Gris Grimly's Frankenstein

FINAL PAGE OF VOLUME 2

2011-12-08T15:46:00.001-08:00

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

2011-11-17T17:48:00.000-08:00

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

2011-11-09T10:28:00.000-08:00

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...

2011-10-11T18:09:00.000-07:00

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!

2011-09-08T11:50:00.000-07:00

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...

2011-09-01T11:42:00.000-07:00

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...

2011-08-25T13:14:00.000-07:00

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.'

THIS DAY WAS PASSED IN THE SAME ROUTINE AS THAT WHICH PRECEDED IT...

2011-08-16T13:40:00.000-07:00

That has pretty much been my routine since Frankenstein started up again. My little Boston Terrier wakes me up in the morning. I consume some breakfast and coffee while discussing the golden age that I was mistakenly plucked from and placed into this hi-tech one. I enter my studio, sit at my desk and ink out black and white comics which will become segments of the creature's story in the big volume that is Gris Grimly's Frankenstein.

But this week there has been a slight change. Instead of the bold and contrasty black and white of every page before, I reached a point where I could add simple grey tones. I am introducing a new element to each chapter of the creature's story which symbolizes the development of his mind. The first chapter was all black and white. This chapter is flat gray tones.

Another thing that is interesting in these early pages is the lack of words. I would like to portray the creature's developing mind through his innocent interpretation. During this time, he does not speak or understand language. So the world he is interpreting is completely visual. Not only will his developing eyesight/brain be represented by a transition from black and white to color, his developing hearing/comprehension will be represented by a transition from icons to words.

All very meta.

Here is the text that is represented in the story of this page. The first paragraph of the chapter will be printed as a transition from the present (where the creature is relaying his story to Victor Frankenstein) to his past memories:

"I lay on my straw, but I could not sleep. I thought of the occurrences of the day. What chiefly struck me was the gentle manners of these people; and I longed to join them, but dared not. I remembered too well the treatment I had suffered the night before from the barbarous villagers, and resolved, whatever course of conduct I might hereafter think it right to pursue, that for the present I would remain quietly in my hovel, watching, and endeavouring to discover the motives which influenced their actions.

The cottagers arose the next morning before the sun. The young woman arranged the cottage, and prepared the food; and the youth departed after the first meal.

This day was passed in the same routine as that which preceded it. The young man was constantly employed out of doors, and the girl in various laborious occupations within. The old man, whom I soon perceived to be blind, employed his leisure hours on his instrument, or in contemplation. Nothing could exceed the love and respect which the younger cottagers exhibited towards their venerable companion. They performed towards him every little office of affection and duty with gentleness; and he rewarded them by his benevolent smiles."

I DETERMINED TO RECOMMENCE MY TRAVELS...

2011-08-11T10:48:00.000-07:00

Here's your page of the week. If you've been following along, you will know why these pages of the Frankenstein story are simplistic black and white cartoons. If you're lost or curious, look at the past couple entries and you will be caught up to speed.

After a few months break from illustrating Frankenstein, "I determined to recommence my travels" or by notification of the editor I was able to continue my work. This segment of Gris Grimly's Frankenstein is the part where the creature is telling Victor Frankenstein his story. This has been broken up into four chapters. The first chapter is told in stark black and white cartoons. The second will represent an evolution of the creature's development by adding grey tones. The third will introduce color. And the fourth, the creature will see things as everyone else, by representing the artwork like the illustrations in the rest of the book.

In order to break the text down into a silent treatment, yet flow smoothly, some ideas had to be cut and others had to be tweaked for visual esthetic. For example, the illustration above will differ in minor details. The point is to get the story across which is passage of time, change of season and individual growth.

You can compare the text below to the illustrated page that represents this text. The best way to portray snowfall graphically is white on black. To do this, I changed the creature's travels to night. Or at least his day's travel ends at early evening. Not only does this clarify the white landscape and snowfall, but it makes an obvious passage of time from when he leaves the forest to when he arrives at the village. With this change, the shepherd's meal is no longer breakfast but dinner. Also, when the creature sets out again and it is daylight, the average reader will interpret that he spent the night in the cabin.

More to come.

"...wrapping myself up in my cloak, I struck across the wood towards the setting sun. I passed three days in these rambles, and at length discovered the open country. A great fall of snow had taken place the night before, and the fields were of one uniform white; the appearance was disconsolate, and I found my feet chilled by the cold damp substance that covered the ground.

It was about seven in the morning, and I longed to obtain food and shelter; at length I perceived a small hut, on a rising ground, which had doubtless been built for the convenience of some shepherd. This was a new sight to me; and I examined the structure with great curiosity. Finding the door open, I entered. An old man sat in it, near a fire, over which he was preparing his breakfast. He turned on hearing a noise; and, perceiving me, shrieked loudly, and, quitting the hut, ran across the fields with a speed of which his debilitated form hardly appeared capable. His appearance, different from any I had ever before seen, and his flight, somewhat surprised me. But I was enchanted by the appearance of the hut: here the snow and rain could not penetrate; the ground was dry; and it presented to me then as exquisite and divine a retreat as Pandæmonium appeared to the dæmons of hell after their sufferings in the lake of fire. I greedily devoured the remnants of the shepherd's breakfast, which consisted of bread, cheese, milk, and wine; the latter, however, I did not like. Then overcome by fatigue, I lay down among some straw, and fell asleep.

It was noon when I awoke; and, allured by the warmth of the sun, which shone brightly on the white ground, I determined to recommence my travels; and, depositing the remains of the peasant's breakfast in a wallet I found, I proceeded across the fields for several hours, until at sunset I arrived at a village..."

IT'S ALIVE!...AGAIN.

2011-08-05T15:21:00.000-07:00

Thunder rumbles beyond the castle walls while Jacob's Ladders release lightning bolts up rabbit ears that dissipate into the damp cellar air. The electrical devices that whirl and electrocute can get inside your head like the annoyance of a bug zapper on a quiet night. But this is a sanctuary for a mad genius like Frankenstein (Sometimes pronounced Frawn'ken-stean').

Having just been lowered from the the castle rooftop with his smoking creation clamped down to a cold slab, the mad creator beats his fist on the monsters chest. THUD. THUD. He listens to the still heartbeat showing no signs of life. Again. THUD. THUD. THUD. Frankenstein flops over the hulking corpse and admits defeat. "Nothing".

"Oh Doctor", his blond bombshell assistant, Inga, tries to comfort, "I'm sorry..."

"No. No." The doctor throws his arms up. "Be of good cheer. If science teaches us anything, it teaches us to accept our failures as well as our successes...with quiet...dignity...and grace."

The Doctor caresses his creation's lifeless forehead. A sigh emits from between his lips and he turns away. "Son of a Bitch!" He lunges back to strangulate the stubborn life that he cannot procure. "Bastard! I'll get you for this! What did you do to me? What did you do to me?"

Inga tries to pull him away, "Doctor! Doctor! Stop it! You'll kill him!"

Beating down on the monster's chest like a bohemian percussionist, he screams to the heavens, "I don't want to live! I DO NOT...WANT...TO LIVE!"

CUT TO: Hours later...

The Doctor accepts his failure during a quiet dinner, "Oh. Maybe it's better this way. The poor lifeless hulk. Maybe it is better off dead."

But down in the cellar, the creature stirs. His finger twitches as it's lungs grunt. Frankenstein runs down the cellar stairs followed by his two assistants. Success. Pride. "Alive. It's alive. It's ALIIIVVVEEE!"

This little scene from Mel Brooks' classic YOUNG FRANKENSTEIN pretty much sums it up for me. After working on the book for over two years, I am put on hold while a few things are organized back at the publishing house. It was full of electricity and ready to be set free. Then, silence. A couple times I pounded at the life source thinking things were going to go. But "nothing". I turned away. I erupted in uncontrolled bursts of madness. I became suicidal. I became depressed.

Then months later, I accepted my fate. I moved on with my life and fooled myself into thinking it was all for the best. Then a sound came from the darkness. The sound was a chime signifying INCOMING MAIL. I checked my email to find word from my editor to proceed.

"It's ALIVE!...again.

For those of you who are new, here's what you can expect: I will be posting regular updates on my progress with Frankenstein. This will include a "page of the week" where I will give you a sneak of a finished page once a week. For those of you who have been following this blog, you already know what to expect. But the dead silence is over and you can check back regularly and expect to be horrified.

Be Grim!
Gris Grimly

A DIFFERENT PERSPECTIVE

2011-03-17T17:53:00.000-07:00

I have begun to illustrate pages from a section in my Frankenstein book that I am really excited about. When I first talked to my editor about how I envisioned the book, we talked about who's perspective the story is told through. The original Mary Shelley's version is really a story within a story within a story within a story... Mary Shelley is telling a story about an explorer, who is telling a story about Victor Frankenstein, who is telling a story about his creation, who is telling a story about himself. I choose to tell the story through the perspective of Victor Frankenstein.

At the heart of it, Frankenstein is a story about a man and his obsession; How he abandons family, friends and health for this obsession and eventually he abandons the obsession itself. So I've decided that the majority of the book would be illustrated a certain way to represent this perspective. The sailor's story is told through letters and Mary Shelley's story and Victor Frankenstein's story have been combined as she is the author. This leaves the monster's perspective.

What I wanted to do with the monsters story is present it in a way that was more childlike, yet does not feel foreign alongside the other artwork. When the monster starts his story, it is black and white ink art much like that in newspaper comics and completely pictorial. As the story continues and the monster becomes more evolved and familiar with the world, so does the artwork. The next chapter mid tones are introduced to the art. The chapter after that, monochromatic color is introduced... and so on and so forth until the art in the monsters story resembles the rest of the art in the book.

Here are two pages from the monster's genesis.

VOYAGE INTO SOLITUDE

2011-03-14T12:16:00.000-07:00

For those of you who have been following along, you know that I am diving back into the epic workload that is Gris Grimly's Frankenstein; Based faithfully off the text of Mary Shelley but visually reinterpreted in a way that has never been done. That is my assignment. And what a daunting task it is.

With 75 pages completed for volume I, I still have another 100 pages to illustrate for volumes II and III. Volume one begins with Victor reflecting on the death of Justine, his guilt and a hopeless future. Emotionally, he walks into the darkness in solitude which sets the tone for his struggles that last throughout the rest of the book.

I have a huge workload to tackle which involves me entering my dark studio day after day in solitude. For the next few months, maybe as much as a year, I will be intertwining my mind with the writings of Shelley and the emotional and psychological manifestations of Victor. I too, am destined for a dark and solitary journey.

"I shunned the face of man; all sound of joy or complacency was torture to me; solitude was my only consolation - deep, dark, death-like solitude."

BACK WITH A VENGEANCE...

2011-03-09T17:06:00.000-08:00

Greetings fiends,
It has been months since I've worked on Frankenstein and therefore there have been no updates or blog postings. But a couple weeks ago, I received an email from Frankenstein's editor with progressive information. "attached you’ll find a PDF template of all your sketches from these two volumes plugged in, with basic FPO text blocks, so we can see what we’re working with. Design created this and then passed it to me, and I used this PDF to create the notes below"

A bit technical, but this is the news I was waiting for to proceed. With this information, I am now able to proceed on a few illustrations. Yesterday I went through all the notes my editor sent me and composed an email pinpointing those that will work and benefit the book and those that are better left unchanged. So I should be having a conversation with him soon regarding this that will open the gates of hell and unleash me into the playground.

Today, I illustrated the first Frankenstein page in over 6 months. How exciting is that! What better illustration to tackle than the volume page for volume III. This page sets up the scene for the remainder of the book where Victor is moved to create yet another fiend from rifled graves. This time he creates a woman to wed the monster, in hopes that his problems will go away. But they only get worse.

I am now in a place, like before, where I am unleashed and free to create my madness. There's no holding me back and the creations will flow out like spilled bowels. Welcome back to the Frankenstein Blog which is once again alive. I leave you with this passage of vengeance from the mouth of Victor Frankenstein:

"By the sacred earth on which I kneel, by the shades that wander near me, by the deep and eternal grief that I feel, I swear; and by thee, O Night, and by the spirits that preside over thee, I swear to pursue the demon, who caused this misery, until he or I shall perish in mortal conflict. I call on you, spirits of the dead; and on you, wandering ministers of vengeance, to aid and conduct me in my work. Let the cursed and hellish monster drink deep of agony; let him feel the despair that now torments me."

AWAITING A SIGN FROM THE DEAD...

2011-01-11T13:28:00.001-08:00

I apologize for the lack of posts currently going on at Gris Grimly's Frankenstein blog. This has to do with the publishing industry. Here's a quick overview to help you understand what is going on.

My editor at Harper Collins is the big cheese on this project. He is a great man with an amazing taste in music. But that is neither here nor there and has nothing to do with what I am trying to explain. Along with Frankenstein, he is the editor of many other projects that he must oversee. It is imperative that he dedicates adequate time to each of these projects in order for the final results to reflect perfection. Sometimes everything lines up just right. When i send in my work for approval, he is just getting off another project and can jump right into mine and onto the next. Even though this takes time, the turn around with him is usually quick.

When does it all go to shit? During the holidays. Imagine me and every other artist/author (currently working on a project with him) turning in work for approval. Then DING DONG it's Christmas time and everyone is let off for the holidays. They usually come back between Christmas, Hanukkah and New Years. But seriously, do you think any work gets done during this time? By the time he gets to his office in the new year, everyone wants something. There is a stack of papers on the desk, the phone is ringing, coffee breaks happen much more frequently...it becomes impossible to get anything done. But slowly, as time goes by, things start to get checked off the list and somewhere around March or April everything is back to normal.

So I ask you to be patient. Currently the editor of Frankenstein is sitting on pages and pages of Frankenstein sketches to go through. These sketches need all the text laid into them so we can tell where we have too much art, not enough art or if any text needs to be cut. This could take awhile. In the meantime, there is really nothing I can work on until this step is complete.

Take a deep breath, keep grisgrimlysfrankenstein.com open on your computer and check every hour- day and night. Soon...very soon...I will be back with more gory updates on this much anticipated project.

Be Grim!
Gris Grimly

THE MONSTER DEMANDS A MATE...

2010-11-17T11:19:00.000-08:00

One of my favorite horror films (or in any genre for that matter) is "The Bride of Frankenstein" by James Whale. It is the perfect combination of horror, camp, comedy and style. It was extremely edgy for the time period, taking jabs at religion and alluding to homosexuality. Being the sequel to the hugely successful "Frankenstein", Whale had more freedom to put his stamp on the film. This style elevated "Bride" into a much more charming film (although less frightening than it's predecessor). A scene that has always tattooed it's image on my brain is Doctor Pretorius sitting in a crypt, having wine by candlelight with a pile of female bones which he exhumed. Whale, like Edward Gorey and Charles Addams, had the keen skill of knowing the exact measurements when it came to combining humor with morbidity.

Another reason why "Bride" has such an impact on me (again having to do with Whale's unique style) is the design for the Monster's Mate. The look for the bride came from James Whale and Ernest Thesiger, inspired by Queen Nefertiti of Egypt and Maria of Metropolis. Only a flaming homosexual would think to model a female monster after a Queen. But it is this exact vision that gave birth to the horror icon of beauty and worship that she is today. Those are big shoes to fill.

Over the past week, I've been working on the design for the Monster's Mate for my illustrated version of Frankenstein. Even though she doesn't play near the role in the book that she does in Whale's film, I think it is important that her image is as developed as any other character in the book.

I drew upon my own interests and elements of my modern world to piece together the character. Most of these "raw materials" came from my love for styles found in horror punk, death rock and goth culture. I don't see myself a part of any genre, but I'm fascinated by the spectacle of these fashions. I wanted my bride to not only capture horror and sympathy but also sexuality. Without making it evident, I allude to fetishism with imagery mimicking tights, corsets and platform heels. The result...

...a creation that is both horrifying and appealing. A tragic victim on the verge of the same misfortune delivered to the Monster.

It feels good to be getting back into this project. I am almost done wrapping up sketches for volumes 2 and 3, which means I will be moving onto illustrating pages. I will be contributing more to this blog, posting the page of the week and updating you on any and all progress. I look forward to resurrecting this community again.

Be Grim!
Gris Grimly

I HAVE NOT FALLEN TO DEATH'S CLUTCHING HANDS...

2010-07-14T12:19:00.000-07:00

I am not dead. I am still alive and working on Frankenstein. But now that volume one is illustrated and sent off to the editor, I am in the midst of reading volume two and three and deciphering these words into page layouts. It is a tedious and long process with very little to show. So I ask that you be patient and stay with me. I will soon, again, be posting exciting and new page illustrations to this macabre creation of mine.

Be Grim!
Gris Grimly

AND NOW FOR SOMETHING COMPLETELY DIFFERENT...

2010-06-09T14:22:00.000-07:00

Here is your page of the week (or should we say pages). There will be a few pages in the Frankenstein book where the text will overlay on top of illustrated entries in Victor's journal. Here are three of those pages to show you how different they are from the rest of the book. The idea here is to illustrate the story one way (the typical GG style) and the art that exists in that world another way (more realistic). This separates my story from their stories. You will see this reflected again when the monster is telling Victor his story. The artwork will be completely different from the rest of the book. All exciting stuff...don't you think?

Be Grim!
Gris Grimly

PERMISSION TO ADDRESS THE COURT...

2010-05-27T13:20:00.000-07:00

Here is your page of the week. In this scene, Justine has been taken to court having been framed for the murder of Victor's baby brother William. A fierce courtroom renders all the witnesses fearful to come forward. All, that is, except for Elizabeth. Elizabeth stands and addresses the court in hopes that her testimony will sway the jury into finding her good friend Justine innocent.

" I am well acquainted with the accused. I have lived in the same house with her. During all that period she appeared to me the most amiable and benevolent of human creatures. She nursed Madame Frankenstein, my aunt, in her last illness with the greatest affection and care; and afterwards attended her own mother during a tedious illness. She was warmly attached to the child who is now dead, and acted towards him like a most affectionate mother. For my own part, I do not hesitate to say, that, notwithstanding all the evidence produced against her, I believe and rely on her perfect innocence.”

Be Grim!
Gris Grimly

I READ AND STUDIED THE WILD FANCIES...

2010-05-20T13:30:00.000-07:00

Here is your pic of the week. I decided to post this illustration to explain a certain process that occurs while working in almost any industry. That process is a little thing called compromise. The symbol used at the bottom of this illustration (the circled star with an eye) is the final design for the symbol representing an occult alchemist that influences Victor. I wanted this version of Frankenstein to put more of an emphasis in the black arts and supernatural rituals than any other version that I've encountered. To do this, I incorporated imagery of cauldrons, black robes, incantations, medallions, candles and occult symbols.

Realism is the key to all fiction and fantasy. So I turned to researching alchemy books to design the symbol that would represent the Alchemy Masters that Victor becomes obsessed with at an early age. The symbols that I liked most were circled stars. One, actually representing life and death which I thought was uncanny.

I took these symbols and simplified them to be a basic design with intersecting triangles (one upside down/one right side up) in a circle. I liked this symbol for it's simplicity, derived meaning and similarity to the satanic pentagram. I started using this symbol in the final illustrations for the book.

I received a comment from my editor who had concerns that the symbol resembled the Star of David and did not want the message to be misconstrued that the dark resurrection of the dead was affiliated with the Jewish faith. I'm a respectable person and live by the motto that all faiths, their customs and gods should not be scrutinized or mocked. Although the resemblance to the Star of David was not intentional, I did like the reference to the silent film "Der Golem".

For those of you unfamiliar with the film Der Golem, it is a Jewish Folktale with a monster similar to that in the tale of Frankenstein. In the 1920 film by Paul Wegener, a Jewish rabbi creates a giant creature (The Golem) from clay and using sorcery brings it to life in order to protect the Jews of Prague from persecution. The Star of David is shown during the Golem's awakening, alluding to the power that brings him to life. Also, a star on the Golem's chest is used as a good/evil switch. When the star is upright the Golem's acts are good. When the star is inverted (like a pentagram) it works for EVIL. All really good stuff.

With all that being said, I didn't want to cause any problems. And even if the editor or I didn't care to offend anyone, there is always the publishing committee who can be a bunch of bastards to fight against. I couldn't just create a new symbol, because that would mean me illustrating pages over that have the old symbol in them. I had to take the old symbol and evolve it. I played around with many ideas until I came up with a simple solution. By placing an eye in the center of the design, it looks nothing like the Star of David and it looks super cool. It reminds me of something out of an HP Lovecraft book.

Let's just hope the Illuminati doesn't get offended.

Be Grim!
Gris Grimly

WORKSHOP OF FILTHY CREATION...

2010-05-13T20:15:00.000-07:00

While I was in New York meeting with the editor, we decided to cushion my original layout with a couple extra pages. The reason behind this is a bit complex to explain. The main reason is to have strong page turning moments (take that and make what you want out of it). It was decided that one page would be added towards the end of the story where the text was too heavy in contrast to the illustrations. The other area we decided to add a page was the creation of the monster scene.
This was originally planned to be told in one page and the page was already illustrated. But there were many reasons why I didn't like the illustrations on the page. First of all, I thought the colors were too bright. I like the vibrant green representing the serum of life because it is a nice contrast to the gloomy world. It gives it that unworldly feel. But I didn't like the bright pinks, yellow and the overuse of the warm rust color. Also, I didn't care for Victor's face in the second and forth panels. So rather than just adding a page to this page, I did two new pages.
It seemed best to break the illustrations up between the first and second panel on the original page. The first panel is a good introduction. It fits well with "In a solitary chamber, or rather cell, at the top of the house, and separated from all the other apartments by a gallery and staircase, I kept my workshop of filthy creation;". But the second and remaining panels on the original page seemed to illustrate the hardcore moments of the monster creation. So I split those apart and threw in some extra building scenes like playing with alchemy, buckets of guts, bringing in materials and starting to assemble the wretch. This was all done with a much more muted pallet which I love. This choice creates a dingy and stuffy tone for the workshop in which Victor confines himself for days, weeks and months assembling a monster.

Be Grim!
Gris Grimly

A DESIRE TO BIND...

2010-05-05T17:20:00.000-07:00

Here's your illustration of the week. In this image, Victor is first introduced to the young Elizabeth, who is adopted and brought home by his mother. Victor's mother was so taken by this beautiful and gentle child that she immediately considers her to be the future wife of Victor. The part I like most about this page is the ribcage and heart binding the two as adults.

Be Grim!
Gris Grimly

HIS VARIOUS MACHINES...

2010-04-28T18:15:00.000-07:00

Here is your illustration of the week. This is another image that portrays the unique and stylized take I have chosen for the world. Here, Victor visits professor M Waldman and discusses science, chemistry and philosophy. Victor is given a tour of M Waldman's laboratory and his "various machines". I have taken this opportunity to visually narrate the technology used to create the monster. This idea came to me when I read the passages "He then took me into his laboratory, and explained to me the uses of his various machines" and "not to derange their mechanism". I thought about having these crazy machines that M Waldman created that operate on the reanimated muscle and organs of living creatures by a glowing green fluid. These bizarre contraptions become the springboard to Victor's imagination, using these same techniques to bring his own creation to life (by "deranging the mechanism" of course).

Be Grim!
Gris Grimly

THE DAY OF MY DEPARTURE AT LENGTH ARRIVED

2010-04-21T17:24:00.000-07:00

Here's the page of the week. In this illustration, Victor's mother has just passed away and his journey to Ingolstadt to attend university comes to be. "This period was spent sadly; my mother's death, and my speedy departure depressed our spirits".

I've been cruising on these pages at a good pace. I look forward to completing the first volume and proceeding onto the next. The last few pages of volume one (which I am yet to tackle) pertain to the false accusal and execution of Justine Moritz for the murder of Victor's little brother. In these pages, I plan to illustrate the trial and execution in an entirely new way. I'm really looking forward to it. In a way, the illustrating of those pages will be the act of celebration to the completion of volume one.

Great things await ahead...

Be Grim!
Gris Grimly

OH, SAVE ME! SAVE ME!

2010-04-14T12:50:00.000-07:00

Here is your illustration of the week. In this visual representation of the text Victor takes his friend Clerval back to his apartment, still paranoid that the monster may be lurking within the confines. His imagination gets the best of him and he collapses, begging his friend for help.

You may be asking, "Hey Grimly, where are all the neato images of the monster and darker/gruesome parts of the story?" The answer to that is simple. I want to keep you foaming at the mouth until the book comes out. Anticipation is torture. Is it not?

Be Grim!
Gris Grimly

NEW YORK TRIP RECAP...

2010-04-10T12:24:00.001-07:00

My trip to New York dumped me in a hostile climate much colder than I am used to living in Los Angeles. Although there was nothing I could really do about my toes going numb every day, I was able to bundle up with my layers of clothing and did alright. I even bought some brown gloves on St. Marks place with skull on cross bone prints. But after I purchased them, I realized how lame they were and wished I had just bought plain brown gloves. Oh well.

Harper Collins invited me and my artist friend Christy Kane in from the cold to have a design meeting with the editor on Frankenstein, Jordan Brown, and the art director. As you can see in the image above, I have a very opinionated view on the way I want this book to look. The art director had taken all of my sketches and finished images and placed them into a dummy version of the book with a temporary typeface. For the most part, the book is looking amazing. But there were a few changes I wanted made if the book was going to meet my expectations. I made my demands with an iron fist. Arguments broke out and objects were thrown. We said some things we didn't mean (or at least wouldn't normally express the things we were thinking out loud). It got a bit ugly and a brawl almost broke out. At this point, Jordan was questioning what he was getting into and the art director was rethinking her position working at a publishing house that would work with a psychopath like me.

We didn't really make amends, but the editor and I got a picture which captures the disdain we were feeling towards each other at the end of our meeting. Like gentlemen we shook hands and parted ways, even though we really wanted to bash each others heads in. We knew that we would have to meet again in a couple days to continue our discussions on Frankenstein.

A couple of days later we met over a steak dinner (nothing fuels the scrapping beast like near raw meat). We discussed promotional ideas for the book. One of these, which I am quite fond of, is to create a mock trailer inspired by old Universal horror film trailers of the classic era.

After dinner, we went to a bar and had some whiskey. We got a bit sidetracked from talking about Frankenstein and ended up talking most of the night about music and the bands that we like. We had some more whiskey, talking about Magnolia Electric Co., Bon Iver, Bonnie "Prince" Billy, Iron and Wine and other great folk artists. More whiskey was consumed. We traded band suggestions for both of us to check out. I checked out his suggestions and they pretty much all sucked. And I gave him some horrible suggestions knowing that they would melt his face off. That's just the kind of relationship we have.

After a few more whiskeys, we got another picture. This time, it actually looks like we can tolerate each other. There is a lesson to be learned here; meetings always go better when there is whiskey involved.

Until next time,
Be Grim!
Gris Grimly

AS MUSTY AS THEY ARE ANCIENT...

2010-04-08T11:20:00.001-07:00

Here is your illustration of the week. In this page, Victor visits one of his professors and is ridiculed for studying and following authors of alchemy.

Be Grim!
Gris Grimly

RETURNING FROM MY JOURNEY...

2010-03-31T14:16:00.000-07:00

There are no illustration updates this week. I have just returned from a week in New York, and therefore have nothing new to post. While in the big apple, I saw an exhibit of Tim Burton artwork at MOMA (which was quite inspiring) and had a couple meetings with the editor on this Frankenstein project, Jordan Brown. A soon approaching blog post will cover this meeting more in depth. Now that I have returned home, I will be cracking the whip so I will have more art to show you next week.

Be Grim!
Gris Grimly

GO INSTANTLY TO GENEVA...

2010-03-10T15:28:00.000-08:00

I have now completed a third of the pages for the first volume of Frankenstein. That is approximately 24 pages I have illustrated thus far. There are three volumes to the book and I have estimated approximately 200 illustrated pages needed to tell the story in the style that I have chosen. That means I have completed one eighth of the book. Hell, is that overwhelming.

Here is the page of the week. In this scene, Victor receives a letter from his father informing him that his little brother has been murdered. His friend Clerval asks what he will do. Victor responds "To go instantly to Geneva" to see his family and home.

Be Grim!
Gris Grimly

AGE OF ENLIGHTENMENT...

2010-03-04T10:48:00.000-08:00

Here's another page to tease you with. Every week, I will choose one page to post up on this blog that carries something relative to say about it. I felt this page would make a good candidate because it exposes some of the strange elements (like the mechanical horses) of this fairy tale world I am developing.

More to come.

Be Grim!
Gris Grimly

A MUCH NEEDED REPORT...

2010-02-23T13:20:00.000-08:00

It's been a long time since my last update. Most of this was due to some unexpected happenings that became a distraction over the past two months. But I'm getting back into the swing of things. Here are three pages posted in hopes to satisfy your appetite after leaving you parched for so long.

Until next time.

THE ITTY BITTY PARTS

2009-12-21T17:18:00.000-08:00

I've finally finished laying out the first volume of Frankenstein into small thumbnail sketches. This helps me with page compositions so I don't approach a page completely blind. They are simple and rough, but a very important stage in the planning process. It looks like volume 1 will have 70 pages to it. If the other two volumes are similar in length, it looks as though the book will have roughly 200 pages of illustrations. I think I have my work cut out for me.

Be Grim!
Gris Grimly

THIS IMAGE SAYS IT ALL...

2009-12-14T19:08:00.001-08:00

I just completed a pretty simplistic illustration that will be used as a page to mark VOLUME 1 in the Frankenstein book. But despite it's simplicity, I look at this image and see this sole icon representing the overall tone of the book. The dark dingy background, the harsh black strokes of the title, the vibrant punk colors reminiscent of films like Re-Animator and Return of the Living Dead and the cartoonish skeletal hand; All of these elements are twisted and assembled together to create the creature that is...Gris Grimly's Frankenstein.

WILDEST DREAMS

2009-12-10T17:58:00.000-08:00

One of the exciting elements to the Frankenstein book I'm working on is the multiple styles that will emit from page to page. The book will comprise of full aged letters, maps, vignettes and sequential illustrations. Some pages will be fully colored and detailed with ink lines while others will be rendered in black and white. Here is an example of a dream sequence Victor has after he brings his creation to life. I chose to depict this scene in saturated washes (almost black and white) with no inking. This gives the page an airy almost smokey feel like a memory that could be wisped away.

Here is the text from the original manuscript that will be conveyed solely pictorial in my illustrated version:

"I thought I saw Elizabeth, in the bloom of health, walking in the streets of Ingolstadt. Delighted and surprised, I embraced her; but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms; a shroud enveloped her form, and I saw the grave-worms crawling in the folds of the flannel."

Hope you enjoyed. There is more to come.

Be Grim!
Gris Grimly

MAPPING OUT THE JOURNEY

2009-12-08T13:19:00.000-08:00

I've been a bit scatter brained in my execution of the Frankenstein book. That isn't necessarily a bad thing. It just means that I haven't been focusing on one task and carrying it through. In a way, this keeps me sane. The biggest satisfaction that comes from working on a book is seeing the completion of an illustration. Working on planning, thumbnails and sketches for weeks can be really draining. So instead, I've been running back and forth from doing thumbnail sketches to working on maps and letterheads to completing full page illustrations.

As a kid, I always liked books with maps in them. Here is one such map to be used in my Frankenstein book for future children to admire.

Be Grim!
Gris Grimly

COMPARISON EYE TO EYE

2009-11-28T04:59:00.000-08:00

It's been a slower start than usual getting Frankenstein put together. One of these reasons is that I have been playing around with technique. I thought it might be interesting to do all the illustrations for the book on dark paper. The papers would range from shades of brown, gray and black. Rather than adding darkness to the paper, the technique would rely on adding the highlights (bringing light out of the darkness). My theory was that it would give the illustrations a darker and grittier feel.

In exercising this test, I came to the conclusion that I prefer my original technique of painting darker colors onto white paper. Although the illustration on the dark brown paper has a darker tone, the technique displays a lack of grit and actually looks more modeled and slick, yet uncontrolled. I was frustrated with the difficulty it was translating the image in my head onto the paper using this technique. Accurate shapes and style are much easier to accomplish when working from white paper.

So there you have it. Two different approaches to the same illustration are displayed side by side so you can see their differences. I have decided to continue with my signature style, like the one on the left.

More to come soon.
Be Grim!
Gris Grimly

FIRST SIGNS OF LIFE

2009-11-10T20:04:00.000-08:00

Maybe it's just a bony finger twitch or the flutter of the eyelid, but my creation is starting to show signs of life. I have finished the first painting for the book. This painting will accompany a quote from "Paradise Lost" in the front. It is a little more abstract than the other paintings for the book. But I felt that it is fitting for the purpose. Here is the quote:

Did I request thee, Maker, from my clay
To mould Me man? Did I solicit thee
From darkness to promote me?-

Paradise Lost

I'm not sure about the rest of you, but I know this quote hits a personal chord with me. Maybe not so much now, but at least in my angsty years of youth I've felt animosity for being brought into this world.

Earlier today I spoke on the phone with my editor, Jordan. We went through all the omissions and notes from the first volume of Frankenstein (there are 3 volumes to the book). All the abridgments have been made and approved to the first volume. I have decided rather than go through and complete the last two volumes, to proceed with thumbnails and paintings on this volume. Getting my hands bloody will help keep me sane.

So you can all expect posts from here on out to be exhilarating.

Be Grim!
Gris Grimly

EXHAUSTED, I REVISIT MY CREATION...

2009-11-08T12:00:00.000-08:00

It's been a long and busy Halloween Season. Starting with the final days of September, I've found myself wrapped up in my new book release and other festive happenings that required my involvement. I've done a number of signings to promote my latest book, Tales of Death and Dementia, a heavily illustrated collection of Edgar Allan Poe stories. Along with my California signings, I traveled to Richmond Virginia for the east coast book launch at the Poe Museum. I also traveled to Baltimore for the bi-centennial celebration of Poe in conjunction with the Poe House there. I also hosted a multi-talent entertainment show at the Magic Castle during the three days of Halloween weekend called Cabaret Macabre. These events will be documented and posted on my Gris Grimly Blog.

Now all of that is behind me and I can again indulge in the Frankenstein project. Obviously, I wasn't posting anything on Frankenstein over the past month and a half because there has been no progress. But now that my elbows are deep into the rotting flesh again, I will be back to posting weekly or more.

In late September, I received an email from the editor Jordan Brown. Attached with the email was his notes on my abridgment of the text. In a way to help you feel more a part of the project, I will explain our work process with this stage. I took a word document and highlighted in red all the text I thought should be cut and sent it to Jordan. He then sent it back with his notes. The parts that we agree on remains in red. Then he highlighted in blue additional text he thought should be cut and highlighted in purple the text he thought I cut that should remain in the book.

Are you following me so far? Good.

Now the manuscript is back in my hands and I have to go over his suggestions and make the changes that I agree with. I will also highlight in green any additional text that I think the both of us missed. This should take me a few days and then I will send it back.

This is not the most thrilling part of the project by any means. But it is the foundation which will support the stylized-Gothic cathedral I plan to design and build on top. So it is one of the most important stages.

More to come...

Be Grim!
Gris Grimly

FROM THE WRETCHEDNESS...

2009-08-26T12:23:00.000-07:00

I'm not sure how much personal information I should expose on this blog. Sometimes I feel like holding back and censoring my stream of consciousness. Sometimes I feel there should be a net holding back my personal thoughts, feelings and experiences; Allowing only information and statistics to post. But then what is the point of me writing this blog. If it is only a tool to pass on surface information about my progress with Frankenstein, I could get an intern to fulfill that workload. I feel that the reason you all keep checking in is because you want to know what lurks behind the bed curtain, even if it is something wretched.

Well, last night I was feeling wretched. I think for the most part, I am an even-keeled cat. But often I get into a slump. Sometimes I get downright depressed. I'm not telling you this for sympathy, but to give you a little foresight. For the last week, I've been struggling along with what I think is the most complex stage of illustrating a book: layout and page breakdowns. Last night, I was feeling the blues, trying to work out some sketches and layouts that just weren't coming together. When I go through these periods of struggle, I begin to have self doubts and emotionally beat the crypt out of me. Sometimes this goes on for days, but sometimes something good comes out of it.

I stepped away from my problems and worked on a little sketch of Victor Frankenstein of which I am fond of. Focusing on portraying this character as a much darker character than I have seen before, hellbound and knee deep into alchemy, mysticism and the dark arts. Again, his look here may not jive with a few of you who are expecting the traditional Gothic interpretation of this tragic character. But I'm not telling that version of Frankenstein. This is something new...possibly even darker.

Be Grim!
Gris Grimly

BUILDING STRUCTURE OUT OF MADNESS...

2009-08-22T13:54:00.000-07:00

As promised, here are some pages of preliminary sketches and page breakdowns. It looks a little chaotic here, but rest assured, there is structure in my madness.

This is my typical approach to illustrating a book. Although, I would have to say that this book has proven to be more problematic than any other I've worked on. You can see the page breakdowns and occasional paragraph breakdowns. In relation to the page breakdowns, you will find little thumbnail pages which show a rough idea of the layout of each page. The little sketches made among the text are imagery that came to me while reading.

I don't know if it is all too exciting. But it is yet another step in my process of illustrating Frankenstein. Therefore, I figured there are a few of you out there interested in seeing it.

More to come...in the not so distant future.

Be Grim!
Gris Grimly

DETAILS ARE IN THE DECAYED...

2009-08-17T17:03:00.000-07:00

Here is my most recent sketch of Frankenstein's monster. Although much more detailed and in color, it hasn't deviated much from the last pencil sketch.

I appreciate everyone's comments on this blog, twitter and facebook. I'm a very opinionated individual; If I feel strongly about the direction I choose, I wont budge. But I'm still curious to hear what people think. I understand that the story of Frankenstein is held sacred by many fans of the book. I'm not going to be able to please everyone. I may even upset some of you with how I choose to interpret this cherished classic. All I can do is trust my gut and follow through.

As I've mentioned before, this version of Frankenstein will be unlike any other. Although, I will be using the same text from Mary Shelley (yet abridged), the world in which I will create around it will be completely re-imagined. The description of the monster is so vague, and our idea of the traditional look comes mainly from the James Whale interpretation in the Universal films. There is nothing in the book that describes the monster being boxy, broad shouldered, flat headed, green...etc. It does mention the monster to be "gigantic stature" which is open to interpretation. That doesn't necessarily mean he's pumped up on protein shakes.

I want to recreate the image of the monster, yet be faithful to the text. "Gigantic stature" brought to mind the elephant man or the physical structure of the deceased actor Matthew McGrory. Anyone who has ever seen Matthew in person, would most likely describe him as "giant in stature" despite the lack of muscle tone. This is the direction that I took in depicting Frankenstein's monster.

I can't find the purpose of illustrating Frankenstein, just to do it the way it has been done before. I can't even compete with Bernie Wrightson's gorgeous-gothic-detailed interpretation. This is Gris Grimly's Frankenstein. Wipe your mind clean of your expectations and be prepared to open your eyes to a new, yet familiar, story.

Be Grim!
Gris Grimly

THE JOURNEY INTO THE UNKOWN HAS BEGUN...

2009-08-11T21:56:00.000-07:00

Just a couple of days ago, I completed reading and abridging the story of Frankenstein. I've taken many notes (yet have many notes to take in the near future). Sunday night I met with the editor of this insane project and expressed my thoughts and ideas to him over a Mexican dinner and margaritas. He is as ecstatic as I am.

I can't begin to describe how thrilled I am to be illustrating a tale that has felt so dear to my heart as Mary Shelley's Frankenstein. I will be writing a forward to the book which will express these emotions. Of course, for all of you who are following along, you will read it first on this blog. I have asked Bernie Wrightson (the award-winning illustrator who has already illustrated a version of Frankenstein that is breathtaking) if he would write an introduction for the book. Not only has he agreed, but he wants to be involved in my creative process along the way.

Now that the "studying" stage of the book is behind me, I will be sketching much more. This means that I will be posting much more on this blog. The design of the monster is coming along. I've become really influenced by the anatomy of the Elephant Man for the appearance of the monster. As soon as I incorporated this twisted structure to my creation, I stepped back with a sinister grin and whispered, "This is it."

I hope you enjoy.

Be Grim!
Gris Grimly

DISSECTING THE SCRIPT

2009-07-07T18:07:00.000-07:00

Around six to ten days of reading Frankenstein and I’m only on chapter II (meaning I’ve tackled a mere 20 pages). Why is this?

In keeping you informed on my progress in adapting this 1818 version of the classic gothic tale, I thought it appropriate to be thorough in all aspects.

As I said in my first post, there is more preparation to illustrating a masterpiece like Frankenstein than just reading the manuscript from preface to Fin. Not only am I illustrating, but I am also abridging the work of literature as well. I’m finding this more daunting than earlier abridgements I worked on like the Edgar Allen Poe series and Sleepy Hollow. This could be that I feel the writing of Mary Shelley’s Frankenstein is more refined and intact than the ramblings of Poe and Irving (no disrespect to either of those authors mind you), and it is much more difficult to narrow down what words, dialogue and paragraphs can be omitted.

I have three variations of Frankenstein at my desk. One is the 1818 version of the story printed out from my computer. I believe it is somewhere in the vicinity of 160 pages or so. This is my primary copy. As I read it, I scratch out with a highlighter any of the text I feel could be absent and still tell the story. Each paragraph is read a minimum of three times. Some single lines are read over and over and over until I can figure a way to subtract words and use the existing words to speak for themselves. This version will also be a journal for notes, sketches and doodles penciled among the noir landscape of paragraphs. I will have to expose a few of these pages to you down the road.

A second copy is actually in book format. This is hardly used in hopes that the print out I have is, in fact, the actually unflawed text from the book. But it is good to have the book by my side if I need to reference page numbers or get a sense of book length.

A third copy is the version that all the underachievers read for class when they are told they HAVE TO read Frankenstein. It is a digest thin (57 pages) study guide. This critical analysis of the book is read side by side with the manuscript. This helps me evaluate the story in depth; from the messages and themes of each chapter to 19th century analogies that may not be obvious in today’s society.

With this knowledge I can feel more confident with my dissection of the manuscript to bring you the very best abridgement and give life to a new monster: GRIS GRIMLY’S ILLUSTRATED FRANKENSTEIN.

Now, onto Chapter II.

Until next time…
Be Grim!
Gris Grimly

IT'S ALIVE!...

2009-07-05T13:39:00.000-07:00

…Is there any better title for the first entry to a blog dedicated to the creation and process of my next book FRANKENSTEIN? Maybe there is, because I have only just begun to gather up “raw materials” to assemble and bring to life my own creation. It is many months from completion. But being a huge fan of the original Universal film, there is no line more memorable than Colin Clive rambling like a madman…”Look! It's moving. It's alive. It's alive... It's alive, it's moving, it's alive, it's alive, it's alive, it's alive, IT'S ALIVE!”

My goal with this bog is to keep you updated weekly (if not more) on the progress of the book. I will be exposing ideas, conversations with the editor Jordan Brown, leaking sketches and premiering a few final pages from the book. I would even like to create a couple sped up video clips revealing my process in creating a page.

Currently, I am reading the story. I have decided to work from the original 1818 version opposed to the version made popular in 1831. Not only is it rarely published anymore; it is also the more raw version of the two. Much like when a band does a rough recording of a song. It may have some imperfections but it has soul. Usually then, a producer comes in and adds the bells and whistles and the song is recorded over and over and over. It may be tighter and polished, but it looses something. This early 1818 version feels like that raw punk version (untainted and untouched). It is like discovering a lost manuscript. There are a few other differences. The 1818 version is absent of Mary Shelley’s introduction, which exposes how she came to write the story. I want to make this version my own: take away the story of a story of a story, and just tell THE STORY. There are also a few additions that change the theme of the story. In the 1818 version, Victor loses control of the monster due to his own arrogance and neglect. In the 1831 version, he is made to be more of a victim of fate and therefore holds no responsibility to the outcome. Being a huge fan of Heinrich Hoffmann’s Struwwelpeter and parodying this theme myself in the Wicked Nursery Rhymes series, I of course am more attracted to the concept of individual consequence.

Unfortunately, there will be very little artwork posted at first. I have much work to do in reading, abridging and note taking. It’s not like I can just read the story and begin working. There is an extensive study to be undertaken. The story will be read and reread. Omissions will have to be made to accommodate the copious amount of artwork this book demands. Until I can start posting more imagery, here is a preliminary sketch of the Monster to calm the craving of your frothing maws:

Until next time…
Be Grim!
Gris Grimly