After the gouache and pencil study has been produced to work out how I want the print to look (see above), I begin on the stencils. These are first drawn and painted onto lithography film, and thereafter photo-developed onto the micro-mesh screens used to produce the prints. All but the last of the images below are of the stencils that will create the black layer of the print. I work with a greasy lithographic crayon, an oil-based pencil for finer marks, and a special fibre-tip pen with opaque ink. The pen marks are red here, but once this stencil has been rendered as a screen to print from, all the marks you see will be printed in black ink.
A pencil on paper is mark-making with the tonal qualities created through pressure of the hand. However in screen printing any mark is a mechanical one, and any tonal aspect has to come through colour mixing, through layering and by the close proximity of the small dots of ink forced through the micro-mesh of the screens.
The images for the Gawain series are produced on film of two types: smooth and granular. The irregular surface of the granular TruGrain, means that a wax crayon drawing on it consists of dots caught on the raised parts of the film.
Below, a detail of a wax drawing on TruGrain taken with light behind it clearly shows the dots that build the effects of graduated tone. I’ve also used a scalpel to scratch through areas at the upper left and down the right hand side, to vary the mark-making in the finished print.
Below: tens of thousands of tiny dots build the tonalities I want in the finished print.
Below: the completed drawing on TruGrain ready to be transferred to a screen for printing.
The black layer of the print is the one that holds most of the compositional detail. The ‘coloured’ layers that will be printed beneath it, will be made up of one layer of red, two of blue and two of yellow.
Finally, a picture of the stencils ready to be rolled and sent to Dan Bugg at the Penfold Press. The image appears a little fuzzy only because it consists of six translucent layers.
These stencil drawings are sooooo beautiful themselves, what a marvellous process where each step is a work of art in its own right
some of my favourite parts of this great image Clive: the crazily snaking pennant – really fills that sky space! the ‘explosion’ of shrubbery behind the castle, and those tree stumps – they look as though they are marching up that hillside in a slightly menacing manner! of course I could go on…
Absolutely amazing, Clive.
Fascinating and beautiful as always Clive!Xxx
Wow! The gouache is beautiful! Such patience and dedication to recreate each separate layer…..
What a fascinating exposition of the processes involved in creating the beautiful end product.