I owe you this. It has been nearly three months since my last post. It hasn't been due to lack of material to post. These months marked a hectic time in my life known as the prenuptial period and two weeks ago I became a married man. Not to follow in the footsteps of the doomed protagonist of which I have so meticulously studied for the past three years, I placed the needed attention towards my fiance and our wedding day. If there is one thing that I've learned from Victor Frankenstein, it's that obsession in your craft is unhealthy and can/will destroy the relationships around you.
Now that the wedding is behind me and I can get back into my industrious passions, I felt it best to give you fiends an update on the Frankenstein book. Design has been cranking away on cleaning up artwork and placing text among my pictures. I couldn't ask for a better designer to be working with me on this project. She understands the typography of the era and how to blend it with my hyper-stylized work. I have received a forward from Bernie Wrightson which will be included in the book. Bernie is the illustrator of, what the majority would
refer to as, the most comprehensive-quintessential version of
Frankenstein published to date. I'm honored that he took the time to write up a few words. I'm sure you are familiar with his Frankenstein book, but if not, you HAVE to pick up a copy (buy it here).
Just today I received an email from design sharing the current version of the cover. What a great email to wake up to. I thought you would like to see it as well...
Wednesday, December 5, 2012
Monday, September 17, 2012
JUDGING THE BOOK...
They say you can't judge a book by it's cover, but we (especially those of us who work in the publishing business) know that the cover is essential in selling books. A few factors that I keep in mind when designing the cover are the following"
STYLE: I like to be consistent in my style. Although my style may evolve with new ambitions and influences, there are many things that have remained consistent over the past 12 years of illustrating books. I am heavily influenced by Victorian illustrators and picture books. Not only has my artwork reflected this love by era and wardrobe but also by line work and tone. Many of the covers out of the 20 books I've illustrated have been inspired by old covers or posters. Santa Claws was inspired by the old Saturday Evening Post, Sleepy Hollow was inspired by old Dennison Boogie Books, the Wicked Nursery Rhymes series was inspired by old Mother Goose covers, Little Jordan Ray's Muddy Spud was inspired by the old Farmer's Almanac cover, Grimericks was inspired by old circus posters, Boris and Bella was inspired by old movie posters, and The Dangerous Alphabet was inspired by old Alphabet books. Consistently, the Frankenstein cover is inspired by Victorian literature covers as well.
ORIGINALITY: Some editors and art directors want the cover to look like the covers of other best selling novels. I don't agree with this. I'm not saying this gimmick doesn't work. But I make my books, art and films for me and have to trust that my preference is the same as those who would be interested in my work. If I go into a bookstore and scan the shelves, the book that is going to stand out to me is the one that does NOT look like everything else. Then it is up to the quality and the description on the back to seal the deal.
NARRATIVE: It is important that the cover reflects the tone and concept of the story without saying too much as to spoil the mystery. This is the exact opposite of exploitation. Exploitation shows all the meaty parts to excite and entice. But usually the content lacks any substance and the promotional art is the best part of the product. That's what makes exploitation movie posters so amazing.
The story of Frankenstein to me, is about Victor and how his obsessive passion for his work destroys all his relationships, Elizabeth being the one closest to him. I chose to focus on the journey that Victor takes which is alone, forbidden and morbid. Setting him in the midst of a cemetery seemed most appropriate. At first a had the dark figure of his creation in the corner of the sketch, but decided that it would be better to keep this a mystery. Victor holding the shovel eludes to his immoral task at hand. The gears set in the title represent the industrial revolution and the irresponsible speed of scientific advancements. These are all things that I think reflect the bowels of the book.
Something found on old book covers that I think is a nice touch is the separation of spine from the cover. Some books had an actual separation from fabric to printed card stock. But in others, it was just illustrated that way. I plan on using a marbling meat texture for the end papers of the book. I thought it would kick crypts to add that same meat texture to the binding of the cover and make it look like it is stitched on.
This cover is only in beginning stages at this point. I have plans to add a small frame on the back center cover containing a shrine-like illustration of Victor's love interest Elizabeth. I'll keep you updated on those sketches as well as the end results.
STYLE: I like to be consistent in my style. Although my style may evolve with new ambitions and influences, there are many things that have remained consistent over the past 12 years of illustrating books. I am heavily influenced by Victorian illustrators and picture books. Not only has my artwork reflected this love by era and wardrobe but also by line work and tone. Many of the covers out of the 20 books I've illustrated have been inspired by old covers or posters. Santa Claws was inspired by the old Saturday Evening Post, Sleepy Hollow was inspired by old Dennison Boogie Books, the Wicked Nursery Rhymes series was inspired by old Mother Goose covers, Little Jordan Ray's Muddy Spud was inspired by the old Farmer's Almanac cover, Grimericks was inspired by old circus posters, Boris and Bella was inspired by old movie posters, and The Dangerous Alphabet was inspired by old Alphabet books. Consistently, the Frankenstein cover is inspired by Victorian literature covers as well.
ORIGINALITY: Some editors and art directors want the cover to look like the covers of other best selling novels. I don't agree with this. I'm not saying this gimmick doesn't work. But I make my books, art and films for me and have to trust that my preference is the same as those who would be interested in my work. If I go into a bookstore and scan the shelves, the book that is going to stand out to me is the one that does NOT look like everything else. Then it is up to the quality and the description on the back to seal the deal.
NARRATIVE: It is important that the cover reflects the tone and concept of the story without saying too much as to spoil the mystery. This is the exact opposite of exploitation. Exploitation shows all the meaty parts to excite and entice. But usually the content lacks any substance and the promotional art is the best part of the product. That's what makes exploitation movie posters so amazing.
The story of Frankenstein to me, is about Victor and how his obsessive passion for his work destroys all his relationships, Elizabeth being the one closest to him. I chose to focus on the journey that Victor takes which is alone, forbidden and morbid. Setting him in the midst of a cemetery seemed most appropriate. At first a had the dark figure of his creation in the corner of the sketch, but decided that it would be better to keep this a mystery. Victor holding the shovel eludes to his immoral task at hand. The gears set in the title represent the industrial revolution and the irresponsible speed of scientific advancements. These are all things that I think reflect the bowels of the book.
This cover is only in beginning stages at this point. I have plans to add a small frame on the back center cover containing a shrine-like illustration of Victor's love interest Elizabeth. I'll keep you updated on those sketches as well as the end results.
Tuesday, September 4, 2012
F IS FOR FRANKENSTEIN...
Thursday, August 30, 2012
MY SPIRIT WILL SLEEP IN PEACE...
This is what volume 3 looks like completed and ready to ship. It feels good to have all the artwork done for volumes 1, 2 and 3 of this massive 200+ page opus called Gris Grimly's Frankenstein. But I'm not in the clear yet. There are still some tasks for me to complete before I can wash my hands of this wretched creation. I still have initial caps to design, the cover and some other elements. I need to prepare a forward or introduction, write a bio and figure out my bio picture. I will also be in contact and contributing to the design of the book with the editor and art director. So there is plenty more ahead giving me substance to post about on this blog in the future.
With that said, I leave you with the final page of the week (the final illustration of the book) where the monster carries the dead body of his "father" out into the arctic wilderness where they will burn as one.
Here is the text for this page:
"I shall collect my funeral pile, and consume to ashes this miserable frame, that its remains may afford no light to any curious and unhallowed wretch, who would create such another as I have been. I shall die. He is dead who called me into being; and when I shall be no more, the very remembrance of us both will speedily vanish. I shall no longer see the sun or stars, or feel the winds play on my cheeks. Light, feeling, and sense, will pass away. Soon these burning miseries will be extinct. I shall ascend my funeral pile triumphantly. The light of that conflagration will fade away; my ashes will be swept into the sea by the winds. My spirit will sleep in peace; or if it thinks, it will not surely think thus."
THE END
Friday, August 24, 2012
ALMOST IN GRASP OF MY ENEMY...
Here's your page (or should I say spread) of the week!
In this spread, Frankenstein is hot on the trail, as he pursues his wretched creation. The monster leads him farther and farther north. Global warming must have been a concern of Mary Shelley's, because as she writes, the surface of the ice breaks apart knocking Victor from his voyage. A few of his dogs die and his sled is destroyed. Then, like a beacon from the heavens, he notices Walton's ship at a distance.
Here is the text for these pages:
Oh! with what a burning gush did hope revisit my heart! warm tears filled my eyes, which I hastily wiped away, that they might not intercept the view I had of the demon; but still my sight was dimmed by the burning drops, until, giving way to the emotions that oppressed me, I wept aloud.
But now, when I appeared almost within grasp of my enemy, my hopes were suddenly extinguished, and I lost all trace of him more utterly than I had ever done before. A ground sea was heard; the thunder of its progress, as the waters rolled and swelled beneath me, became every moment more ominous and terrific. The sea roared; and, as with the mighty shock of an earthquake, it split, and cracked with a tremendous and overwhelming sound.
In this manner many appalling hours passed; several of my dogs died; and I myself was about to sink under the accumulation of distress, when I saw your vessel riding at anchor, and holding forth to me hopes of succour and life.
In this spread, Frankenstein is hot on the trail, as he pursues his wretched creation. The monster leads him farther and farther north. Global warming must have been a concern of Mary Shelley's, because as she writes, the surface of the ice breaks apart knocking Victor from his voyage. A few of his dogs die and his sled is destroyed. Then, like a beacon from the heavens, he notices Walton's ship at a distance.
Here is the text for these pages:
Oh! with what a burning gush did hope revisit my heart! warm tears filled my eyes, which I hastily wiped away, that they might not intercept the view I had of the demon; but still my sight was dimmed by the burning drops, until, giving way to the emotions that oppressed me, I wept aloud.
But now, when I appeared almost within grasp of my enemy, my hopes were suddenly extinguished, and I lost all trace of him more utterly than I had ever done before. A ground sea was heard; the thunder of its progress, as the waters rolled and swelled beneath me, became every moment more ominous and terrific. The sea roared; and, as with the mighty shock of an earthquake, it split, and cracked with a tremendous and overwhelming sound.
In this manner many appalling hours passed; several of my dogs died; and I myself was about to sink under the accumulation of distress, when I saw your vessel riding at anchor, and holding forth to me hopes of succour and life.
Friday, August 10, 2012
IN THAT HOUR I SHOULD DIE...
Here is your page of the week.
The text for the page:
"I go; but remember, I shall be with you on your wedding-night."
All was again silent; but his words rung in my ears. Why had I not followed him, and closed with him in mortal strife? But I had suffered him to depart, and he had directed his course towards the main land. I shuddered to think who might be the next victim sacrificed to his insatiate revenge. And then I thought again of his words - "I will be with you on your wedding-night." In that hour I should die, and at once satisfy and extinguish his malice.
The prospect did not move me to fear; yet when I thought of my beloved Elizabeth, - of her tears and endless sorrow, when she should find her lover so barbarously snatched from her, - tears, the first I had shed for many months, streamed from my eyes, and I resolved not to fall before my enemy without a bitter struggle.
The text for the page:
"I go; but remember, I shall be with you on your wedding-night."
All was again silent; but his words rung in my ears. Why had I not followed him, and closed with him in mortal strife? But I had suffered him to depart, and he had directed his course towards the main land. I shuddered to think who might be the next victim sacrificed to his insatiate revenge. And then I thought again of his words - "I will be with you on your wedding-night." In that hour I should die, and at once satisfy and extinguish his malice.
The prospect did not move me to fear; yet when I thought of my beloved Elizabeth, - of her tears and endless sorrow, when she should find her lover so barbarously snatched from her, - tears, the first I had shed for many months, streamed from my eyes, and I resolved not to fall before my enemy without a bitter struggle.
Friday, August 3, 2012
THE FEW DROPS THAT REVIVED ME...
Here is an example of how I made Frankenstein my own without adding text. In this abridged version, there is text that has been removed so that I can deliver 200 pages of art. For the most part, the text that we chose to omit was descriptive and found the book would have a strong visual side to it by depicting these words in illustrations. At times, I've made some changes to make the world more Gris Grimly. For example, instead of riding in horse drawn carriages, their "carriages" are rusty steam driven hot rods. Justine is executed by electric chair rather than hung. These, and more alike, are ways I've chosen to delineate from Mary Shelley's vision.
In this scene, which comes towards the end of the book, Victor follows the wretch all over the north eastern hemisphere. There is a moment where he is in the desert (which I visualize as being Karakum) and mentions that rain came always when he needed it. I chose to depict this scene differently. The cloud and rain that comes is a mirage. He is parched and close to death, but the rain that comes is an hallucination brought on by this state and his delusional self righteous quest. Just when he can travel no further, he believes that God quenches his thirst so he can press on. But we see that there is no rain at all...he is just loosing his mind.
Here is the text that is represented in this page:
"I pursued him; and for many months this has been my task. Guided by a slight clue, I followed the windings of the Rhone, but vainly. The blue Mediterranean appeared; and, by a strange chance, I saw the fiend enter by night, and hide himself in a vessel bound for the Black Sea. I took my passage in the same ship; but he escaped, I know not how.
Amidst the wilds of Tartary and Russia, although he still evaded me, I have ever followed in his track. Sometimes the peasants, scared by this horrid apparition, informed me of his path; sometimes he himself, who feared that if I lost all trace I should despair and die, often left some mark to guide me. The snows descended on my head, and I saw the print of his huge step on the white plain. To you first entering on life, to whom care is new, and agony unknown, how can you understand what I have felt, and still feel? Cold, want, and fatigue, were the least pains which I was destined to endure; I was cursed by some devil, and carried about with me my eternal hell; yet still a spirit of good followed and directed my steps, and, when I most murmured, would suddenly extricate me from seemingly insurmountable difficulties. Sometimes, when nature, overcome by hunger, sunk under the exhaustion, a repast was prepared for me in the desert, that restored and inspirited me. The fare was indeed coarse, such as the peasants of the country ate; but I may not doubt that it was set there by the spirits that I had invoked to aid me. Often, when all was dry, the heavens cloudless, and I was parched by thirst, a slight cloud would bedim the sky, shed the few drops that revived me, and vanish.
I followed, when I could, the courses of the rivers; but the demon generally avoided these, as it was here that the population of the country chiefly collected. In other places human beings were seldom seen; and I generally subsisted on the wild animals that crossed my path. I had money with me, and gained the friendship of the villagers by distributing it, or bringing with me some food that I had killed, which, after taking a small part, I always presented to those who had provided me with fire and utensils for cooking."
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