The Lobby was the second set after the Colorado Lounge to be built. I started improving all the textures that I quickly put together, such as chair and wall patterns. A few tartan motives have yet to be made.
A few drawings were rendered with Kerkythea, the rest with Vray.
There were so many renders of the Lobby that I decided to split this page into three more. The Green Service Hall, the Gray Service Hall and Ullman’s Office. So here only renders of the lobby and the Reception.
The Lobby entrance
After a few hours of rendering, I saw that the tables were floating.
This is the new one.
The painting on the right has still not been found. We call it ‘shadow figure’. This painting of a horse is the closest.
The Blood elevator
When Wendy runs through the red hallway, she gets to the hallway where the Blood elevator is. The set was built to scale elsewhere on the site of Elstree studios. In the Shining, the corridor appears to be behind Ullman’s office.
The green rug in the Shining
I think there are a total of five tapestries of which the green one is very dominant in the picture.
There is of course the red one, which pops up in different places.
Group of Seven
With the help of EYESCREAM, almost all paintings in the Lobby are now of high quality.
Most paintings are from the “group of seven”. A Canadian group of painters.
Lawren Stewart Harris, James Edward Hervey MacDonald, Arthur Lismer, Frederick Varley, Frank Johnston, Franklin Carmichael and Alexander Young Jackson. They are the seven founders.
Later more painters joined.
Alfred Joseph Casson, Lionel LeMoine FitzGerald and Barker Fairley are some of them.
All paintings are now ready in the Lobby. On the right is ‘The Solemn Land-1921’ of JEH MacDonald. On the left ‘Paysage D’hiver Laval’ of Cornelius Krieghoff. Both Canadian painters belong to the group of seven.
The Lobby Floor
I will now try to copy the floor as precisely as possible.
The American Indians patterns on the floor are inspired by floor drawings in The Ahwahnee hotel lobby.
There are 12 different designs, one of which is almost impossible to determine. It’s the pattern next to the stairs right next to the window. It is probably a round design.
The floor on the set consisted of plywood plates, which were painted and then varnished. It can be seen from the reflection that not all plates connected. I still want to achieve that effect.
I now focus on the reception and its many loose items, such as the stamp machine, telephone console, cupboard with telephone books and notice board.
I never found the poster on the door of Julius Erving on the internet. Perhaps it was made by Stanley Kubrick’s art department. Or is there a poster that served as a basis adapted to the purpose that Stanley had in mind.
The reception is still under development. There is still a lot to be done. The clock needs a good dial and number of leaflets and newspapers belong on the counter.
The AVIS folder stand is made of acrylic. And a lot of stuff and furniture has yet to be made in the cashier and telephone room.
A reception render from the inside. The interior of the telephone room must now be filled,
The telephone switchboard is now ready. Only the headset is missing.
The phone book rack has yet to be completed. There is one telephone book outside America, namely Buenos Aires in Argentina. It will be on the middle shelf.
The first shot of Jack’s interview. The wooden sign next to the entrance is difficult to read. There are still words that I could not decipher.
There is still work to be done. The curtains in the hallway need a pattern.
The same cigarette machine can be seen in the Gamesroom. It’s directly to the left of the double door under the Monarch poster.