Gawain and the Green Knight: ‘The Travails’, from start to finish.

I had a choice of encounters to explore visually. In the poem, while on his journey to find the ‘Green Chapel’, Gawain battles and vanquishes various creatures, including wolves, ogres, serpents and woodwoses. Woodwoses are ‘wild men’, shown as shaggy of body in early manuscripts, often wearing garlands of leaves to bind their snaky hair.

Below: Woodwose from the Speculum Regale (King’s Mirror).

f89d4d5519640c88f3a48d0f26976424

I came close to showing Gawain locked in combat with a woodwose. I liked the idea of rendering all that shaggy fur.

Below: early sketch of Gawain disabling a club-wielding woodwose .

DSC08692

But in the end I decided that the composition would benefit  from a non-human form. I’d already explored a man in combat with a dragon in a series on the theme of Saint George, and so I returned to a composition devised for Battle Ground, made in 2007.

DSC01677_2.jpg

In Battle Ground Saint George is in the dragon’s grip. By contrast in The Travails Gawain stands poised, shield raised for protection and his right arm thrusting home the killing blow. It’s an hieratic image, full of tension but not in any way, despite Gawain’s windblown hair, kinetic. I wanted the sense of a frozen moment.

DSC08691

DSC08694

Once the composition was established, I began working on a detailed drawing to guide the painting. I brought out the dragon maquettes made originally as compositional aids for Battle Ground .

DSCF1006.JPG

DSC08697

Below: the finished painting of The Travails.

DSC08734.jpg

Work begins on rendering Gawain and the dragon in lithography crayon, ink and paint on layers of transparent plastic. These are called ‘stencils’, though that’s a bit misleading because there’s no cutting involved as there would be with the kind of stencils you might use to decorate walls or furniture.

Each layer of these screenprinting stencils represents a single colour for the eventual printing process. The sheets are fixed with registration pins over a ‘master drawing’ that guides me as I build the image.

DSC08769

DSC08770 (1)

DSC08773

DSC08771 (1)

DSC08777.jpg

As the layers of of the drawings increase, the image darkens.

DSC08784 (1)

DSC08781

Once the layers have been completed, they’re dispatched to the Penfold Press where Daniel Bugg processes them into screens for printing. The screens are made of micro-fine mesh stretched over frames. The mesh is coated with photo-sensitive emulsion that allows my drawings to be ‘fixed’ in such a way that when ink is squeezed through the screen, it prints the image onto the underlying paper. Each colour requires a separate screen.

Once Dan has the screens prepared he mixes colours and the process of printing and proofing begins. This is the point at which we get a sense of whether I need to do further work on the existing stencils. If required I add new ones. We make decisions on how to manipulate the layers of colour to achieve the desired effects. For The Travails many proofs were made, some of them transforming the image quite radically from the original painting.

Below: early stages of proofing.

image1 (1).jpg

IMG_2503.jpg

Below: At this stage, Dan points out that I’ve forgotten to make a layer of gold for the falling leaves. The background is darker than in my painting, but the fact is that the intention is to make a printed image with qualities in its own right and not a reproduction of the painting. The painting is really just the starting point of a new creation through the medium of the screenprint.

IMG_2504.jpg

Below: a brighter blue for the background better approximates the original painting, but is nevertheless unsatisfactory. The colour of the dragon too, gets closer to the original, though we both agree it has too much of a resemblance to chewing-gum.

14159916_1771493929796509_1892146067_n.jpg

Dan and I reference the painting (below) throughout the early stages of the printmaking, though we quickly realise that the background blue and the colours of the dragon and Gawain are too tonally alike for the combination to work as intensely as I want for the screenprint.

DSC08734

Below: Dan tries a more radical approach. The background darkens and the dragon turns the colour of a plum. I like this one a lot, though we feel that the dragon and Gawain need to be closer in tonal value in order to better balance the composition. Gawain is catching the eye too much.

14159951_1771494686463100_1172866245_n (3).jpg

Below: Dan has added a layer of texture to the dragon using a stencil I’d made for another print. The background has become even inkier and Gawain’s red is really popping. The outline of the dragon is crisp. We’re both satisfied. This is the final proof, the one on which the edition will be based.

image 5 (1).jpg

Curator and art commentator James Russell writes of the print:

Armoured but helmetless, his shield held staunchly before him, Gawain plunges his spear into the breast of a serpent. Fans of Clive’s work may recognise the grinning beast with its ghastly scaled body as a relative of the dragon battled by St George in a memorable series of paintings, but this is a different kind of image for a different kind of story. The tale of St George would have been familiar to the Pearl Poet’s original audience, as would a host of quest narratives and stories of bravery in which the slaying of a dragon or similar beast represented a culmination. Victory proved the knight’s valour and therefore his moral worth. Not so in the case of Gawain.

In one short if vivid passage we learn of his journey in search of the Green Knight’s home, the Green Chapel, in which he vanquishes a menagerie of medieval monsters. Wolves, bears, giants, woodwoses, serpents… none can match him. He proves his strength and courage again and again, but these battles are little more than ritual acts. The world has moved on, and when he undergoes his true test he will not even know he is being tested.

In portraying St George, Clive presented the sinuous form of the dragon and the limbs of the knight twisting together in violent struggle, but Gawain is not wrestling this beast. He is dispatching it, calmly and resolutely. Is it his virtuous shield with the painting of Mary that empowers him? Or is he simply too strong for mere serpents? Or are these easy victories set up for him, to inflate his pride? The falling oak leaves suggest that we are already within the Green Knight’s domain…

 

James Russell

 

Gawain and the Green Knight: Clive Hicks-Jenkins and the Penfold Press opens at the Martin Tinney Gallery, Cardiff, on Thursday 8th Sept. The exhibition runs until October 1st.

The Knight and the Virgin

Making a screenprint.

Rough sketches. There were several of these, but the one below was the guide to the study painting.

Below: working the face in some detail on mountboard before beginning to lay on paint. The drawing disappears almost completely under the first layer of gouache, but by that time it is already ‘locked’ in my head.

DSC08529.jpg

The Virgin and child painted onto the lining of Gawain’s shield begin to take shape.

DSC08531.jpg

Gawain’s helmet plume. Gouache and pencil.

DSC08569

Camelot, worked in sgraffito and pencil. The ground is heavy, acid-free mount-board that allows for the inscribing with a needle.

Rendering in gouache and pencil.

The finished study. Gouache, pencil and sgrafitto on board.

DSC08581

The composition re-drawn as a ‘master-drawing’ to guide the process of making stencils on separate layers of transparent film. Each stencil represents a single colour in the printmaking process.

DSC08585.jpg

Camelot rendered in wax crayon on transparent film. In the study, the ‘etched’ look was created by using a needle to ‘indent’ the card, and then working pencil over the top. With the stencil I had to use a technique more akin to scraperboard, wielding a needle to clear areas of the wax drawing. It was massively time consuming as the sticky wax detritus had to be constantly brushed away before it got stuck back down by the pressure from my hand resting on the surface. This stencil, which is a small section of the composition, took two days to complete.

DSC08595.jpg

Layers of transparent film create the quality of mark and tone Dan and I were looking for. The stencils are all made in black and red. No point in working in colour at this stage. It’s easier to see what’s going on in the layers by simplifying. The pattern on the inside of the shield was particularly taxing. In the painting the pattern was made by using yellow ochre whipped in with a fine brush over the top of the red. For the printmaking, the ochre has to under-print the red, and so all those pattern marks on the stencil had to be painted around. A long day’s work.

DSC08637

More layers of stencils. Even though they’re transparent/translucent, eventually it becomes hard to see what’s underneath the top five or six layers.

DSC08650.jpg

The stencils fixed in place with registration pins to assure correct alignment. The colours at right are the guide for Daniel Bugg. Each corresponds to a layer of stencil. The big brush is to dust the stencils and keep them free of detritus, though usually a few stray hairs from Jack end up in there.

DSC08653.jpg

This is how Gawain looked when composed of all the layers of stencils. Quite sooty!

DSC08687 (1).jpg

Proof stage by Daniel Bugg. The two stencils for the colours shown here have been processed as screens by Dan. Each screen is made of microfine mesh stretched on a frame, through which the printing ink is squeezed to make the impression.

14031153_1765120973767138_653293406_n.jpg

Proofing stage.

14011925_1765119990433903_2078720980_n.jpg

Adding one of the black screens to the proofing stage, to check how things are looking.

14055522_1765486523730583_663049260_n.jpg

Another proof, this time adding shades of ochre before laying in the black. Red and cobalt teal laid over each other make a rich, bruised purple.

14017918_1765117357100833_553230113_n.jpg

Below: the finished print.

image1.jpg

The Armouring of Gawain. 2016.

Screenprint. 55 x 55 cms. Edition of 75.

Opening 8th September at the Martin Tinney Gallery, Cardiff

Gawain and the Green Knight: Clive Hicks-Jenkins and the Penfold Press.

Prints, paintings and drawings exploring the medieval poem

Invitation to ‘Gawain and the Green Knight’

Please join us if you are able at the opening of:

Gawain and the Green Knight: Clive Hicks-Jenkins and the Penfold Press

DSC08581.jpg

Prints, paintings and drawings on the theme of the medieval poem

Thursday 8th September, 6 pm – 7.30 pm at

The Martin Tinney Gallery

18 St. Andrew’s Crescent, Cardiff. CF10 3DD. +44 (0)29 2064 1411

DSC08757.jpg

Exhibition runs from Thursday 8th Sept to Saturday 1st Oct, 2016

Art commentator James Russell writes of the Penfold Press collaboration between artist Clive Hicks-Jenkins and printmaker Daniel Bugg:

“The story is the kind you might find in The Mabinogion. Sir Gawain is more human than your average legendary hero. Having taken up the challenge offered at the Camelot Christmas feast by the terrifying Green Knight, he embarks on a quest to find this ogre, only to be tested – and found wanting – in unexpected ways. Sir Gawain is both a glittering knight and a fallible young man, and it is this flawed human character that intrigues Clive. Each print is inspired by the text and rooted stylistically in its world, but beyond that Clive and Dan have allowed their imagination free rein.”

 

 

 

The Armouring of Gawain: thoughts on print No. 5

All the images are preparatory studies for The Armouring of Gawain, or details from stencils prepared for the print.

Gawain must seek out the Green Knight’s chapel, where he is oath-bound to submit to a blow from an axe that will very likely kill him. Everyone at the court witnessed the challenge from the Green Knight that led to this pass, and no-one believes that Gawain will return. So the acquitting of him in fine armour is a bit of a hollow pretence, a show of largesse from a King gilding the sacrificial lamb. (It was Arthur the Green Knight had in his sights, but young Gawain stepped in to be his champion.) Clad in chased and burnished gold, radiating light like Apollo, the young man’s gaze turns to the image of the Virgin he’s had painted onto the lining of his shield. She alone must steel him for the travails ahead.

In the distance Camelot, compromised by the moral bankruptcy that will one day see it fall, is already dark, as though light has departed with the last good man.

DSC08594.jpg

A savage wind has tugged locks of Gawain’s hair from his helmet and set them streaming with his dancing crest of plumes. He’s locked in this metal suit, living and perhaps dying in it unless he reaches a trusted place where others may be relied upon to uncase him. Shining and jewelled, the armour is both protection and prison. He must cook or freeze in it as the weather dictates.

DSC08637.jpg

DSC08569

Below, the application of greasy, lithography crayon and opaque fibre-tip pens on layers of granulated Trugrain.

DSC08644 (1).jpg

Change of Title

The Green Knight Speaks, while a great title for the fourth print in the Gawain series, doesn’t quite fit my image as it should. In the finished study for the work, the Green Knight’s lips remain firmly shut, and so the title must change. Right now I’m toying with several options, none of them yet quite there.  Suggestions if you have them, please.

In the meantime work is underway on the stencils that will create the print. Each title in the series begins as a series of rough sketches in which I try out ideas. In this print, the Green Knight, having retrieved his decapitated head, holds it aloft to speak

DSC08376

After the ideas have been hammered out in rough drawings, I make a fully rendered painting of what I propose for the print. The image below is a detail of the painting for this print, showing the embroidered caparison of his horse.

DSC08475.jpg

The next stage is to produce the ‘master-drawing’, the template that sits beneath the layers of transparent film on which I draw and paint to make the stencils. A master-drawing sometimes differs in detail from the painting, as it’s my opportunity to make any corrections to the composition.

Once the master-drawing is has been drafted, the stencil-making is a relatively straight-forward process of tracing and separating the elements of the image into layers according to colour. Here is a detail of the master-drawing that will underlie the drafting films to guide me through the business of making the stencils for this print.

DSC08481.jpg

I begin with the stencil that will print as black. In dark red opaque marker-pens which enable me to make the sharp outlines of the embroidered motifs, I trace the background of the textile on a sheet of transparent Truegrain laid over the master-drawing.

DSC08484.jpg

At the next stage I work with lithography crayon to soften and shadow the pattern, and then add a second stencil to print the green of the embroidered elements. A third adds the orange background.

DSC08489.jpg

I use two varieties of stencil. Trugrain has a granulated surface that produces interrupted colour and mark-making… a kind of glittering effect… while drafting film is smooth and can yield dense fields of colour and unbroken lines. The stencils are worked in tonal variations of red-oxide and black, using pens, crayons, pencils and paints. On each stencil I make a note of the layer of colour represented. As I assemble the layers of stencils, I have to imagine what the colours will look like when printed over each other. For this print there will be seven stencils: black, yellow, mid-blue, dark-blue, red, orange and turquoise-green.

DSC08498.jpg

The textile in this image is an invention in which I riff on traditions of Coptic and Romanesque embroideries. In the absence of any buildings or landscape in the background of the print to give it a location, the motifs of scattered talisman-like eyes, flying peacocks and scrolling tendrils bearing oak leaves and assorted fruits, fills one half of the composition with a sense of place and mystery. The Green Knight brings the wilderness into the halls of Camelot, through the decorations on his horse and the inking on his skin.

The Allure of Layering

I am in thrall to the processes of making the separations that Dan Bugg at Penfold Press  transforms into the screens he uses to produce our Gawain prints. Drawn and painted onto layers of transparent film, the limited palette of greys, black and red oxide are substituted in the printing process for the rich colours I favour for the project. But there is a sobriety in the layers of artwork that appeals to me.

The light works in so many interesting ways on the films, that I find myself photographing them at every stage of the work. Luckily they survive the process of transference to the screens, and afterwards Dan stores them in his plan-chest. It might be interesting to exhibit them one day, together with the prints that were made from them. The screens themselves get cleaned and used again, and so the transparencies alone are the record of how the prints were made.

The following images are of transparencies for the third print in the series, The Green Knight Bows to Gawain’s Blow.

DSC07550.jpg

DSC07554.jpg

DSC07557.jpg

DSC07575.jpg

DSC07574.jpg

DSC07566.jpg