The cartoony line quality and simple color palate differentiate the creature's story visually from Victor's story. But still, even with color, these pages don't resemble the rest of the book. Now, in the forth chapter of the creature's story, I've introduced color. In the second chapter I introduced grey tones and in the pia. 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. Posting like a madman and slapping new Frankenstein art around like I'm on campaign. One of those things is the volume of Frankenstein work I can do in a week as well as the attention spent on blogs.īut I assure you, once November rolls it's ugly head around, I will be back at it. Some things have to be put on the back cauldron to place attention on immediate and encroaching deadlines. So it is really hard for me to keep up with everything with the addition of events, Halloween affiliated projects and commissions. October being October, it is my life force out of the year. I really like what she is doing thus far. She has a knack for antique book design and typography. I'm not sure if she is as mad as I am, but she seems to have a pretty good grasp on things. Editor Jordan Brown has teamed me up with designer Dana Fritts to begin putting all these raw materials together. But I take it one night at a time.Īt this point, all the artwork for volume one has been completed as well as a good portion of volume two. The broad spectrum would make me vomit if I look at it as a whole. There is approximately 200 illustrated pages, changes in style, historical letters, authentic diagrams and antiquated type fonts. I've been working on it for almost three years now. Gris Grimly's Frankenstein is a daunting project. My goal, as it should be with any artist, is to deliver a masterpiece. When all is said and done, it is for the good of the end result. Unfortunately, this won't be the last page that needs a redo. So, without getting discouraged, I took to reproducing the piece from scratch. 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. I thought sticking with the illustration board would be the proper choice. The second chapter of the monsters story reflects a step in development by using black and white washes as my medium. This black and white treatment is done on illustration board which is ideal for ink work. 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. 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. If I'm lucky, I will notice my discontent with the piece in time and start over before I've done too much work. Sometimes, more often than I'm comfortable with, I will redo a page in it's entirety because I am unhappy with it.
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