Jun 20th 2014 ev. Revised thumbnail with new pages.
June 12th 2014 ev. Here, in a border using a stained-glass motif on one of its pages, I overlapped the page onto a crystalline texture. Note the first image on the left and the flat unfinished look. Using dodge to follow the top curve of each oval gives the appearance of refracted light. Using burn to follow the bottom curve of each oval gives the gem the necessary shadow to compliment the light but also allows the mid-point between the dodge and burn to give the gem a semblance of clarity, texture and thus depth.
June 10th 2014 ev. Several experimental prototype scripts for the Themonomicon… ported to useable font.
June 8th 2014 ev. Every dark arcane grimoire needs its own crawling runic script. There are a number of these around, which I’ll also feature at a later date to give the creators some exposure – but here are some sketches of one I am now developing specially for the Themonomicon( so I need not step on any copyrights) – surprisingly enough, called, “Themerian”. If I can find funding to buy a cheap font program – I will eventually port it to a useable font. It will need a lot of work though to get to my finished concept – these are just the foundations.
June 8th 2014 ev. I have now created 75 pages of the Themonomicon. I think of them as works in progress, templates I may go back to once I have finished the bones or skeleton of this 600 page behemoth.
Because the works I have written are archived at the Temple Press, representative of different times, stages and modes of being when they were authored, I have decided to revise the articles one by one to fit more with my contemporary individualosophy. Entirely new sections are being written which has slowed progress artistically but which sections the Themonomicon as an autonomous guide to THEM needs being that it introduces a vast river of new terms concepts and magic unique to the Temple’s sorcery worldview – crossing over from the other book I am writing, pMYRIAD. Insofar as re-writing the texts goes most texts have been revised so heavily they no longer bear any resemblance to the originals. Since I maintain that these originals contain within them a special code that maps out the historic psychic changes of my work, but are archived here in the WordPress in that original format, I have no fear in radically re-writing the entire corpus as I go to tie the threads together and finally present unreleased material in this unique variation.
Getting to grips with creating electronic-based art has been important insofar as producing this project is concerned – since I do not know how I will finally produce or print the book as yet owing to the massive cost of ink alone, the ability to create an e-version of fully illustrated plates is a viable option. In addition, while I originally planned to illustrate the book entirely by hand, I have found that a mixture of the two media has yielded pleasing results. A fear with this project is that as with Tendril, I will lose interest and leave it half-completed and am therefore determined to complete most of it by close of 2014. The fact that I save time by using electronic art makes the greatly distant goal seem a little less distant. Using electronic art also has enabled the utility of nice little aesthetic tricks like the appearance of being able to see through one page to the page beneath – even though this would be impossible in an e-book (pdf) or if printed on demand (unless the books are tampered with after print – still an option).
Moreover, I am not trying to replicate the Necronomicon – there are others who have done just this and their efforts and pages look simply stunning, with jaw-dropping detail and even full cover leather skins in the vein of the lovecraftian legacy. I will be writing about these efforts at a later date and showcasing some of the incredible artwork that these individuals have produced but it is easy to forget that in the midst of trying to tap into Lovecraftian energy which easily carries one away artistically and psychologically to strange places and geometry where the impulse to fill the book with beautiful but merely symbolic ‘filler’ is strong – that this is not a Book of the Dead project. Whereas typically, replications are either, the actual Necronomicon as released by Simon, or beautifully aesthetic fakes where monsters and strange sigils are littered with a crawling script – which ultimately, is for appearance only – the Themonomicon seeks to be both a serious comprehensive behemoth of a tome, that does not use artwork as a compensatory distraction to cover up weak (or no) material but a symbiotic unified visual and verbal assault of sorcery from the Temple with legible magickal texts and psychological/magickal artistry delivering the goods. I don’t intend to repeat this mammoth task in my lifetime but to finalize my last two decades work in a permanent case both psychologically and symbolically. So while it borrows in homage it is foremost a comprehensive guide to the magick, mythos and methods of the Temple of THEM and will reflect that.
One of the more famous images of the Necronomicon shows eyeballs scrawled in blood with three triangles around them. To illustrate a particular esoteric aspect of our map of consciousness (the Nequeo) required the illustration of an eye. Using GIMP to overlay the transparent eyeball and skull over the Nequeo was a wonderful shortcut as it would have proved extremely difficult and time-consuming to draw. Some pages line up beautifully with the artwork of the Necronomicon weirdly prophesying a serious in-depth aspect of our magickal system.
E-art allows me to embed imagery into textures such as leather or papyrus, fading symbols or ink into the fabric for added realism more effectively and more quickly than hand drawing alone. Early pages of the Themonomicon were more sparse, but as I come to grips with various new tools and techniques and settle into this task, I will return to look at them and see if they need some love once the initial 600 (maybe more) pages of the project are down in some illustrated format at least as a first step.
Feb 17th: Experimentation with adorning the potentially lulu released hardcovers with handmade Necronomicon-esque ones. Shown: Initial stage of paper mache template.
Feb 16th: Experiment with coloured papers, tears, burns, ink stains and blots continues. These preliminary pages may yet undergo change during or after summarizing the project. Symbolic scripts or ciphers have begun to be woven into the fabric of the design as has the (unpainted) artwork of Tendril.
Feb 13: With tentacles They come forth…
Feb 10: More examples. Some existing images have being tweaked. Dried blood has a noticeably sepia-coloured tinge and so the original red ink has been replaced with a darker brown ochre for realism. The level of detail in this project is daunting and the cost of printing just a single copy due to all the graphics and textures still unknown. Reading through each document with painstaking care has required the texts to undergo moderate to drastic changes to polish the bones with opportunity to add extra material and discard the fat . With hundreds of pages to illustrate, decorate, illuminate this will prove an exceptionally ambitious project.
Stylized like the Necronomicon with an avid mixture of horror, demons, arcane symbolism, necromancy, talismans, ancient texts and scrolls, madness and insanity scrawled by candlelight and splattered with drops of ink and blood – Our 550-600 page Themonomicon which orders, expands and bridges THEM’s texts into one another is beginning to take shape…