Dear subscriber, if you have already supported my forthcoming translation of the fourteenth century romance, William and the Werewolf, please read no further. If, on the other hand, you have yet to do so, please read on...
WilIiam and the Werewolf is the third in my series of translations of fourteenth century alliterative romances. I am currently in the process of producing around 40 linocut illustrations to give balance to the translation. Reflecting its “feel good” theme, I’ve chosen a gentler illustrative style in line with that used in Sir Gawain, which you have already kindly supported..
Printing decisions
The photos give you a flavour of this style - and what you can look forward to when the book arrives. The narrative is engaging – the mediaeval scribe, also called William, chose to remove considerable violence from the French source – so I’ve decided to produce images in tune with his ambition.
(above: William's Dream - notice un-inked plates in background)
I am working through the narrative sequentially, so my early prints are from the beginning of the romance: William’s "rescue" from the werewolf and his discovery by the cowherd; his life in the forest; the creation of the werewolf; William’s dream of Melior; William proving himself as a knight; the lovers’ escape from Rome dressed as bears.
(Above:output with bananas - a chaotic artistic composition for the new book!)
Those of you who follow me on Twitter may have seen some of these images before although I am showing more here. I hope you like what you see – as with my other translations, this will be another ‘illuminated manuscript for the modern age’ and will, as with the others, also feature decorated/historiated capitals at the beginning of each section.
Printing method
(Above: the Slama Press - top left - weighs around 5lb but glides across the paper)
In recent years, I’ve suffered with the effects of frozen shoulders so, when printing test prints from home, I am now using something called a Slama Press (see pictures), which is made in the Czech Republic. It takes the form of a large metal plate containing about 60 ball bearings which is rolled across the paper once it is lain on the inked up linocut plate.
It is much easier for me to use at home than a nipping press; however, the final prints will all be run off a Victorian Albion Press as normal, hopefully that of Sue Jones at Stoneman Press, from where most of my printmaking work emerges.
(Above: how the print in the previous photo emerges on the page!)
Help William become reality!
Thank you once again for supporting my work. If you've yet to support my new book and would like to do so (and be named in the back as a patron, please support William and the Werewolf here. As things stand, the book is 49% funded so nearly at the half-way stage; it would great to breach the magic 50% milestone, which - with your help - can be achieved!
Kind regards
Michael Smith
Translator and Printmaker
(Above: Gawain, Arthur and now William. Help to make William - book three in my series - a reality here)