Lately I’ve been illustrating classic novels for special handmade editions. One publishing house I’ve worked with is Arete Editions in the UK. I’ve worked with the publisher, Marcelo Anciano, for twenty years and we love to discuss books and publishing and writing when working together. It’s from one of those conversations that he offered me the chance to illustrate Stephen King’s mild ghost story, The Life of Chuck.

Marcelo also works on books and interior designs with master bookbinder, Richard Tong, publisher of Lyra’s Books. Rich and Marcelo had been working on a number of very private commissions for the director Mike Flanagan (an edition of Midnight Mass), when Mike contacted them to make a very special book.

But this wasn’t an average assignment at all. King’s story is a unique three-act tale told in reverse, beginning with Act III and ending with Act 1. Flanagan wrote and directed a movie of the novella last year. His adaptation is structured the same way, and brings the story further to life. With an excellent cast and a crisp, clarifying script, this masterful film is a special experience that will have you contemplating life in general.

Every so often, certain paintings become small treasures that we hold dear, something close to our hearts but share with the world. This film is likely that special for Mike, too, because when the filming wrapped he wanted to give something back to those involved. He contacted Marcelo and Rich, and wanted a very special book made, one that included not only the script and essays by all the major cast, but also an introduction by Stephen King, plus the complete novella.

Besides on-set photos, Marcelo visualized a couple paintings to include with the volume and asked me if I’d like to be involved. Working with Marcelo is always a great experience, so getting to ‘yes’ was easy and instant—I was in.

After reading the short story and then the screenplay, I could see how each version brought out different aspects of the gist of the tale. I could quickly feel in the screenplay the respect Mike had for Stephen’s work. It read so visually I could  see the film come together on the page. But how could I visualize this intimate story without taking away from or copying the movie?

I chose to draw it from a more personal perspective, giving the imagery a subtle exaggerated touch. Creating the thumbnail sketches from my head, I combined impressions to give an overall feeling to the characters based on certain scenes.

 

It felt right for the main image to capture Chuck dancing in the street in front of a backdrop of the Milky Way. (I’d offered to let them use it as a one-sheet poster for the release) The other dance sequence felt better to look down on the scene.

I couldn’t resist adding another sketch which zeroed in on the cupola where part of the story takes place. Marcelo only requested two ideas, but it was easy for us to agree a third was necessary. I just had to paint it. I was smitten by the story at that point.

There were only 38 copies of the book produced and sent to the actors and members of the crew, and I got one as well. When it arrived I opened it to look at the signature page which contained the signatures of Mike Flanagan, Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mark Hamil, Stephen King, and my own. I guess you can tell who the artist is.

The film is out in theaters now (July 2025) and I have to recommend it as an example of great filmmaking. It has the touch of a sensitive visual artist where the fine craft underlies and supports the story, letting the viewer float along with the retelling. This is a jewel, like a precious painting, that never ages.