everybody used to put in, Hepworth and Moore would be in it, and everybody, you know. And it was at Leeds Art Gallery. And it was like a kind of Summer Show. And, everybody could put in. So I cut this down, off the wall, framed it, and, and I think it had to be in that day, and by the end of the day I had put it in, framed it, put it in, to this, to the Yorkshire Artists Exhibition. And it got accepted, and it got bought by Leeds Art Gallery for four guineas. [laughs] I sold it for four guineas. The first ever picture I ever sold, and they still have it in their collection.