Evolution of a design

Poster promoting donations for restoration works for the church. The versions of the design.

 

st marie poster v2.2.jpg

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Making the future: a dystopian future scene

The base of this image composite was a photo of a quarry which gave the right rocky barren look. Most of the layers were desaturated/made black and white to blend better and the colour filters providing most of the colour. Also since this is set at night the colours would be diluted quite a bit anyway. The tower, a modified radio tower, was the first added element adapted to be more like a watchtower. The general sense is it’s more militaristic due to the fall of civilised society. A battered old lorry is winding it’s way down the ‘road’. I added a road sign with the car headlights catching a bit of it.

I used masks to peel back the darken and colour filters around light sources as the light would make those parts more like day colours and to give the impression of the lights affecting their surroundings.

The bottom left of the image was taken (by me) at a construction site with deep excavations for the foundations. I also mixed in half and half a rocky mountainside photo because the paths on the quarry walls were too pronounced for natural land forms. Patched out a person in the picture.

A tricky part is getting the ruined buildings to appear to fit rather than just being stuck on. A method I use when the terrain is like this is to use masks to give the impression of the land overlapping the building from this view. In the further foreground in other words.

The sky consists of a mix of rendered clouds, subtle gradients and painted on shadow for a murky night. A cloud of pollution in the immediate foreground, bottom right, and a pile of dumped metal industrial junk complete the scene.

Project: Carer’s Trust Fête Poster

I’ve been making a new fête poster for Carer’s Trust.

ct spring 12-3 2.jpg

Final piece, nearly

Production flow: Illustrator (artwork)-> Photoshop (composite)

OK I admit I sorta cheated by tracing photographs of each item in order to create the result but it’s still a long-winded process. The police car was one of the hardest due to all the details with patterns etc. The trumpet was also complex due to all the overlapping tubes (perhaps I should have stuck with a guitar?). I chose to use Illustrator as I’m guaranteed to have the cleanest non-pixellated image due to working with vectors rather than raster images in Photoshop. I haven’t been using Illustrator quite as long as Photoshop so although it is similar, the workflow is a bit different.

 

Development snapshots of the car image, working layer by layer based on colour

 

few assets

Zoomed out artboard showing the various images (screenshot from Illustrator)

For the artwork I used a mix of brush (icecream) and pen tools for precise images alongside standard geometric shapes where applicable and depth gradients on the bouncy castle to make it ‘pop’.

For the text content I originally tried the Coffee Tin font to mimic a classic circus poster but reverted to Verveine Regular after finding it made the text too hard to read.

A Grey World

Set in a very colourless urban world, A Grey World is about a guy stuck in the monotonous loop of work, watch TV, eat sleep etc. Doing the same tasks in the same way round and round, represented by a literal push-button job. It’s a world of (again literal) clones looking identical, acting identical. However, an accident causes the character to discover a new realm, a world of colour.

Worker at a desk

Worker at a desk

The whole first scene is done is shades of grey, which I am rapidly running out of. Tricky trying to make object sufficiently contrasting to not just blend together. Oh and I can’t draw people very well.