Having recently purchased some really cool Frankenstein art from Wayne, I asked if he would be willing to participate in my collect. I am really pleased he said yes because this is such a great piece of art. It may not show up as much as "in person", but his fine line work is mind blowing. I loved seeing how he approached the tree in the back-right and the various scenery components. I feel like he really made the heroes pop out more than any of the previous inkers, but using such light inks with that scenery. I have been so fortunate to get such quality art from these world-class artists.
As I have sometimes done, I asked Wayne a few questions. Which he graciously answeredL
ME: I have been told Wrightson’s prelim pencils were pretty loose. Was there a character or specific component of the pencils that was most challenging?
WF: As far as the art being "loose", that depends on your perspective. For Bernie, I suppose one might consider this loose. In fact, if you put this piece in front of me blind, I'd have no idea it was by Wrightson. That said, he was a guy who was most widely known for inking his own work. So, I'd surmise much of his style came at the ink stage. I had no particular problem with any of the characters. But since I inked it, it really doesn't look much like Bernie...
ME: With a piece like this that is so full, how do you decide where to start? Foreground? Middle? Scenary/graves?
WF: On a penciler who's new to me, I generally start on something I'm comfortable with. That will usually be something organic, like trees or background stuff. Here I began with that raggedy tree on the hill....
ME: I am stunned and in awe of the fine lines you drew in the far background; specifically the shack and tall monument. HOW on earth did you get such fine lines?
WF: Micron Pens. Obviously, the more distant bits should be lighter to approximate a kind of sfumato effect, except interpreted in line. To that end, I wasn't happy with the gradation variation I'd done on the gravestones. It was to much the same. So, I added a lighter obelisk on the very top of the hill in order to start the gradation at a lighter tone. Then things get progressively darker as they get closer.....
ME: All the heroes really stand out because of the light work on the graves behind them. How did you happen to think of doing it this way?
WF: Well, I mean.... I have a degree in graphic design. It's pretty basic stuff. LOL!
ME: As much as I love the way you did the heroes, I LOVE the tree in the back-right, the shading you put into the sky, and the ethereal smoke of the characters. I know… that is probably weird. Is there any specific thing you like how it came out?
WF: Well, this is a terrifically busy piece. I'm just happy if I can get it to hang together without being confusing! But specifically, I guess I like the gravestones....
ME: I am just blown away at how well this came out. I’m wondering how you felt? Was there an area you look at and wish you had done differently?
WF: Well, I'd have redrawn some of the faces, to be quite honest. But that's like Swan redrawing Kirby faces. I didn't feel that's what was called for here and not really my place. And frankly, I doubt I'll have another chance to ink Wrightson, so I thought I'd stick as close to the original as I could.
