FINAL PAGE OF VOLUME 2

I have some exciting news (at least I think it's exciting). I have just finished the last page of volume 2 in the mega Gris Grimly Opus Frankenstein. Weighing in at around 200 pages (and volume 2 finishes on page 131) I'm feeling pretty accomplished. My publisher will be receiving a surprise this holiday...the 50 painted pages that makes up volume 2. Here is the final page for you to partake in this joyous moment.

Now...onto volume 3.

HOUSE OF MOURNING

Here is your Illustration of the week. The text to be printed on the page says it all:

Our house was the house of mourning. My father's health was deeply shaken by the horror of the recent events. Elizabeth was sad and desponding.

"When I reflect, my dear cousin, on the miserable death of Justine Moritz, I no longer see the world and its works as they before appeared to me. But now misery has come home, and men appear to me as monsters thirsting for each other's blood. Alas! Victor, when falsehood can look so like the truth, who can assure themselves of certain happiness? William and Justine were assassinated, and the murderer escapes; he walks about the world free, and perhaps respected. But even if I were condemned to suffer on the scaffold for the same crimes, I would not change places with such a wretch."

I listened to this discourse with the extremest agony. I, not in deed, but in effect, was the true murderer.

STARTING FROM SCRATCH

Sometimes, more often than I'm comfortable with, I will redo a page in it's entirety because I am unhappy with it. If I'm lucky, I will notice my discontent with the piece in time and start over before I've done too much work. But then there are times, where I try to fix the problems or am complacent with the piece, and it's not until the piece is finished that I realize that it needs to be redone. This was the case with the piece above.

When the monster starts to tell his story, it is done with simple black and white cartoons to reflect the infantry in the monsters development. This black and white treatment is done on illustration board which is ideal for ink work. The second chapter of the monsters story reflects a step in development by using black and white washes as my medium. I thought sticking with the illustration board would be the proper choice. But after completion and some time for reflection, I now see that black and white washes using watercolor on watercolor paper would produce a much cleaner result.

So, without getting discouraged, I took to reproducing the piece from scratch. I hope that you notice the difference. I sure do. Unfortunately, this won't be the last page that needs a redo. When all is said and done, it is for the good of the end result. My goal, as it should be with any artist, is to deliver a masterpiece.

DESIGNING THE CREATURE...

Gris Grimly's Frankenstein is a daunting project. I've been working on it for almost three years now. There is approximately 200 illustrated pages, changes in style, historical letters, authentic diagrams and antiquated type fonts. The broad spectrum would make me vomit if I look at it as a whole. But I take it one night at a time.

At this point, all the artwork for volume one has been completed as well as a good portion of volume two. Editor Jordan Brown has teamed me up with designer Dana Fritts to begin putting all these raw materials together. I'm not sure if she is as mad as I am, but she seems to have a pretty good grasp on things. She has a knack for antique book design and typography. I really like what she is doing thus far.

October being October, it is my life force out of the year. So it is really hard for me to keep up with everything with the addition of events, Halloween affiliated projects and commissions. Some things have to be put on the back cauldron to place attention on immediate and encroaching deadlines. One of those things is the volume of Frankenstein work I can do in a week as well as the attention spent on blogs.

But I assure you, once November rolls it's ugly head around, I will be back at it. Posting like a madman and slapping new Frankenstein art around like I'm on campaign.

Be Grim!
Gris Grimly

INTRODUCING COLOR!

Here's your page of the week.



In the first chapter of the creature's story, I've chosen to illustrate completely in black and white to represent the creature's undeveloped mind and senses. In the second chapter I introduced grey tones and in the third...sepia. Now, in the forth chapter of the creature's story, I've introduced color. But still, even with color, these pages don't resemble the rest of the book. The cartoony line quality and simple color palate differentiate the creature's story visually from Victor's story.

Here's the text for the page:

"I generally rested during the day, and travelled only when I was secured by night from the view of man. One morning, however, finding that my path lay through a deep wood, I ventured to continue my journey after the sun had risen; the day, which was one of the first of spring, cheered even me by the loveliness of its sunshine and the balminess of the air. I felt emotions of gentleness and pleasure, that had long appeared dead, revive within me. Half surprised by the novelty of these sensations, I allowed myself to be borne away by them; and, forgetting my solitude and deformity, dared to be happy. Soft tears again bedewed my cheeks, and I even raised my humid eyes with thankfulness towards the blessed sun which bestowed such joy upon me.

I continued to wind among the paths of the wood, until I came to its boundary, which was skirted by a deep and rapid river, into which many of the trees bent their branches, now budding with the fresh spring. Here I paused, not exactly knowing what path to pursue, when I heard the sound of voices, that induced me to conceal myself under the shade of a cypress. I was scarcely hid, when a young girl came running towards the spot where I was concealed, laughing as if she ran from some one in sport. She continued her course along the precipitous sides of the river, when suddenly her foot slipt, and she fell into the rapid stream. I rushed from my hiding place, and, with extreme labour from the force of the current, saved her, and dragged her to shore."

THIS WAS THE HOUR AND MOMENT OF TRIAL...

Here is a page from the same "sepia tone" chapter of last week. This is a good example of how I've chosen to change little details to make this story my own. The emotion and the story is the same, but I've changed the blocking in which specific actions are taken and when. In the illustration, the creature realizes his opportunity with the old man and goes to confront him. The quick beating of the heart and the failing limbs happens as he stand outside the cottage about to knock. Blocking the story this way strengthens the creatures emotions and anxiety, drawing out tension. When this occurs during a moment of no return it is more effective than if it happens inside the hovel.

Here is the original text:

"...the old man, at his own desire, was left alone in the cottage. When his children had departed, he took up his guitar, and played several mournful, but sweet airs, more sweet and mournful than I had ever heard him play before. At first his countenance was illuminated with pleasure, but, as he continued, thoughtfulness and sadness succeeded; at length, laying aside the instrument, he sat absorbed in reflection.

My heart beat quick; this was the hour and moment of trial, which would decide my hopes, or realize my fears. The servants were gone to a neighbouring fair. All was silent in and around the cottage: it was an excellent opportunity; yet, when I proceeded to execute my plan, my limbs failed me, and I sunk to the ground. Again I rose; and, exerting all the firmness of which I was master, removed the planks which I had placed before my hovel to conceal my retreat. The fresh air revived me, and, with renewed determination, I approached the door of their cottage.

I knocked."

REFERENCE TO MY ACCURSED ORIGIN...

Here's your page of the week. The last two posts explained the visual transition from the first chapter of the creature's story (which is entirely black and white) to the second chapter (which introduces grey tones). In the third chapter of his story, I've brought in sepia tones. At this point the creature has evolved quite substantially, now capable of understanding most words of the local language and comprehending literature like Paradise Lost, Plutarch's Lives and Sorrows of Werter. It is at this point that he discovers the writings of Victor Frankenstein and uncovers his accursed origin.

Here is the text for this page. As you can see, some of the text will be printed whereas others will be omitted and represented visually.

"As I read, however, I applied much personally to my own feelings and condition. I found myself similar, yet at the same time strangely unlike the beings concerning whom I read, and to whose conversation I was a listener. I sympathized with, and partly understood them, but I was unformed in mind; I was dependent on none, and related to none. 'The path of my departure was free;' and there was none to lament my annihilation. My person was hideous, and my stature gigantic: what did this mean? Who was I? What was I? Whence did I come? What was my destination? These questions continually recurred, but I was unable to solve them.

Another circumstance strengthened and confirmed these feelings. Soon after my arrival in the hovel, I discovered some papers in the pocket of the dress which I had taken from your laboratory. At first I had neglected them; but now that I was able to decypher the characters in which they were written, I began to study them with diligence. It was your journal of the four months that preceded my creation. You minutely described in these papers every step you took in the progress of your work; this history was mingled with accounts of domestic occurrences. You, doubtless, recollect these papers. Here they are. Every thing is related in them which bears reference to my accursed origin; the whole detail of that series of disgusting circumstances which produced it is set in view; the minutest description of my odious and loathsome person is given, in language which painted your own horrors, and rendered mine ineffaceable. I sickened as I read. 'Hateful day when I received life!' I exclaimed in agony. 'Cursed creator! Why did you form a monster so hideous that even you turned from me in disgust? God in pity made man beautiful and alluring, after his own image; but my form is a filthy type of your's, more horrid from its very resemblance. Satan had his companions, fellow-devils, to admire and encourage him; but I am solitary and detested.'