<h1 id="gustave-dore-rabelais:-gargantua-and-pantagruel-or-grotesque-comic-engravings-or-lora-(krea2-turbo)">Gustave Doré — Rabelais: Gargantua &amp; Pantagruel | Grotesque Comic Engravings | LoRA (Krea2 Turbo)</h1>LoRA trained on Gustave Doré's complete illustration cycle for François Rabelais' Gargantua and Pantagruel (first edition 1854, revised 1873): over 400 wood engravings of giants, feasts, battles, storms and bawdy Rabelaisian chaos. This is the other Doré — not the sublime tenebrist of the Divine Comedy, but the comic grotesque: dense crowds, caricatured faces, scale-gags of giants versus tiny humans, and 16th-century French costume rendered with the same virtuoso engraved line.Trained and tested on Krea2 Turbo.<hr /><h2 id="about-the-project">About the Project</h2>Paul Gustave Doré (1832–1883) illustrated Rabelais at the start of his mature career. The 1854 edition made his name as a book illustrator; the revised 1873 edition expanded the cycle to more than 400 plates. Where the Divine Comedy (1861–68) shows Doré as visionary and tenebrist, the Rabelais cycle shows him as satirist and crowd-choreographer: taverns, markets, battles, processions, and the endless visual joke of the giant body in a tiny world.Key episodes illustrated: Gargantua's birth from his mother's ear; the great mare entering Paris; the bells of Notre-Dame; the pilgrims eaten in the salad; Friar John and his cross-staff; the war with Picrochole; Panurge and Dindenault's sheep; the storm at sea; Pantagruel's tongue sheltering his companions; the army marching from the giant's mouth; Judge Bridoye deciding by dice; the Furred Cats; the battle of the Andouilles; the Abbey of Thélème; and the oracle of the Dive Bouteille with its final word: Trinch!<hr /><h2 id="the-manner-(vs.-the-divine-comedy-lora)">The Manner (vs. the Divine Comedy LoRA)</h2><ul><li>Comic grotesque: exaggerated faces, corpulent bellies, long noses, absurd gestures — caricature within serious engraving</li><li>Scale gags: colossal giants against minuscule towns, armies, and crowds; the vertigo is comic, not sublime</li><li>Dense crowds: taverns, markets, battles and processions packed with dozens of individually funny faces</li><li>16th-century French costume: doublets, hose, codpieces, monk's frocks, scholar's gowns, plumed hats, armor</li><li>Dynamic action: charging horses, swinging clubs, flying food, collapsing tables — compositions full of motion and noise</li><li>Engraved line-work: fine hatching and cross-hatching, black ink on cream paper — the same technique as the Comedy but with a lighter, busier tonal range</li><li>Horizontal plates: most Rabelais plates are landscape format, unlike the vertical Comedy plates</li><li>Architectural backdrops: medieval-Renaissance towns, castles, abbeys, ships — drawn with archaeological care as the stage for the joke</li></ul><hr /><h2 id="tested-generation-settings">Tested Generation Settings</h2>ParameterValueBase modelKrea2 TurboVAE<code>qwen_image_vae</code>Text encoder<code>qwen3vl_4b_fp8_scaled</code>Steps8SamplerEuler aSchedule typeBong TangentCFG scale1Resolution2048×1536 (horizontal — the native plate format); 1536×2048 for single-giant verticalsLoRA weight0.9–1.0 (epoch 10 is a lighter training than 20)Negative prompt not required at CFG 1.<h2 id="versions">Versions</h2><ul><li>Epoch 10 (current) — lighter training than the 20-epoch models; keep weight at 0.9–1.0 for full engraved texture.</li></ul><hr /><h2 id="rights-and-ethics">Rights &amp; Ethics</h2>Gustave Doré died in 1883; Rabelais died in 1553. Fully public domain worldwide. Educational and creative tool.

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