Illustrated Book Award Interview with the V&A’s Rebecca Law

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Please find the Interview

HERE

Endpaper for Hansel and Gretel in which the children’s world is made of vintage building blocks.

The March Lockdown put an end to the proposed V&A exhibition of works by the several categories of Illustration Award winners. There is be no V&A 2021 Illustration Award, and the current plan – all being well – is to re-schedule the postponed 2020 winner’s exhibition for next year.

I was so pleased to be asked to take part in the V&A interview. It enabled me to credit all those who brought Simon Armitage’s text to the page. Particularly the publisher, Joe Pearson, who I hold in the highest esteem, and Laurence Beck, who meticulously ‘cleaned up’ and colourised my drawings ready for printing. (I put him through so many palette variations, and yet he remained unruffled and good humoured throughout.) The book was a team effort, and everyone worked tirelessly to get it to the finishing line.

My thanks to all at the V&A, especially to Rebecca Law, my contact throughout, who asked interesting questions in the interview. (link at top of page)

Interview on winning the V&A illustrated Book Award

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Jayne Paddington of Southampton Solent University interviews me:

 

JP: Tell us about the book illustrations you created.

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The book had an unusual beginning. As an artist with a background in theatre, in 2017 I’d been commissioned by a music ensemble to helm a new production of Hansel & Gretel. The producer had seen and been impressed by the Hansel & Gretel Toy Theatre I’d designed for Benjamin Pollock’s Toyshop (see above) and wanted to capitalise on the success of that. She’d begun talking with the composer she had in mind for the project, and as I was already collaborating with Simon Armitage on the revised and illustrated edition of his Sir Gawain and the Green Knight (Faber & Faber, 2018), I suggested he join us as the librettist/writer.

 

Simon titled his re-working of the fairy tale, Hansel & Gretel: a Nightmare in Eight Scenes, and it previewed at the Cheltenham Music Festival in 2018 before a national tour and a London premiere at the Barbican. A recording of the piece was broadcast by BBC Radio 3 during Christmas week, 2018.

 

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At some point during the pre-production of the show Simon suggested we might work together to produce an illustrated book of his libretto/poem. We discussed the options for publishing and  I recommended we speak with Joe Pearson at Design for Today. When Joe agreed to undertake publication, work on the book began in earnest.

 

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Set in a war zone, Simon’s version of the fairy tale took a completely different tone to the original by the Grimm Brothers by changing the impetus for Hansel and Gretel’s journey from that of abandonment by feckless parents, to an agonised decision by a loving father and mother to send their children away from the bombings.

 

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By this simple change the story became one of love and sacrifice, rather than of duplicity and abandonment. He was very clever too at conveying the degrees to which children mis-hear and misconstrue, and his text is full of moments when the siblings’ actions are based on their misunderstanding of events.

 

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With regard to how the images were made, the overall intention was to capture something of the golden age of lithography printing that both Joe Pearson and I greatly admire. One of the hallmarks of the process is that the images are reproduced on uncoated paper and have a matt finish.

 

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Above: work underway on an illustration, and below: as it appears in the book.

 

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I made the drawings in black pencil, some on paper and some on granular lithography film, with occasional use of collaged textures that I produced myself by various means. I made separate ‘stencils’ in crayons and paints on lithography film for the colours. The layers of drawings and stencils were assembled digitally by the book’s designer, Laurence Beck, which was the point at which the colour was added.

 

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Below: detail of the image as it appears in the book.

 

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Another attractive hallmark of old-school lithography can be the slight mis-registration of the various colours. This is something I’d intentionally cultivated in my artwork for the book, and Laurence was very careful to reproduce the effect in the finished images.

 

JP: How did it feel to win? What will happen now as a result of winning?

 

It’s been a strange time to receive my V&A Illustration Award in a summer when the building has been closed. The event was originally to have taken place at the museum in June, but was indefinitely postponed at the time of lockdown. There was to have been an exhibition of the artwork at the V&A, and that too was cancelled.  I heard about the announcement not from the museum, but from a press release they put out. While it’s very exciting to have been honoured in this way, it can’t be denied that reading about it in an unexpected online press release has not had the excitement factor that an event would have brought to it. I’m guessing they will either hold a smaller event later in the year, or failing that I guess the trophy will be delivered in the post.

JP: Where do you find inspiration for your illustrations?

 

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When you’re working to a text by the poet laureate, you don’t have to look any further than the words. I knew Hansel & Gretel inside out because I’d already designed and directed it for the stage, so I had a very good starting point for the project. Nonetheless, the moment the stage tour was over I began from scratch again with the text, dividing it up and making a very rough dummy copy that set out lines-per-page and earmarked where the images might go. And because the publisher and I had considered that first dummy very carefully, though the details sometimes changed over the period of illustrating, the overall shape and number of pages remained pretty much as we set out at the beginning.

 

The next stage was to make a huge project-book in which I began the process of designing every visual element I intended to show: human characters and what they wear, settings and the moods generated by them, objects, animals and events.

 

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It was exhaustive and stretched to several hundreds of images. (Enough for three books really.) Even if something appeared only once – such as the ‘imagined’ hyena that appears early on – I drew it dozens of times to work out what the image would bring to the book.

 

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For a bridge described by the author as ‘arched like a hissing cat’, I made more than fifty drawings of arch-backed cats, hump-backed-bridges, cat/bridges and bridge/cats, gradually finding the hissing cat/bridge hybrid that best conjured the mood of the scene.

 

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Simon is an incredibly enriching poet to collaborate with, and to do justice to him I find ways of accompanying his texts in ways that will take the reader by surprise. I  begin with the words of course, but often the places most profitable for illustration are the spaces between them.

 

JP: What advice would you give to our students wanting to one day follow in your footsteps?

 

Well they can’t follow in my footsteps, and shouldn’t want to. They should find their own ways, and travel by routes of their own devising. My careers have been various. I didn’t start as an artist, but as a choreographer and director, so I came late to the easel and even later to illustration. My experience is that the wider your interests, the better you’ll be at whatever you do. I don’t go around thinking about illustration all of the time. I read (voraciously) listen to music, study history, try to understand the world, try to understand people and stash away everything I learn in the place marked ‘material to be be used on some future project!’ I study art of all varieties and periods. I collect art, vintage toys (particularly wooden building blocks), textiles, puppets, masks, comics, fossils and books. I’ve collected all my life, whenever I’ve had a bit of spare cash. Some of the things I’ve collected ended up in the stage production of Hansel & Gretel, and migrated from that to the book.

 

Below: from the shelves of my tinplate toy bird cabinet…

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… to the stage production of Hansel & Gretel 

 

… to a double-page spread in the book:

 

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This little cavalryman migrated from my sitting room…

 

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… to an animated sequence in the stage production …

 

 

… to a preparatory drawing for the book …

 

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… to full render separations on paper and lithography film …

 

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… to the final colour book illustration. (Detail)

 

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All my collections fuel my work. I never have to start from scratch with any illustration project. Somewhere in my collection, there will be a starting-point ready made. I just wander around looking at what I have until I find it. It’s a more organic process than trying to conjure something out of nothing.

 

Here’s a link to a little film about the making of Hansel & Gretel.

 

http://www.designfortoday.co.uk/hansel-gretel

 

Clive Hicks-Jenkins, 2020.

 

Hansel & Gretel: a Nightmare in Eight Scenes

Author: Simon Armitage

Illustrator: Clive Hicks-Jenkins

Designer: Laurence Beck

Publisher: Design for Today

“And the award goes to”

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The results of the V&A Illustration Awards have been announced, and I’m happy to share here that I’ve won the 2020 V&A Book Illustration Award for Hansel & Gretel: A Nightmare in Eight Scenes by the poet laureate, Simon Armitage, published by Design for Today (Joe Pearson) with book design by Laurence Beck.
It’s a wonderful outcome for a project that started back in 2017 when Simon wrote a reinvention of the fairy tale as the text/libretto for a music theatre production commissioned by the Goldfield Ensemble that I directed.
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Set in a war zone, the story took a completely different tone to the original by the Grimm Brothers when Simon changed the impetus for Hansel and Gretel’s journey from that of abandonment by feckless parents, to an agonised decision by a loving father and mother to send their children away from the bombings. Even before the premiere at the 2018 Cheltenham Music Festival I’d begun work preparing images for the illustrated edition of the poem, which was published in 2019. The beautiful book that resulted from the collaboration with Simon, Joe and Laurence was ample reward for the hard work, but the V&A award is the cherry on the cake.
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Copies of the book may be purchased from Design for Today,

The Owl and the Nightingale: the rough and the smooth

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Above: worked-up study from a project book, and below, the preparatory drawing for it:

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I’m in the thick of my third project of lockdown, which is to illustrate Simon Armitage’s translation of the medieval poem The Owl and the Nightingale, due out next year from Faber & Faber.

My project book for this is full of preparatory work exploring the themes of the poem, and I’m already well into final renders. I absolutely love the early stages when drawings are flowing freely without consideration or hinderance. No page measurements to worry about and a disregard for anything other than letting the creativity have its head. Everything conducted at a gallop.

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But all artists face the dilemmas that come when the rough needs to give way to the smooth, and this project is no different from any other I’ve worked on in that respect. In the project book a single idea is drawn ten times… or twenty or more… and no finished artwork can ever contain all those ideas and all that unfettered energy. Whatever emerges when a hundred ideas have been distilled into one image, is going to be a different thing to where the whole thing kicked off.

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The poem is set in an anthropomorphic universe in which the poet presents the exchanges between rival birds as a dizzying display of one-upmanship and smug self-regard. Accusations fly like missiles in the squabbles. Feathers ruffle and subside and are preened back into good order in preparation for the next salvo. There are moments when the rancour feels extraordinarily contemporary with anything found in the Big Brother household or at Facebook.

The drawings to accompany the poem could have gone in any number of directions from rambunctiously satiric to Berwick-like lyricism. At the outset Simon suggested I look for inspiration to illuminated manuscripts contemporary with the original writing, and to borrow and rework what I’d find most useful in them. I’d frame the translation with a contemporary response to historic images, just as Simon had reworked the poem in a way to speak to a modern reader. So words and images together dance in a territory somewhere between past and present, nodding to established traditions while building new ones.

It’s not commonplace in today’s publishing world to be given opportunities to illustrate poetic texts as densely as I’ve been fortunate enough to do, first with Simon’s Sir Gawain and the Green Knight, then with Hansel & Gretel at Design for Today and now with The Owl and the Nightingale. I’m enormously obliged to the poet and his publishing team at Faber & Faber, and to Joe Pearson at @designfortoday, all of whom have been enormously supportive and patient in our undertakings together. Thanks too to Dan Bugg at @penfoldpress and @sirgawainscreenprints, and to Laurence Beck at @laurencebeckdesign.

I also owe a debt of gratitude to Mark Brown, who generously came to my help when digital adjustments needed to be made to some of the Gawain images prior to publication.

2020 V&A Illustration Awards shortlist nominee for ‘Hansel & Gretel: a Nightmare in Eight Scenes’

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I’m honoured and thrilled to share here that I’ve been shortlisted for the V&A 2020 Illustration Award in the category of ‘Illustrated Book’ for Simon Armitage’s contemporary re-working of the Brothers Grimm, ‘Hansel & Gretel: a Nightmare in Eight Scenes’.

My thanks to publisher Joe Pearson and designer Laurence Beck at Design for Today for their unflagging belief in this project and the tireless work they put in to make it everything we’d hoped it might be.

The announcements of the award winners will be made in June.

 

From Stage to Page

 

 

 

This short film was made as the Introduction to the Design for Today book launch of Simon Armitage’s Hansel & Gretel: a Nightmare in Eight Scenes at the splendid Artworkers’ Guild in Bloomsbury on the evening of May 22nd, 2019. The film illustrates the journey of the project from stage production to published edition of the poem that was its libretto.

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Live music for the launch event was provided by the splendid Alex Barrow on the accordion. There was a pop-up exhibition assembled by Joe and me of the mid-century Russian illustrated books, tinplate clockwork birds, model theatres and folk-art-inspired toys that had influenced the illustrations and design of the book. The highlight of the evening was Simon Armitage’s reading of his entire poem, proving yet again that he’s a mesmerising presence when presenting his work. It was a ticketed event that quickly sold out, and was a resounding success.

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Above: the Russian clockwork ‘singing’ bird from the stage production, meets her illustrated counterpart in the finished book.

Below: the transition from stage to page.

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 Hansel & Gretel: a Nightmare in Eight Scenes by Simon Armitage is published by Design for Today, and copies may be purchased

HERE

 

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Acknowledgements

My regular collaborator, Pete Telfer, worked with me on all the film and animation footage seen in last year’s stage production of Hansel & Gretel: a Nightmare in Eight Scenes. The clips in the short film to promote the book are courtesy of his Culture Colony archive, and he was cameraman on the new animation that makes up the last third of the film.

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I couldn’t have made the stage production of Hansel & Gretel without Pete. He’s the facilitator who gives me the freedom to experiment with film and animation, while keeping a gentle eye on things to stop me from making a complete and utter hash of the job.

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My thanks to Simon Armitage, who wrote the words that became the libretto to the stage production. Thereafter he suggested we make a dedicated illustrated edition of the poem, and then gave me the freedom to figure out the best way to do it.

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Working closely with Simon, first at Faber and then at Design for Today, on two texts so close to my heart, has been the most wonderful experience. I wish I could find better words to express what it’s meant to me, but I hope he knows.

Joe Pearson at Design for Today unhesitatingly agreed to work with Simon and me. His deep knowledge of twentieth century book design and his enthusiasm and passion for the project, saw it through the many stages to the perfect conclusion. He was unstoppable, even in the face of the 2018 New Year’s Eve fire that consumed the Design for Today warehouse and destroyed his entire stock of books. The man is a giant!

My thanks to Laurence Beck, our brilliant designer. Between Joe and Laurence, nothing was overlooked. I have never seen any book go through so many stages to bring it to perfection. No tweak or adjustment I requested was too much trouble. They were inspiring. Meticulous. Tireless.

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Print-maker and toy theatre seller, Benjamin Pollock has been an inspiration throughout my life, and my work over the past few years with Louise Heard at Benjamin Pollock’s Toyshop underlies much of what appeared in both the stage production and the book. My thanks to Louise and her team for their unflagging enthusiasm and support for what I make. Louise kindly gave permission for an image of the Hansel & Gretel Toy Theatre I’d designed for Benjamin Pollock’s Toyshop, to be used in the stage production, and further permission to adapt the Pollock’s H & G Toy Theatre for the ‘Intermission’ page in the book.

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Before Hansel & Gretel Dan Bugg and I had a three year collaboration making the fourteen-print Penfold Press Sir Gawain and the Green Knight series that was used in the 2018 Faber & Faber illustrated edition of Simon Armitage’s translation of the poem. It was a given we wanted to work together again in some way on  Hansel & Gretel, so Joe Pearson commissioned Dan to produce the two ‘Lebkuchen’ prints that accompany the ‘special edition’ of the book. Dan and I also produced the Penfold Press ‘Gingerbread House’ enamel-pin that celebrates the book’s publication.

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Special thanks to my trusty band of collaborators on last year’s stage production. Puppet-maker Jan Zalud far exceeded my hopes for what Hansel and Gretel might be, and Oonagh Creighton-Griffiths gave the children the tenderest backstories encoded into her beautifully detailed costumes for them.

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Peter Lloyd created magnificently detailed shadow-puppets that were a joy to animate.

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Phil Cooper was associate designer and my second-in-command in terms of the way the production looked.

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I completely trust his eyes and his artistry. He danced effortlessly between his many tasks, creating the ‘building-block’ models seen onstage, painting the filmed backdrops (see above), and designing and ‘baking’ the mad, wonky, witchy ‘Lebkuchen’ biscuits that we later animated in a ‘tribute’ to Hollywood choreographer, Busby Berkeley!

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It was Phil’s bone-white ‘Witch House’, with its incinerator-like chimney, that visually defined the ‘toy building-blocks’ aesthetic I wanted for the stage production, and thereafter his Lebkuchen ‘Gingerbread’ version that I carried forward into my illustrations for the book.

Below: production designer Phil Cooper, puppet costume supervisor Oonagh Creighton-Griffiths, and lead puppeteer for the audition day, Diane Ford.

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As if all that weren’t enough, Phil also assisted me with the animation sequences.

I am indebted to artist/embroideress Chloe Redfern, who later took Phil’s ‘Lebkuchen’ House, and re-booted it into something beautiful and transformative for the conclusion of the book.

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Above, Chloe’s embroidered Lebkuchen Witch House, and below, my translation of it to an illustration.

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I’m particularly indebted to Jonathan Street of the Moth Factory, Bristol, who kept me grounded and focussed during an insanely difficult three-day marathon of film editing. His thoughtful work on Pete Telfer’s gloriously atmospheric ‘Psycho Witch Doll’s House’ footage, was a triumph. Jon was vision-mixer for the tour, and was cameraman of the live footage streamed to a projection screen above the performers.

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My warmest thanks to puppeteers Diana Ford and Lizzie Wort. They were not only massively contributive creative geniuses on the production, following me fearlessly into sometimes choppy waters, but they are also damned fine people to be around. The three of us work hard but laugh a lot! In the photographs below you see them at the Cheltenham Music Festival for the May 2018 premiere of Hansel & Gretel: a Nightmare in Eight Scenes, and then at the May 2019 London launch of the Design for Today illustrated edition of the book. They topped and tailed the stage-production-to-book journey, and I couldn’t have had better company on the adventure

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Jan, Oonagh, Peter, Phil, Jonathan, Diana, Lizzie and later Chloe, whether they knew it or not, helped light the path for me from stage production to book. Their visual creativity was always present while I worked alone in my studio conjuring images out of Simon’s words. I’m the book’s named illustrator, but their influences are scattered like fireflies throughout its pages.

My love and gratitude in equal measure to my manager in all theatre matters, Susan James. We’ve known each other since we were teenagers, and I count myself fortunate to have had her wisdom and patience to guide and steady me. Hers are the eyes in the back of my head. She’s fearless, riding shotgun and being wing-man, seeing the bigger picture and the smallest details, talking me down whenever the frustrations of getting a production to the finishing-line catapult me into stratospheres of frustration. I doff my cap and bend my knee to her. She is ‘The Guv’nor’!

And finally, my love and thanks to Peter Wakelin, for his unstinting support throughout the long and occasionally rocky Hansel & Gretel journey, and to my friends James and Sarah Joseph. (They know why.)

 

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Publication Day, May 24th!

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After a year in the making, the published edition of Hansel & Gretel: a Nightmare in Eight Scenes, is about to launch. It was a pleasure from beginning to end, made so by the commitment of the small team who worked tirelessly to realise it. We shared an ambition to make something lasting and fine, and I believe we did just that.

My heartfelt thanks to Simon Armitage, who entrusted the project to me, and to publisher Joe Pearson at Design for Today, who unhesitatingly took up the challenge and then didn’t stop until everything was perfect. Thanks and admiration for Laurence Beck at Design for Today, who so beautifully designed the book. Huge thanks too to my regular collaborator Pete Telfer, who has been present at all stages of the Hansel & Gretel adventure, and was my cameraman and editor on the animations and film sequences of the stage production, as well as the book-trailer shown here.

And finally my warmest appreciation to the team on the stage production, whose unfailing creativity and cheer buoyed me up when the waters got very choppy: Di Ford and Lizzie Wort, Jan Zalud, Oonagh Creighton-Griffiths, Jonathan Street, Peter Lloyd and Phil Cooper. Every one of you, a hero in my book!

 

Clive Hicks-Jenkins, May 2019