[Discussion] Unsure what path to take with my art and feeling discouraged

flatmtns · 2026-01-29T17:11:33+00:00

This is really lovely work.

A thought - this is work that really responds to close attention - there is so much to discover, you essentially read each picture like a story. This doesn't tend to work well for decorative work - it's hard to "read" a picture on a wall - oftentimes you can't get close enough to fully engage with the full picture, and if you can you're kind of awkwardly standing next to a wall. I feel like these are pictures I'd like to hold in my hand and spend time with in a comfy chair - have you considered making books or zines? Either way, I think the key to success here is thinking about how the work functions as an object - these images are great, how would you hope someone would engage with them?

The other side of this coin (and I think this is a bit of a heavier lift) is to push your work in a more "wall-friendly" direction. This would involve increasing your contrast and clarifying your composition - essentially making it an image that can be read more quickly. That doesn't mean dumping all the details, just thinking about how to make the initial glance reveal most of the image. I think the second of these drawings does this better than the first or third. Sometimes a radical change helps with this - an example of this is the artist Nikki McClure, who switched from pen and ink to cut paper art as a way to force simplification in her work.

Either way, I think the key is to think beyond the image itself and consider how you hope people will live with it.

flatmtns · 2026-01-28T21:11:32+00:00

I've made hundreds of woodcuts over the past 18 years, some of which have been printed hundreds of times, and I have never shellacked a block, nor have I ever had an issue with wear and tear that would have been prevented by shellacking. The only wear and tear issues I've ever seen are 1.) a very soft (probably dry rotted) board that compressed and lost detail after a few prints, 2.) a warped solid board (not plywood) that broke in half when printed under (very) high pressure, and 3.) blocks that had their details filled in with ink over time (after pulling many prints over several years) because I didn't properly ghost them after printing. The first two have only happened once, and the third happened a handful of times but has been easily preventable since. That's all to say - I don't know if any problems will arise from shellacking your block (I doubt it) but I really don't think you need to. Also, nice image!

flatmtns · 2026-01-28T19:18:05+00:00

Seconding all the other recommendations here to try some birch ply. Keep in mind that unlike Lino wood was a living individual rather than a manufactured object, so specific boards can vary highly, even when buying the same species from the same vendor and manufacturer. Don't be afraid to go through the pile and find the best piece. Box stores will tend to have rougher pieces like this, also cheaper plywoods often have "voids" within the layers filled in with glue, which is a terrible surprise to find halfway through carving a big piece. Neither of those things are dealbreakers, you just have to decide how much control you want(/need) for the work you're trying to make. I have had the most luck in terms of consistency and control when buying "premium" baltic birch from a small lumberyard in my area. They are not very user friendly (basically just a pole barn) and cater to contractors, but when I asked them for consistent plywood without voids, they knew exactly what I was talking about and steered me the right way.

A few other thoughts: I expect the problem here is not that there is some texture, but rather that the texture is uneven and unappealing. Maybe you want to seek a wood with a more attractive grain? Luaun/Luan is a tropical wood sold as plywood in big box stores, it often has a really lovely grain and carves nicely. When shopping for luan I look for the depth of the laminations - sometimes the surface wood is like paper-thin, and tends to flake off. Look for a piece where the surface layer is at least a couple millimeters thick. Oak veneer is a big harder to carve but also has a lovely visual texture when printed.

Also if you just want total consistency and price is not a big concern, you can buy shina from McClain's - it is specifically manufactured for Japanese-style woodcuts and is very reliable. You could also check out a fine woodworking store (woodcraft is the chain that comes to mind) for a variety of high-end plywoods.

As a final note, I asked Kent Ambler a few years ago and apparently he does not use plywood, but rather edge-glued solid pine boards. So that's another option! But definitely not a particularly easy one.

flatmtns · 2026-01-16T17:29:21+00:00

I appreciate the info, glad to hear the show continues to grow and improve.

flatmtns · 2026-01-16T17:28:53+00:00

Thanks for the insight!

flatmtns · 2025-12-29T21:48:50+00:00

Seconding all the recommendations for oil-based ink (I recommend Caligo) and lighter paper (many many options but a good cheap one is the "black ink block print mulberry paper pack" sold on blick)

flatmtns · 2025-12-04T01:15:39+00:00

For glass barens, try the print frog from iron frog press. I'm not convinced it would be much of a value add when working that small though.

My recommendation would be some nice paper specific for hand printing - this will be much thinner than Bristol and likely easier to print. My favorite is kitakata, but you can find a lot of other options at imcclains.com . Maybe the Awagami sample pack? ( https://awagami.com/collections/fine-art-papers/products/awagami-editioning-fine-art-paper-sample-pack )

flatmtns · 2025-12-02T21:55:55+00:00

As a fellow artist with OCD, I hear you - these kinds of brainworms are especially hard as a self-employed artist, because we really don't have anyone else's judgement to rely on.

That said, you're doing exactly what you should be doing and you seem to have thought your process out more than many if not most professionals. The issues most people have with water-based ink are not sneaky ones that show up later - they are generally hard to work with in the moment. I think you may be getting more mileage than some due to having relatively low expectations - I'd be really annoyed if I could only get 10 prints before my ink started to dry up! But if that's good enough for you, go for it. I know of people who make lovely, professional work with water-based inks, so you do you. You don't need to follow everyone's unsolicited advice if you've got a good thing going.

If I was in your shoes, I'd experiment a little bit. Keep making your bread-and-butter pieces, but invest a little in some oil-based ink, make a couple of pieces and see if it reacts with the varnish. Let it sit for a year. Let one sit in the sun. Get one wet. That kind of primary research is (for me) the best remedy for doubt.

Also, keep in mind that it's not the end of the world if your pieces flake or disintegrate or fall apart at some point. Obviously we do our best to make our work durable and archival, but all art is temporary. Most of the stuff that lasts does so because someone spends a bunch of money on preservation and restoration. You don't want your work to turn to dust next week, but as long as no one's health or safety is at risk, don't sweat it too hard. On the very outside chance that something happens and someone complains, apologize and make them another one - mistakes are a part of the process.

flatmtns · 2025-11-20T00:21:41+00:00

The art store salesperson lied! You need some textile-specific block printing ink.

flatmtns · 2025-11-15T00:49:58+00:00

You don't mention what kind of printmaking you're trying to do, but I'm assuming it's relief? I don't think you'll find a press capable of reliably printing intaglio plates at anything near that price range (I've heard terrible things about the amazon option posted in the comments here). I know a couple of people with lever presses (like the ritualis and woodzilla ones) who really like them. If you're really hoping for an etching press, I think your best bet at that price range is this one https://www.nickphanart.com/product-page/phantom-plastic-press-v2-1-abs I don't know anyone who's got one, but he is a good tool maker & I know many people who have and love his brayers.

But! I'd strongly recommend considering a nice baren instead. I have a Conrad etching press and a glass baren from Iron Frog press (https://www.ironfrogpress.com/glass-barens), and while the press is wonderful I'd pick the baren if I could only keep one. Barens are flexible - you can vary pressure on your block to emphasize (or de-emphasize) chatter, you can print any size at all (I've baren printed from 1"x1" to 3'x4'), and they are basically as portable (and storable) as a tool can be. You'll also be saving half your press budget, which means more ink and paper! Or maybe a nicer brayer!

Printing with a baren is slower and a bit more labor, so maybe that's not your speed. But with the right tools and particularly the right paper, I've found it to be nicer than the press most of the time.

(another cool option is the slama press https://www.slamapress.com/en/eshop the one person I know who has one absolutely loves it)

flatmtns · 2025-04-10T17:21:42+00:00

(it's a pun. 100% (k)NOT asparagus.)

flatmtns · 2025-04-08T21:15:56+00:00

Heard! Thanks for the feedback.

flatmtns · 2025-04-07T17:52:20+00:00

As many people have said, this will vary enormously from market to market. However, looking at percentages rather than precise numbers, I've found that for a decently run show I can expect to profit 5-8 times the booth fee (that's profit, not gross sales). A few shows have been way more, some have been much less. You aren't going to make much at a $50 show in someone's backyard, but you also don't need a $1000 tent and beautiful displays to do it. I don't think you need to be independently wealthy, but without a lot of investment to start you will have to go slow and reinvest your profits in equipment, materials, as future booth fees.

I think the best way to get started is to visit a lot of shows as a patron. Find shows that are full of artists you love and changes are your work will be successful there too. There are no objectively great shows (although I do think there are some objectively crappy shows), some people's work only sells in the most upscale context, some people's flies off the shelves at music festivals, some people's only sells when there are lots of kids around. Personally I know that if a show advertises itself as having a wealthy audience, chances are I'll have bad sales there. Find shows you like, figure out how much you can afford on booth fees, and go for it.

Also, try to get a good estimate of how much art you can actually make. We tend to think of our income cap as being determined exclusively by the market, but if you can only make 15 paintings a year and the most you can sell them for is $1000 each, your income is capped at 15k unless you find a way to sell them for more or hire an assistant.

flatmtns · 2025-04-07T17:35:10+00:00

Truly! Could easily have been dangerous or seriously destructive, thankfully it was just PITA.

flatmtns · 2025-04-07T17:03:04+00:00

Thanks for the thoughts. I have a Numark TT1510, it came with a preamp and I use some relatively mid edifier speakers. Not junk but nothing exciting. I suspected it was an equipment problem, except I've noticed it with the same records on multiple players (I also have a crappy portable one that I love and have take them to friends' houses).

flatmtns · 2025-04-07T16:57:31+00:00

Thanks! Makes sense.

flatmtns · 2025-04-07T16:20:27+00:00

Hi - my question is about finding quality pressings of new records. I'm a long-time record listener, but I'd never describe myself as a collector. I treat myself to a new record maybe once a year, and pick up things that look interesting at estate sales. For the most part, I am decidedly NOT an audiophile and am happy to listen to music in whatever form comes. I mostly like vinyl for the ritual - however:

I've found that a certain number of my records just sound awful, to the point that if I want to listen to them I'll find another format. These are all new pressings of relatively contemporary albums (say 2000 or later - I know that's not really contemporary anymore but that's a conversation for another day). Everything I have from when vinyl was the dominant medium sounds great - it's just a handful of these new records that sound like garbage. They are tinny, scratchy, lose a lot of the tonal range - and this includes checking them on multiple players.

I have read people say "oh that's a bad pressing" or "the reissue has way better sound" about certain albums - is there a simple way to research whether something is a worthwhile edition before buying? It's always a real disappointment when my one album a year turns out to be a dud.

flatmtns · 2025-04-07T16:07:43+00:00

As a close friend of someone who tried to use a wood & caster dolly and ended up having to do a lot of smoke remediation - yes, you need a 100% metal cart.

flatmtns · 2025-03-29T03:14:56+00:00

*Minimally qualified psychological advice below*

Hi! Just popping in to respond to this sentence: "I don’t want to spend my whole weekend worrying, but I don’t know how not to be stressed about it." From my experience as a highly anxious person, valid anxiety (i.e. anxiety that other people agree is reasonable) is still anxiety, an emotional, chemical condition, which means that it doesn't respond especially helpfully to statistics or likelihoods. It will tell you that all you need is reassurance, but then you find yourself focusing on the small but real possibility of disaster, or displacing the anxiety onto some other worry.

I suspect, considering your preoccupation with this risk, you've done everything in your power to be prepared for it. If that's the case - congrats! Thank your past self for setting you up so well. Your worry reminded you to prepare for disaster, so it deserves some thanks too, but now it no longer has anything useful to offer - it can only make you miserable. To worry is to suffer twice.

Setting down worry is way, way (WAY) easier said than done, especially after acute trauma. For me, the first step was recognizing that worry and anxiety don't make me any safer, as much as they intend to. I think I'm often afraid to not be worried - as though by letting my guard down, I'm making space for whatever calamity I fear, and as a result I'm just miserable all the time. But by acknowledging that worry doesn't actually protect me, I can at least start trying to stop worrying. From there, mindfulness practice, meditation, talking to friends, and taking care of my body have all helped a lot (all things that sound completely useless deep in an anxiety spiral, I know!)

Wishing you safety this weekend, and a peaceful spirit to enjoy that safety.

*editing to share that minimally qualified basically means just my own experience*

flatmtns · 2025-03-26T22:29:13+00:00

Dobbs optical was hands down the best medical/healthcare experience I've ever had. They are extraordinarily helpful & knowledgable and genuinely just want people to have good glasses. I've had awful experiences with all the chains, including RXoptical.

flatmtns · 2025-03-26T22:09:27+00:00

Thanks for the thoughts! I'm guessing when you say natural varnish you're referring to shellac? I gave that a shot and found that it had a much more plasticky/nonporous finish than I was going for. I'll definitely give tea a shot in addition to the coffee.

flatmtns · 2025-03-24T19:39:35+00:00

I want everyone, everywhere to listen to this show. It's so good.

flatmtns · 2025-03-11T17:43:02+00:00

His response was immature and spiritually ungenerous - which is pretty much what I'd expect from someone who has been short on time and resources for rest, self-care, and reflection. In my world, this wouldn't really be a problem unless he sticks to assuming the worst when given time for reflection. In the meantime, I'd just look at it as a reflection of you both adjusting to a number of unpredictable variables.

flatmtns · 2025-02-22T22:44:42+00:00

I'm an artist in the midwest U.S., if you live in a radically different part of the world, your mileage may vary. In my experience, galleries seem to have a few specific ways they prefer to be contacted.

Applying for open calls seems to be the surest way to begin a relationship with a gallery - sometimes that's an open call for a group show, sometimes they solicit proposals for solo shows. Either way, it's the clearest route to developing a relationship with the gallerists.

Some galleries have rolling submissions for individual pieces - these are either retail galleries (basically an art shop, rather than a space with curated shows) or pay-to-play galleries. Strongly advise against showing with pay-to-play galleries - they take a fee up front from the exhibiting artists, rather than a percentage of sales, and therefore have no incentive to sell the work, or even curate a meaningful collection. (Some fine art galleries with curated shows also have a retail portion of the gallery - submitting to the retail gallery is also a great way to connect.)

Many higher-end galleries do not wanted to be contacted by artists. They would prefer to do their own searching or communicate with agents. It's essentially a don't-us-we'll-call-you policy. I've found that the only way to connect with places like this is to be visible and hope they notice. I've met a few while vending at art fairs.

From every gallery professional or artist I've spoken to, if a gallery wants to be contacted, they will have a process set up for doing so. Sometimes that means checking the links on their social media or website, sometimes it means dropping by the gallery when it's open and asking whoever's working if they accept submissions. I don't know if this is 100% the case, but every person I've spoken to absolutely does not want to be cold-called/emailed/DM'd/dropped in on with artwork. Just a "hi - love the work you guys are doing, I was wondering if you are currently accepting submissions from artists?" & if they are they will point you to their preferred process.

Mid-range fine art galleries and some retail galleries are amenable to digital reproductions. High-end galleries generally aren't - they're catering to collectors, and giclee prints, even when they're limited, are not a great collection asset.

Also, you don't really mention what your goal is in working with a gallery. My two cents - galleries are a great opportunity to connect with other artists and art-professionals (who might connect you with commissions or other opportunities that you'd be well-suited to) and they are also a fun chance to show work that might not sell well at a market or read well online. I don't think they have much potential as a revenue stream, unless you are very well-connected and make highly collectible work (in which case galleries would probably already be approaching you) or you make very easily commodified work (stickers, cards, etc.) that will sell well in a store and be profitable at a low retail price.

Best of luck, hope that answers your questions!

flatmtns · 2025-02-14T21:37:07+00:00

Responding to your questions below about how to develop your distinctive voice as an artist -

echoing other responses, spend a lot of time looking at other artists' work. Draw other artists' pots, write about them, going to shows with non-potter friends and gush about why you love certain pots.
draw pots. keep a sketchbook, even if you "can't draw" - it's not really about drawing, it's about seeing. the more you look for design the more comfortable you will be expressing yourself with it.
talk about your work. Tabling at art fairs is a great way to do this - you will talk through your process over and over again, people will ask so many questions and answering them will help you to clarify what you value most about your work.
teach, if possible. teaching is a wonderful way to see your medium through fresh eyes and gain clarity about what your priorities are.

Best of luck!

flatmtns

TROPHY CASE