This is my most asked question.

Each one begins with a curiosity when out in nature whether it's a walk, swim or cycle.

They never begin with the data.

Once something has sparked my imagination, whether it's a tree ring pattern of the colour of a bird feather, I then begin my search to find out more from books or journals, before looking for data that will let me discover some more details and understanding.

The main thing about my work is that it always starts small. And it's that small spark that prompted the work in the first place that I try to retain in the final piece.

The many details that form the work come from the process of making. I never know how a piece will end up at the beginning.

The process of making my work is never linear. They begin with a small spark of an idea and end up growing arms and legs as they develop. Some things I discover end up in the final piece and some things merely help to shape it.

Because the process is so involved, each piece takes at the very least, two full time weeks of work but most take around one month.

All the data I use is open source and available to use for free, by anyone.

Whether that's government organisations like the MET Office or Forestry Commission or third sector organisations like RSPB and the British Ornithology Trust.

Each of my pieces state the data that I use within the work.

My main tools are a pen and notebook, where I sketch all my ideas and work out how I'm going to redraw my sketches using formulas.

My favourite pens are Tom's Studio and my notebooks are from Pith Supply.

Finally, I use a pen plotter to draw my work to scale. These drawings form the basis for all my prints.

I studied Mathematics at The University of Manchester and then moved to Edinburgh and did the equivalent of a foundation course at ECA through evening, weekend and summer courses (over the course of three years whilst working). I then undertook a Masters in Visual Communication at Edinburgh Napier.

The interest in Maths and Art was there at the beginning but unfortunately when I studying, doing Maths and Art at the same time wasn't an option.

I originally learned to screenprint and so this was originally my method of printing. However, when I couldn't access the open studio during covid, I started working with independent printers (risograph, letterpress and screen printers) and so I started using print processes that aligned more closely to the theme of the work as opposed to being limited to my own abilities.

For example, the print about rivers was printed using water based inks and the tree print was originally letterpress printed from a wooden block.

The common thread is that they are all traditional printing and the print itself takes time to create and is another process in itself.

The short answer is no.

As the prints are all traditionally printed using specially made screens and plates, the set up for each piece is expensive and takes time. So creating a one off in a different size and/or colour would require making new plates or stencils in different sizes, using larger machines and remixing ink which would take a long time and be very expensive.

This is why I create work in the numbers that I do - as a balance that enables me to print enough that I can print by hand but not so many that I create waste.

Unfortunately not.

As you can see from the 'how long it takes' and 'can you produce prints in different sizes or colours', the process is just too long and essentially expensive to create one off pieces.

Ultimately, I can only create a limited number of pieces a year and as I end up spending so long immersed in the work, I really need to be invested in it and so all my work comes from a place that's personally driven.

It's always worth asking but as you can see from the 'private commissions' answer, as the pieces take so long to make, I really need to be invested in the topic.

Ultimately, I only create work that is related to the environment.

As an example, I have been asked multiple times about doing a piece around Whisky. I know nothing about Whisky, so I would not be the best person to create a general print about distilleries. However, I am interested in how the land affects the flavour so I would be interested in working with a Whisky brand if there was a focus on the environmental link.

In short, if it's a collaboration with a shared interest that is for the good of the environment, then I'm open to chatting and you can email me at rebecca@ploterre.com.

The best way to find out about new work is signing up to my newsletter (there's a box to add your email at the bottom of this page).

I send out a newsletter every other Wednesday - one that covers my process and inspiration over the month and one that focuses on the details behind a new piece of work.

I also have an instagram account @ploterre that I regularly update.

Occasionally.

On the odd occasions I do, I'll list them on the events page and I'll also post about them on instagram and on my newsletter.

If you're interested in me giving a talk at your event, please get in touch by email at rebecca@ploterre.com.

I do offer wholesale prints to physical shops and galleries.

If you'd like to find out more, please email me at rebecca@ploterre.com with a link and location. As long as I don't have existing stockists nearby then I'll happily send you some details.