Print No. 13: The Sorceress

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.

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I make textures using a scalpel to cut through lithography crayon.

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Opaque red oxide paint is used to create flat areas of colour in the finished print.

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The colour samples will guide Daniel Bugg when mixing the inks for printing.

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Texturising the beast’s pelt and modelling with shadow.

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When overlaid the layers of stencils get very dark. Everything will look completely different when printed in colour.

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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.

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The flames are rendered to lend form.

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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.

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Print No. 12, as yet untitled

Gawain stands in the Green Chapel. His elaborate armour was cleaned of rust and polished back at Fair Castle, but now it’s further transforming with burgeoning engravings of foliateness and a constellation of stars emerging on his breastplate.

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He reaches toward his helmet, removed in order to take the Green Knight’s blow, and out of which greenery is spewing.

IMG_1997Gawain has fulfilled the oath made a year ago in Camelot. He’s knelt before the Green Knight and submitted to his axe, but has escaped with nothing worse than a parting of the flesh at the back of his neck.

He’s staunched the wound with what he had to hand. Throughout the series of images items have fluttered upwards: pennants, cloaks and helmet plumes, and now the girdle secretly gifted to him by the Lady of Fair Castle streams out, an embroidered stand-in for what might so easily have been his life’s blood.

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These stencils have been the most complicated to date, mainly because of all the background filigree work, duplicated on four layers. Now I await the first proofs from Daniel Bugg at Penfold Press.

Update on ‘The Exchange’

Back at the beginning of September I made a post about my work on the preparation for number ten in the Sir Gawain and the Green Knight series of prints I’m making in collaboration with Penfold Press. The post charted the progress of The Exchange from first sketches to completed stencils, the latter of which were dispatched to Daniel Bugg for him to begin the long work of transferring them to screens and beginning the proofing.

In my studio the image started as a sketch…

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… and ended as a set of stencils.

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Dan made two proofs to show me. While the first carefully matched my seven colours, the second was one of those happy accidents which sometimes occur and that you have to consider very carefully. For the second proof Dan had mixed varnish into one of the colours which then printed with far more transparency than he’d anticipated. While surprised by the effect, both of us loved the result. The jury is still out but I think we’re coming to the conclusion we should go with the flow and attempt to reproduce the accident in the edition. There’s something wonderfully ghostly about it. I particularly love the way it’s impacted the butchered stag on the right of the composition. I won’t show the whole print here. It still needs tweaking. Moreover we never reveal any print in its entirety until the edition is ready for publication. But here’s a detail of it.

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Tomorrow I’ll make some adjustments to the stencils that Dan returned to me, and then they’ll head back to him for the editioning to begin.

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Development of the Stencils for ‘The Green Chapel’

Guide Drawing

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Stencils are made on transparent film, one per eventual colour in the print, and so some impression of the image may be had as the layers build, though of course the colour is missing. The drawing lying underneath the stencils is the template of the image throughout the process.

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The sample colours at the side of the stencils, indicate to the printer the colours required at the printing stage. This print will consist of five colours.

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As the density of the render increases with each stencil, I occasionally have to remove layers to better see what’s going on. The crayons, pencils, inks and paints used are not transparent, and so each new layer begins to obscure what lies underneath. The printing inks by contrast are largely transparent, allowing the many layers to show in the finished print.

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Using an improvised etching needle to break up the heavy lithography crayon with sgraffito and create what will eventually be a more tonal layer of ink.

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In the image below the sketches in the margin were made as I worked out the composition.

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In the image below, the scratches catching the light on the surface of the plastic stencil, in the print will create an area of softer tone

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Below, tonal stencils will underlie the stencils on which the details of the image are rendered.

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Mary Bullington and the Anglo-Saxon Riddle

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Above: making stencils for The Exchange, No 10 in the Gawain series of prints

The wonderful Mary Bullington contacted me at Facebook offering this Anglo-Saxon riddle as a thrillingly mystical descriptive of what I do as an artist.
Riddle 40 
I saw four things in beautiful fashion
journeying together. Dark were their tracks,
the path very black. Swift was its moving,
faster than birds it flew through the air,
dove under the wave. Labored unresting
the fighting warrior who showed them the way,
all of the four, over plated gold. / Ic seah wrætlice wuhte feower
samed siþian swearte · wæran lastas
swaþu swiþe blacu swift wæs on fore
fulgum framra fleotgan lyfte
deaf under yþe dreag unstille
winnende wiga se him wægas tæcneþ
ofer fæted gold feower eallū

The answer is Quill Pen, and the explanation is as follows.

The ‘four things’ are two fingers, a thumb, and quill, working as a unit. And while it can’t be said that the quill moves ‘faster than birds’, it’s forgivable hyperbole, or perhaps even a humorous reference to the slowness of scribes working with painstaking deliberation. (In which case it’s even more like me, because I crawl over the densely detailed stencils for the Gawain series like a snail on a mission to circumnavigate the globe!) The ‘fighting warrior’ is the guiding arm of the scribe. The ‘plated gold’ is more obscure, and is probably a reference to the gold mount of the ink-horn.

While inks may no longer be dipped from gold-mounted ink-horns, in my mission to create the series of fourteen images to illustrate the magnificent narrative poem of Sir Gawain and the Green Knight, I feel the connection across time with the anonymous practitioners celebrated in the riddle.

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Above: completed stack of stencils ready to be sent to Dan Bugg at Penfold Press

Mary is a painter and a friend of Marly Youmans, and we know each other through Marly’s blog and through Facebook. I am so touched that she sent such a lovely thought to me, spurred by an appreciation of what I make. Thank you, Mary.

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The Exchange

 

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The Exchange is number ten in the fourteen print Sir Gawain and the Green Knight series I’m making in association with Daniel Bugg of the Penfold Press, and marks the episode from the poem in which on three occasions the Lord of Fair Castle returns from hunting to claim a kiss from his guest. I’ve always found this point in the story to be exciting, though wasn’t at all sure how to set about representing its transgressive nature. (Gawain has to parry the romantic advances of his host’s wife in her husband’s absences, and is made to surrender kisses to the Lord whenever he returns home. It’s as though the young knight is a shuttlecock being batted between the couple.) In the end I made the decision to create an extraordinary encounter, with Bertilak swooping from above to better create the sense of a dizzying erotic charge. I’m currently four stencils into this nine stencil print. Here’s a record of the work so far.

Above and below: preliminary sketches.

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Below: details of the ‘master’ drawing used to guide my work on the print.

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Below: creating the first stencil.

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Below: the dead stag from the first of the three hunts.

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Below: the granular texture of the TruGrain on which the stencils are made is apparent in this detail of the kiss.

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I use a limited palette of red, grey and black to make the stencils, favouring a combination of opaque fibretip pen, greasy lithography crayon, oil-rich black pencil and acrylic paint.

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Below: the colours planned for the print are dull blue, red oxide, dull sand, black, cyan, purple and orange.

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Below: beginning to render the embroidered details of Bertilak’s jerkin.

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Hansel & Gretel Q&A

 

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I did a question & answer for the main newspaper of north Wales, The Daily Post. Peter went to get a haircut at the barber shop in Aberystwyth, and our friends there had very kindly set aside a copy for us. I answered the questions so long ago that I’d almost forgotten what I’d said. Here’s the transcript:

Your name:

Clive Hicks-Jenkins

How old are you?

Sixty-six.

Where are you from?

Newport, Gwent.

Tell us about your family

My father was a wayleaves officer with the South Wales Electricity Board. He was responsible for brokering contracts between SWEB and the landowners/farmers whose acreage needed to be crossed by power lines. But because he was a countryman and loved the landscape, he was an artist when it came to placing them where they’d least be visible, hiding them in valleys and along the edges of woodlands. My mother was a hairdresser. She loved films and from an early age she took me every Saturday afternoon to the cinema. Never to see kids’ films though. She loved more dramatic fare, and so my tastes were quite unusual. I don’t know how she bucked the certificate system. She probably knew the local cinema manager and bargained haircuts against him turning a blind eye to a seven year old watching Bette Davies melodramas!

What are you best known for?

Probably my Mari Lwyd-themed series of 2000-2001, The Mare’s Tale. I had an exhibition of that name, and it made quite a splash. There was a book of poetry by the late Catriona Urquhart that accompanied it, and in 2013 the composer Mark Bowden and the poet Damian Walford Davies made a chamber work of the same name, based on the underlying narrative of a psychological haunting.

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Tell us about your exhibition (what’s it called, what’s it on/where is it being held?)

The exhibition is at Oriel Tegfryn, Menai Bridge, and it’s the result of four years of exploration on the theme of Hansel & Gretel.

When is it running from/to?

Sept 1st – Sept 24th.

What can people expect?

Last year the publisher Random Spectacular commissioned a picture book from me that was based on the fairy tale. As my version is very dark it’s been marketed as being more suitable for adults. (It’s been described as ‘George Romero meets the Brothers Grimm!)

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Simultaneously I was commissioned by Benjamin Pollock’s Toyshop in Covent Garden to design a toy theatre assembly kit of Hansel & Gretel. This has been quite a thrill. I played with a Benjamin Pollock toy theatre when I was a child, and so it’s a great privilege to be asked to make a new one to bear his name. Published this summer, in contrast to the picture book it’s a sunnier affair, quite suitable for children. Even so I put my own visual spin on it. You won’t have seen a Hansel & Gretel quite like it.

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The Tegfryn Gallery exhibition consists of all the artworks made for the picture book and the toy theatre, plus illustrations for Hansel & Gretel alphabet primers that I made several years ago. Prepare for a Hansel & Gretel Fest!

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Tell us five things which make your exhibition great?

1) Scary and beautiful is an alluring mix!

2) I can guarantee it’s not going to be like anything you’ve ever experienced at Oriel Tegfryn.

3) What’s not to love about art in which family dysfunction, unhealthy appetites and manslaughter are the principal themes? This is a fairytale for the soap generation.

4) There are Liquorice Allsorts deployed as weapons and gingerbread men that bite back!

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5) If you want to know what horrors lie beneath a witch’s prosthetic nose, then this is the exhibition you’ve been waiting for!

Tell us what’s good about the venue

It’s a warm and welcoming gallery with wonderful staff. Visiting Oriel Tegfryn is like calling on friends who are always pleased to see you.

Who is your favourite artist and why?

The ‘who’ is George Stubbs, and the ‘why’ is because he painted animals with unparalleled compassion. His Hambletonian, Rubbing Down may be numbered among the world’s greatest equestrian artworks.

What piece of work are you most proud of and why?

Green George. It’s in a private collection here in Wales. If you type the title and my name into a search engine, you can see it. I paint only for myself and I never think about who might purchase. I made Green George as a painting I’d like to live with, though in fact I never did. It was finished only days before being shipped to the gallery, and it sold immediately. I knew even as I painted it that I was riding the wind. I couldn’t have bettered it.

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Tell us a little known fact about yourself:

I once played Batman’s nemesis, the Riddler, in an American musical.

What are your best and worst habits?

I’m a fiercely loyal and loving friend. But I’m also implacably unforgiving when betrayed. It’s an unattractive trait.

What’s next for you? What are you currently working on, or what do you plan to work on?

I’m on the last lap of a fourteen print series on the theme of Sir Gawain and the Green Knight in collaboration with Daniel Bugg at the Penfold Press. The press has been publishing the series sequentially. The art historian James Russell has been writing accompanying texts. It’s been a wonderful experience.  The Martin Tinney Gallery is having an exhibition of the work in January.

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Then I go into rehearsals for a new music theatre work of Hansel & Gretel that I’m designing and directing. The production opens in London before embarking on a year long tour.

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