Doctor Sleep

This piece was originally a loose concept I had for Gallery1988’s ‘Location Scout’ show, but just didn’t have the time to fully flesh it out (which you can read about here). For the aforementioned image I depicted the hotel from the original 1980 film ‘The Shining’, with the intention of creating something that also included the sequel ‘Doctor Sleep’, from 2019. I also realized the more I fleshed out the layout, the less it was about the location, and more about me fulfilling a personal need to include everything I wanted from both films. I discarded the idea, but kept the concept on hand for use later. Thankfully, as I made my way through my invitationals for the year, I found a contender with Gallery1988’s ‘Close Your Eyes’.

 

First initial concept for a Doctor Sleep/Shining combo piece.

 

I started the process much like I normally do once I select a subject for my piece. This time however I had a clearer idea of what I already wanted to do with a strong layout already established in Procreate on my iPad Pro. The only thing I really needed to do was locate all the reference material I would need in order to accomplish the task. I began by watching the Mike Flanagan film, which is a direct sequel, to the original Stanley Kubrick film, and stars Ewan McGregor (Danny Torrance), Rebecca Ferguson (Rose the Hat), Kyliegh Curran (Abra Stone), Cliff Curtis (Billy), Zahn McClarnon (Crow Daddy), and Emily Alyn Lind (Snakebite Andi). Also special acknowledgements to both Alexandra Essoe, and Henry Thomas for filling in during those flashbacks. It couldn’t have been easy to embody someone else’s performance. The story itself catches viewers up to the events that leave us with an adult Danny Torrance (McGregor), who reluctantly assists a budding young psychic Abra Stone (Curran), after she draws the attention of the True Knot, led by charismatic Rose the Hat (Ferguson).

 

Final layout design.

 

The film is an audio/visual feast. The Newton Brothers did a marvelous job scoring the film, adding to the tension. I tried my best to capture this in the illustration by using a few tropes from the movie. ‘Steam’ as it is called, plays a heavy role in the story, so I quickly decided to use this as my main device for the narrative image. I knew I also wanted to depict the three major players (Danny, Abra, & Rose), while not overcrowding the layout with faces. The best way to mitigate this I decided was to depict both Danny and Abra, while using Rose’s iconic ‘Hat’, to signify her presence. This also helped ground the illustration.  

For my background I went with the blackboard wall from Danny’s residence, that played a key role between our protagonists. I also wanted to incorporate an element from the film (and subsequent adverts), in which we are presented with the infamous throwback ‘RedRuM’. In this case the literal plaster cracked from the wall. I wanted the word to be legible, but my plan was also to render it slightly obscured by the ‘steam’ I was using as a narrative device.

 

I then moved onto to developing the visages of both Abra, and Danny. It can be a challenge when attempting to capture an actor’s likeness or image from a film. I was very thankful that my reference material was decent enough that I was able to successfully replicate them, and without much struggle. Sometimes it’s a fight. This time I was able to quickly develop the faces, and then go back in later and clean them up.  

 

A collection of sketches ready for the color process.

 

I already knew from my initial design, The Overlook was to be placed central, between the two visages of our heroes. The placement was essential as it is pivotal to both stories, as well as a connecting element that bridges the films. I (reluctantly) utilized my previous illustration from the ‘Location Scout’ show of the hotel, and simply did some editing to make it look abandoned by adding boards onto the windows. I rationalized that reusing this image was the best route to finishing this piece on time, and because it was going to be so small in contrast to the original image, I pulled it from, it would be more implied.

The next step was to determine what to do with some of the negative space I had left. Luckily during my rewatch I gathered a couple of references that could work to fill in the gaps in the piece. Above the hotel, I added Abra’s window, which appears multiple times during the film, and plays a role in the narrative. I also added the skull-moon because it just felt appropriate, no real reason there, there was just space, and I felt like it. It does add some ambiance though I suppose, but I also wanted it to be rather subtle anyhow.

Below ‘The Overlook’, I used the forest as a transitional image that leads us to ‘The True Knot’. Now, originally I wanted to make a knot either out of roadways, or use the shape of the caravan to imply one. Either way, I couldn’t get it to work the way I wanted, and I was also having trouble envisioning how this would transition to the hotel from above. Instead, I opted for a simple approach by choosing to depict one of their RV’s. I found an image from the film that worked well, allowing me to creating the illusion of it emerging from the forest behind. I added the park bench as a reference point for those who recognize it from a rather poignant scene in the film. 

 

Final color adjusted (for legibility) color image.

 

With some time remaining, I decided to add back in, an idea I had but couldn’t figure out how to incorporate. In the film there is a cat (and I LOVE cats), named Azzie (after Azrael the Angel of Death), who would provide bedside solace to numerous patients. While he doesn’t play a huge role in the film, he is based off of an actual cat named Oscar (who passed in 2013, I know, very sad). I determined the best way I could get Azzie into my piece was to create some paw prints as if a cat had walked through the room. I’m not entirely sure it reads, but I wanted to work it in rather subtly anyways.

 

I then sent the piece out to SGX to print.

 

I started this piece on January 5^th, 2024 technically as it was the origin for my ‘Location Scout’ contribution, however I wouldn’t return to it until late August (around the 25^th), 2024. I would complete the piece on September 20^th, 2024 (although adjustments took me to the deadline September 27th, 2024), spending approximately one hundred and six (106) hours on this project. I’ve estimated that about twenty (20) hours were spent sketching all the image, with an additional five (5) hours modifying the original ‘Overlook’, and the remaining time spent digitally painting in Procreate. There was also some time spent editing in Adobe Photoshop adjusting the layout, or resizing images as necessary.

 

Final 11" X 14" image on White Pearl Linen.

 

The 11” x 14” image (printed on White Pearl Linen, thank you SGX), was made for Gallery1988’s ‘Close Your Eyes’, a group show celebrating spooky season with artworks based on your favorite flicks,

which opened October 11^th, 2024. 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

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LinkedIN: Michael Stiles

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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

Threadless: mistiles

LinkedIN: Michael Stiles

IG:  stiles1978

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Pinterest: Michael Stiles

Tumblr:  stiles1978

Twitter: stiles_of_art

 

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 Wizard 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

TikTok: stiles1978

Pinterest: Michael Stiles

Tumblr:  stiles1978

Twitter: stiles_of_art