I’ve just picked up your email - and thanks for writing back.
I rather like your print! You’ve used some interesting marks, a mix of subtle and bold, and I like your use of colour. I’ll look forward to seeing the 5 prints you are planning once you’ve finished them.
Good luck with them all.
Date: Thu, 7 Nov 2013 17:50:34 +0100
Subject: Relief Printing
Many thanks for writing - I’m delighted you are a relief print enthusiast.
I’ll try as best I can to answer your questions:
Yes I have an agent. I find them very useful in that they are very knowledgable about prints and give me plenty of time and space to discuss my work when I see them. It hasn’t meant fame and fortune having them, although it’s nice that they take care of my work and frame it etc. I hope you don’t mind if I say however, that I find your question slightly niaive. It’s a really hard slog getting anywhere. You can obviously pay for gallery space, and all the framing etc. You also need to submit your work to competitions, and that can be a slog too, and undermining if you get a run of rejections. You need to push hard to get your work shown too. I find it’s very important to study the market, see what’s going on and decide where you want to pitch yourself. You need to research galleries and agents who handle prints and get in touch with them. Go to art fairs and chat to the gallerists there. It might be easier in Plymouth being so much smaller than London. Mainly though, concentrate on building your portfolio and doing good work.
Creating a print - it depends on lots of things. I’ve done a couple of woodcuts that are very large (200 x 120 cms), so they took about 3 months each to complete. Otherwise a more ‘normal’ size - that depends too. Personally I rarely work directly from photos, usually it’s mainly from drawing and using a photo as an ‘aide memoire’. I’ve started working figuratively over the last couple of years - before that I did much more abstract things, linocuts mainly, so worked just from drawings I’d done. So I would say around a month.
No I don’t use digital editing.
With woodcuts (which I’m currently concentrating on) the main difficulty is if you have a lousy piece of wood. And it’s often difficult to tell it it’s lousy until you’ve cut it all!
I’m not sure if any of this is useful. Send me a couple of images of your work if you like.
*Techniques attached to the past
*3D Imagery- Hattie Newman
Rob Ryan changed back tofine art
*Central Question (thesis)
*Claims and evidence
-Ultimate Illustration - Eva Minguet Caimara
*Best ideas made clear