I need to consider my methods for making this image. In regards to the content of the image, I feel some pressure as I am trying to boil down as much as I can of what I do into one image that would interest someone into looking into my work further.
- That also brings up the persistent question of : am I doing too much? But I don't want to stop doing *too much* either.
- At the minute I'm quite tied up in working boldly, sometimes messily. Though strange forms and figures are the thing that's keeping my work mostly consistent at the minute, I'm interested in making something a little more delicate...
As to the processes for making the image, I've had a few looks at other prints.
Jean Jullien, printed by Hato: I hadn't considered the translation of brushstrokes into risograph, and it does seem to be quite successful here. My assumption is that his bitmapping was very tight. One colour can work, as long as the values are contrasting.
Sarah McNeil: I'm enjoying the delicate-ness in this. Though painting is quite my thing at the minute, I think it's best when it can be shown for what it is. Through riso it may become a little distorted. Accepting the simplicity of the riso, like McNeil, could be the way forward in regards to the dynamic between line and colour.
I don't necessarily want people to look at it and instantly study the print process. I want the thing that shouts to be my own work!
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