Vertigo (1958)

I usually get most of my invitationals to participate in shows at one time, but occasionally a gallery will reach out to me with a request, and this was one of those occasions. Much to my surprise Gallery1988 reached out to me regarding my ‘Psycho’ print I did for their ‘Golden Age of Hollywood’ show. Apparently, the print sold so well the gallery was commissioning me to design another image based off of the infamous director Alfred Hitchcock’s line of work.

I was shocked, flattered, etc., and immediately accepted the offer. I did however ask what films of his they had in mind, as I was only familiar with a handful of the more popular ones. Even then, I’ve only seen two, maybe three of his films in their entirety, and the others I simply recognize by name. The Gallery responded and sent me a list, of which I picked the one I was intrigued by, and knew the least about: ‘Vertigo’.

 

Final layout design featuring Kim Novak as 'Madeleine Elster' in Alfred Hitchcock's 'Vertigo' (1958).

 

The film, for those who want a brief spoiler free synopsis, is essentially this: A retired cop suffering from vertigo after a traumatizing incident, is hired by an old friend to follow his heiress wife who is exhibiting strange behavior.

 

I started my process much in the way I always do, by watching the film, although this time, I had to end up buying a collection of Hitchcock’s films, because my rental expired before I had time to finish watching it, and it seemed like a good investment at this point.

SIDEBAR: When I started watching this on Amazon Prime it was in its original format of black and white. When I received my copy, it was colorized. I was NOT happy. I get why this was done, but its appeal is lost on me, and the fact the collection doesn’t have an option to switch OFF the color to its original glory is mystifying.

When I finally finished watching the film, I began to sketch my layout, and think about how I was going to showcase this piece. I did some research again on art movements, like when I created my ‘Psycho’ piece based on the Composition works of Piet Mondrian. This time however I was at a loss to find a similar style that would work with this piece, and not copy my original idea (which I could have done as well). 

 

Reference photo found on internet when search for Optical Art, which offered some inspiration.

I found some interesting art movements, but there were no ‘key’ pieces of work I could find that would make a good template like the ‘Psycho’ piece. Instead, I took inspiration from both the films premise of confusion/disorientation, and that of the movement of OP (Optical Illusion) Art. The more I worked on the piece however the more I discarded the OP Art influence in favor of something with a bit more organic imagery. I like my pieces to be narrative or at least tell the main parts of the story. Much of OP Art is very mechanical making it difficult to incorporate. I did however find one reference photo of a model wearing clothing that blended into the somewhat psychedelic background. I did use this as inspiration when I designed the main portrait of ‘Madeleine Elster’ as played by the multifaceted Kim Novak. 

 

Digital pencil render of the Mission San Juan Bautista as depicted in the film.

 

Naturally I went back to the film, gathered my reference imagery, and set about sketching each image in the same way I did with the ‘Psycho’ piece. I knew I wanted to include: ‘Madeleine’ (as my main focus), Carlotta’s Necklace, The Sequoias, The Golden Gate Bridge, the McKittrick Hotel, The Mission San Juan Bautista, the Palace of the Legion of Honor, and some reference to all the driving that took place in this film (there’s A LOT).

 

Digital pencil render of the 'McKittrick Hotel' from the film.

I then began sketching all the images I needed in Procreate on my iPad Pro, this time at a much larger scale, and then took each one individually into Adobe Photoshop, and rearranged them until I was satisfied with the layout. I then transferred the file back to my iPad and finished painting the image in Procreate. I decided early on that I wanted this piece to remain in a gray scale. I’m not sure why, I just felt like it was the best way to properly represent the image as classically as possible. I wanted it to look like a portrait but also have much more hidden within to look and see. I also figured a bit of (limited) color to the piece who be a nice accent, so added a bit of red to the gems on ‘Carlotta’s’ necklace ‘Madeleine’ is wearing. The necklace I felt was a key element in the film that transcends all parts of the story, and nicely ties the film together despite the confusion.

 

San Francisco's own Golden Gate Bridge as it spans over Fort Point.

Upon completing the painting process I took the image back in Photoshop to make some minor edits or adjustments to anything that wasn’t reading well. I then got the image ready for proofing, which thankfully only took one pass, as the image was legible.

 

The Palace of the Legion of Honor, Seqouias, and Carlotta Valdez's necklace.

I started the piece on August 15^th, 2023 and finished it on October 5^th, 2023. The initial sketching process took me approximately sixty (60) hours, and twenty-two (22) minutes with the painting process taking me an additional seventy-five (75) hours, and five (5) minutes, for a grand total of one hundred and thirty-six hours (136), and fifty-seven (57) minutes (this includes the one and half hours [1:30] spent in Photoshop). 

 

Final 11" x 17" image.

The 11” x 17” image (printed on 100lb Cover, thank you SGX), was made by request for Gallery1988, and was given a special release on October X, 2023. At this time the prints are exclusively available via the gallery, so please check their website for any remaining inventory.

 

For more information, or to see a catalog of my other work, please visit my online store here.

You can also find me on various social media platforms below doing a multitude of other artistic things that include hand lettering, and the occasional sculpting, crafting or painting.

 

Website: www.michaelstiles.com

Etsy: Stiles of Art

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LinkedIN: Michael Stiles

IG:  stiles1978

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Conan the Destroyer (1984)

As an artist I feel like there are some callings you just can’t ignore, and this would be one of those times.

Two years ago I paid homage to one of my favorite childhood movies, ‘Conan the Barbarian’ (1982).

You can read about that albatross here (it came with a few challenges, and I believe it still reigns supreme for the most time spent on an illustration, in my portfolio). 

 

'Conan the Destroyer' layout design sketch

 It was made originally for Gallery1988’s Crazy 4 Cult XV, which spotlights cult films from the days of yore. It’s really one of the few shows I participate in where I really feel like I have free reign to choose something within my wheelhouse.

Oddly enough, I planned to do the sequel for the gallery’s Crazy 4 Cult XVI, but instead went with the 1985 film ‘Legend’.

So when the opportunity presented itself again this year with Crazy 4 Cult XVII, I coincidentally went back to ‘Conan’, which also had a two year gap between films with the sequel ‘Conan the Destroyer’ being released in 1984.

The thing is, between the two films, I really enjoyed the sequel (‘Destroyer’), more even though the original is really well done (for this genre), and between the two, is definitely more polished­­­­.

 

Thumbnail and final sketch of Thoth-Amon's Crystal Palace on the lake

Even though the directors switched from John Milius to Richard Fleischer, I believe Milius, who also wrote the original screenplay based on Robert E. Howard’s character of ‘Conan’ along with Oliver Stone, consulted with Fleischer during the sequel’s making. The two would also later team-up to film ‘Red Sonja’, which would also co-star Schwarzenegger as ‘Kalidor’, and Sandahl Bergman as the lead villain ‘Queen Gedren’. Sandahl returning to the universe this time as the antagonist, formerly portraying the love interest of ‘Conan’, ‘Valeria’ (from ‘Conan the Barbarian’).

That being said, this film for some reason really reminds me of my childhood. I used to play Dungeons & Dragons when I was an adolescent, and I also collected comic books. I knew who ‘Conan’ was and could recognize him immediately on a cover of any periodical. In fact I still have an oversized ‘Conan’ comic complete with stunning tonal illustrations which managed to inspire me artistically. Since D&D and ‘Conan’ have some similarities, they were often merchandised together explaining my exposure, and that should bring us back to the present.

 

Final sketch of 'Zula' as played by the multi-faceted Grace Jones

 

Having selected my film for the show, I then set about watching the movie to consider how I would layout my piece. I have seen the sequel more times than I would ever care to count, and I’m not in least bit ashamed.

I love it, and every little thing about it.

It’s a complete popcorn flick without the strength of a solid story present in first epic.

Instead we are given what we really want (at least at the time).

Spectacle.

The cast here even reflects the curse of a bigger budget sequel with names like the multitalented Grace Jones as ‘Zula’, or basketball star Wilt Chamberlain as the Captain of the Guard, ‘Bombaata’. We also get newcomer Olivia d’Abo as ‘Princess Jehnna’, Tracey Walter as ‘Malak’ (‘Conan’s’ partner in crime), and Sarah Douglas as ‘Queen Taramis of Shadizaar’. Only Mako Iwamatsu and Arnold Schwarzenegger reprising their roles from the prior film as Akiro, ‘the Wizard (of the Mounds)’, and the Cimmerian Conan. Pat Roach also makes another appearance, however in this tale, his role is heavily costumed concealing his appearance. There is also a costumed cameo by none other than André René Roussimoff, or André the Giant as he was more commonly known.

I for one, am here for it.

Not sure if I made that clear.

In my very skewed opinion…this movie is #flawless. 

 

Final sketch of 'Malak' as portrayed by chameleon Tracey Walter

Upon completing my viewing of this masterpiece, I set about creating some sketches for my layout in Procreate to depict what I had envisioned. I eventually came up with a solid concept after a little over four (4) hours of sketching on my iPad (Pro). With my layout solidified, I set to gathering reference shots for the images I was going to be illustrating for my piece. My plan was to do a narrative illustration that tells the story as closely as possible. Looking at some of my other more successful pieces I also determined that a well-defined boundary or framing device always helps my pieces look better. I settled on using the mirror segmentations that are so prevalent in the Thoth-Amon scenes since they might not too jarring depending on how I utilized them.

 

I also decided early on that I wanted some of the segments of the mirror to pass through, overlap, or be covered by, the other various images I was going to be adding to the overall piece. I thought this would give the illustration more depth, and keep the eye moving.

Once I completed the border designs in Adobe Illustrator (spending really about twenty minutes as it was super simple line work over an illustration I already did), I returned to Procreate and dropped it in as a layer making some adjustment with the placement until I was satisfied.

 

I began the piece by first tackling the main man himself, ‘Conan’. I decided for this piece I was going to try something a bit different, but still within comfortable parameters. I have been utilizing the Sketching brushes in Procreate on my iPad (Pro), and practicing with them more as I miss the varying line work you can get with pencil. While Paint give vibrancy to a piece, pencil or linework is what provides me with form, or basically a roadmap as to how I am going to proceed. Similar to my ‘Blade’ piece, I wanted this one to have a more painterly feel as the former was primarily monochromatic with some tonal shifts here and there. I wanted to get away from the doing singular-colored pieces, as I feel I need to start approaching works with multiple colors. My struggle usually is, I plan more so for a striking layout, and when color comes into play, I have a difficult time making decisions about what I was going to need to alter or adjust. For this piece, I was particularly pressed on time, so most of the color choices were made with haste (which overall seems to have worked in the finished product). In terms of the drawing process, like I stated earlier, I used the Sketching 6B brush in Procreate, and spent about eighty-two (82) hours, and twenty five (25) minutes developing all the sketches that were to be painted. The longest sketches were both ‘Taramis’, and the ‘Temple of the Horn’ (the weird looking flaming thing in the bottom half of the illustration), both clocking in around thirteen (13) hours give or take.

Why?

Reference.

 

Final sketch of 'Dagoth, the Dreaming God' statue.

The reference I had wasn’t the best, and I had to develop a composite image for ‘Taramis’, and made some executive decisions with the ‘Temple’ as some details just weren’t discernable.

‘Dagoth’, and ‘Akiro’ were also tough customers, as was ‘Princess Jehnna’ herself (who’s hardly visible in this piece to begin with). I had the biggest crush on Olivia d’Abo after seeing this movie, so I wanted to do her justice in this piece, and while you really can’t see it too well, I could have done a better job capturing her likeness.

For ‘Dagoth’, for the majority of the  film is an inanimate statue, so I figured, using him as a silhouette framing the bottom of the piece would work nicely. There are however not many shots in the film of the statue in its entirety, which resulted in more composite work, and in the end, a lot of guessing. 

Once I completed the sketches, I moved onto rearranging them as PNG files in Adobe Photoshop on my Desktop Mac. Procreate LOVES to add dithering to anything erased or that has a soft edge, and the only work around I have found is to export them as PNG’s and then stitch the whole thing back together.

Also since in Procreate, whenever you adjust the size of linework or a drawing, it loses sharpness.

Not cool.

So, Photoshop it is to avoid this.

I spent about an hour moving images and manipulating them until I was finally satisfied with my layout.

I then saved it as PSD file, and took it back into Procreate to begin the painting process.

 

Final sketch of 'Akiro, the Wizard of the Mounds', as played by the late great Mako (Iwamatsu)

Oh and what a process that was.

LOL.

I started first with my background, and given the limited layers in Procreate at certain file sizes or thresholds, I determined it would be best to maximize its use. I decided that both the Crystal Palace setting of ‘Thoth-Amon’, and the landscape shots of the city of ‘Shadizar’ would best be relegated to this layer.

In fact, up until very late in the design, I opted to not provide the image of ‘Shadizar’ simply because there just wasn’t adequate room for it. However, as I progressed with arranging my layout in Photoshop, I determined that even at the size it is, it would still bring something to the piece. It also worked within the layout since I wanted both ‘Taramis’’ glass, and ‘Akiro’s’ fingers to be housed within the diamond symbols on the perimeters of the work.

With ‘Conan’ as a barrier, the color shift worked without being too jarring, and felt more natural.

Next I tackled the ‘Destroyer’ himself.

The trickiest part here was, this is where I was going to start setting the mood or tone of the piece depending on what colors I used, and even what shades. Initially I imported the image I used for reference and decided that due to time constraints, maybe we just let nature decide?

 

Final colored snippet of 'Akiro, the Wizrard of the Mounds', portrayed by the amazing Mako (Iwamatsu)

Yeah, no.

While I did use some of the colors from that palette, I ended up actually manipulating them later in the Hue options under Adjustments as he was reading way too dark for how some of the other parts of the piece were developing.

Eventually what I did was instead of importing the image to get the actual colors, I simply did my best using my own eyes and I think its successful for the most part.

The painting process took me roughly sixty-eight (68) hours, and four (4) minutes, with ‘Akiro’ taking the prize for most difficult, followed by…yes you guessed it, ‘Taramis’! Also ‘Conan’ was a bit labored, most likely because he was the first image I did as his palette isn’t really that complex.

Final (watermarked) 12" x 18", 'Conan the Destroyer' (1984) illustration

I started the illustration on June 13^th, 2023, and completed it on July 25^th, 2023 taking one hundred and fifty-two (152) hours, and nine (9) minutes. Almost a hundred (100) hours less than my ‘Conan the Barbarian’ piece I did two years ago. While this one is a bit different in style, I still see this as an improvement in both speed and skill so…

One point for Gryffindor….?

Although, maybe not, as the piece was due on July 21^st, 2023.

I did reach out to the gallery though a week before it was due because I knew then, that I was not going to make the deadline.

Thankfully my proof came back clean, so I didn’t need to make any adjustments on the image. With that complete, I provided the gallery with my information for the show, and when the prints were ready I shipped them out. 

 

The 12” x 18” image (printed on white pearl linen, thank you SGX), was made for Gallery1988’s‘Crazy 4 Cult XVII’, a group show showcasing artworks paying homage to a plethora of cult movies, which opened August 4^th, 2023. At this time the prints are exclusively available via the gallery, so please check their website for all remaining works related to the show including mine.

 

Mock-up of 12" x 18", 'Conan the Destroyer' (1984)

For more information, or to see a catalog of my other work, please visit my online store here.

You can also find me on various social media platforms below doing a multitude of other artistic things that include hand lettering, and the occasional sculpting, crafting or painting.

 

Website: www.michaelstiles.com

Etsy: Stiles of Art

Threadless: mistiles

LinkedIN: Michael Stiles

IG:  stiles1978

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Twitter: stiles_of_art

 

 

@$$, Gas or Grass

I usually get most of my invitationals to participate in shows at one time, but occasionally a gallery will reach out to me with a request, and I unfortunately have a problem turning down an opportunity to showcase my work. This was the case when Hero Complex Gallery reached out to me regarding their flagship show ‘Righteous Rides Again!’. The show was the gallery’s first exhibition, and this ‘sequel’, landed on the exact same day (week and date), as the original, commemorating their 10^th Anniversary. Now, this specific occasion really challenged me as the deadline between the notice and show was less than I usually need to prepare (work habits). I was also in the process of finishing another work for a different show. Feast or famine, no?

Initial digital sketch for the retro-style poster.

 

Upon finishing said previous illustration, I set work to quickly coming up with ideas for the exhibit in question. The show was based around the theme of ‘rides’, or vehicles, transportation of some kind, to be illustrated by various artists. I looked over the email from the gallery, and it was such a broad concept, I had trouble narrowing down what it was I wanted to do. Eventually, I settled on one of the examples listed from the correspondence with the gallery, and set to work. I chose ‘That 70’s Show’or specifically, ‘Eric Forman’s’ 1969 Oldsmobile ‘Aztec Gold’ Vista Cruiser. I’m not sure what exactly drew me to the selection, but I immediately had a ‘concept’ in mind when I saw it on the list. I was never a massive fan of the show, but it was constantly on in syndication, had a huge fan base, and I had seen enough episodes where I felt I could capture it’s spirit.

 

As with most projects, I started out as I usually do, gathering image reference for my design, while trying to settle on a color scheme as I had my layout already in mind. In retrospect, I think I took some inspiration for the layout, from a piece I had done previously celebrating the franchise ‘Supernatural’, in which I depicted the Winchester’s iconic 1967 Chevrolet Impala, and to be honest, if I had more time, I think I may have chosen to retool that image instead, as I was/am a fan of that franchise. I however don’t like to revisit the same subject because the world holds way too much content as it is, and I’d rather try my hand at something new or different for several reasons. Eventually I found some psychedelic vintage posters on the web which provided the inspiration I needed. It took me longer to find decent reference for the Vista Cruiser as so many shots in the show either obstruct portions of the car, or its physical appearance changes depending on the scene (driving versus being parked), which tracks for a show of this design. I always try to remain as true to the subject matter as possible that I am depicting, and that also means paying attention to the details even when taking artistic license. I felt that if I got close enough to the real deal the admirers of the show will hopefully appreciate it. This reference challenge however also cost me a bit of time, which I was quickly running out of, and made including any other details impossible.

 

With my design locked in, I began to sketch the Vista Cruiser from various reference shots in Procreate, and eventually piecemealed together what you see in the final version. Thankfully, cars are primarily symmetrical so I could simply sketch, copy, flip, and be done with it. I knew I was short on time, so ‘graphic poster’ was the style I went with. Once I was done with the sketch, and made sure there weren’t any anomalies, I dropped it into Adobe Illustrator, and began to vector the main components of the sketch, as I knew in order to save time I could ‘fill’ these areas with color and take them back into Procreate to digitally paint over and add some elements to make it look less flat. I also vectored the swirls, and the sun in the background (both of which went through several revisions themselves due to spatial conflicts within the image), filled them with color, and took them back into Procreate as well. The swirls were left as a white outline, as I determined that having the edges ‘bleed’ back into the image background gave it a closer look to the original source material. The fill was also done with a gradient in Adobe Photoshop, and then adjusted manually in Procreate to fit within the swirls confines. I had to make several adjustments to both the sun and swirls, eventually settling on the final layout. The last detail I had to include was the license plate, which was made entirely in Adobe Illustrator, with some shading done in Procreate.

 

With the image done, I sent it to print, and thankfully it needed no major corrections (I’m getting good at this finally), so I requested a set for the gallery. I should note that I did have one minor fix, but it was easily taken care of and wasn’t a color correcting issue thankfully. The gradients inside the cab of the Vista Cruiser didn’t overlap correctly creating a distinguishable cut-off on my proof. I fixed the issue, resubmitted the image, however, I unfortunately did not make the gallery’s deadline but they were kind enough give me an extension. For me, the problem was two-fold, I was going out of town the same day it was due, and I had cut the whole execution process a wee bit too close. Ironically (?), the images were ready before the deadline, but I was already out of the area by the time it was available for pick up.

WOMP WOMP.

When I returned, I headed straight to the printers and got the work to the gallery before the end of the week, which was the premier of the show.

Oi!

Was I stressed?

Oh god yes.

Did I enjoy my time away?

Yes, but probably not as much as I could have IF I had my $4!+ together.

This friends, is a perfect example of me overwhelming myself to the point of misery.

Don’t be like me.

I had so much anxiety, and the worst part?

I was also working on another project whose due date was quickly approaching, which also overlapped, with another show I had agreed to also participate in which I hadn’t even started.

Yikes!

Did I succeed?

The next two blog entries hold the answers!!!

 

Final 18" x 12" image

 

I started the project on April 10^th, 2023, and finished it on April 20^th, 2023 (coincidently). I’m not entirely sure how long I spent on the project hours-wise. Adobe’s software makes it difficult to determine time frames, unlike Procreate which has a build in monitoring device (so helpful). From what I can determine, I spent five and a half  (5 ½ ) hours in Procreate sketching the layout and vehicle, followed by vectoring out the car in Adobe Illustrator on my iPad, spending almost an entire day (likely close to eight to ten hours [8-10]) going back and forth between my iPad and desktop refining it. The color process took almost eleven (11) hours to complete, with the Vista Cruiser being the bulk of that time. I then spent a few more hours in Adobe Illustrator developing the background and font for the image. I used Hobo Std Medium as my base font, and then altered it to fit within the parameters of the solar body. It's not entirely what I wanted, but I think it works since the type reflects the shows credits. I then spent some time in Adobe Photoshop adjusting the image scale, and placement before sending it off to print. Originally, the plan was to add some distressing in order to give it a vintage look, as well as add some peace signs, or flowers, but time did not allow. Perhaps I can revisit the image one day and include some of these details.

 

The 18” x 12” image (printed on 100lb Cover, thank you SGX), was made for Hero Complex Gallery’s ‘Righteous Rides Again!’ a group show dedicated to the beloved ‘vehicles’ of film and television which opened May 6^th, 2023. At this time the prints are exclusively available via the gallery, so please check their website for all remaining works related to the show including mine.

 

For more information, or to see a catalog of my other work, please visit my online store here.

You can also find me on various social media platforms below doing a multitude of other artistic things that include hand lettering, and the occasional sculpting, crafting or painting.

 

Website: www.michaelstiles.com

Etsy: Stiles of Art

Threadless: mistiles

LinkedIN: Michael Stiles

IG:  stiles1978

TikTok: stiles1978

Pinterest: Michael Stiles

Tumblr:  stiles1978

Twitter: stiles_of_art