Morgan le Fay is the architect of magic in the poem of Sir Gawain and the Green knight. Here she evolves from drawing through the multiple stencils that will produce the layers of colour in the finished print.
The drawing is made on board and underlies the transparent stencils throughout the process of rendering them, providing me with a guide so that everything aligns. The plastic layers are held in place with alignment pins and punched tabs.
I make textures using a scalpel to cut through lithography crayon.
Opaque red oxide paint is used to create flat areas of colour in the finished print.
The colour samples will guide Daniel Bugg when mixing the inks for printing.
Texturising the beast’s pelt and modelling with shadow.
When overlaid the layers of stencils get very dark. Everything will look completely different when printed in colour.
The outlines of Morgan le Fay, her beast, the flames springing from the beast’s feet and the flowers diapering the composition, have to be carefully drawn around in order to create the background. Because the background is to consist of three layers of colour, the process has to be completed three times, which is both time consuming and a tad boring.
The flames are rendered to lend form.
Here the image has been photographed with just three layers of stencils. There are seven stencils required for the finished print, but when the seven are layered they become so dark that the image doesn’t photograph well.