From there, I started looking for iconography, and found this great stock photo on Flickr , by Nick Ares:. You can see the other ideas I played with, along with the images that inspired them, over at Dribbble.
50. Little Miss Sunshine
The layout is simple, and prominently features the car. This is going to be the easy part. The next step is to put a few guides in place.
Vertically at 1, 2, 8, 9, 10, 16, and 17 inches. Horizontally, at 1, 2, 11, 12, 13, 22, and 23 inches. She details how the tool works, and how you can leverage it for various applications in Photoshop. The Pen tool works just like in Illustrator, but there are a few more subtleties in what the outcome of your work with it will be in Photoshop. You can create paths , shapes , and more. I usually start with putting my main points in place first. After the windows are taken care of, time to move to underneath the car. The process is the same: place your points, refine your curves afterwards.
It just takes time and a bit of patience.
Once you have the proper area selected, simply head back to your Layer palette , and press the Add layer mask button at the bottom, with the car layer highlighted. This will create a layer mask that hides all of the things we want hidden, leaving only the car and some of the ground visible. Take a big brush or the paint bucket, and paint that top section black. Some of the results were quite cool, but none had the strong impact the Death proof poster has.
So I went ahead, and decided to mix the color palette that was the closest to that poster , and to create one of my own. Go ahead and create one above your car layer. Once the layer is created, double click on its thumbnail to pull its properties. The adjustment layer is applied to the whole canvas, also filling the background.
This will apply the adjustment layer to the car layer only, leaving the rest of the canvas untouched. Rename and label your layers properly, or else see 1 and 2 for more information!
We could simply fade the bottom edge of the car layer into a solid tan block. This would also leave us room for the credits remember this is a movie poster. We could also stick the bottom of the car layer to the bottom of our canvas, but we would then not have room at all for credits. This one below by Startextures on Flickr will be perfect.
Design an Awesome Grindhouse Style Movie Poster
Technically, any other ones from the set would work. I just like this one better at first glance. ANd it features lines that you could line well with the lines in the cement under the car. This is where the magic happens. The following menu will appear. Select Distort.
This functionality will give you the ability to pull on the layers corners, and to distort the textures as if it were seen in perspective. Match the angle of the ground below the car as well as you can, corner by corner. Next, we need to colorize that bottom piece of texture. Start by creating a new layer underneath the texture, and fill it with our tan color daceb4. Below is a view of the layer mask, and of the result. The two already feel better blended, but some of the cement scratches are still a bit too strong and too dark compared to the rest.
50 Beautiful Movie Posters — Smashing Magazine
Add a new layer at the bottom of your layer stack, and fill it with our blood red b10d0c. This will allow us to leverage the super sweet vector chalk brushes that Leonard Posavec created. It should mimic your Photoshop canvas RGB color mode, guides , so the transition between the two will be as seamless as possible. A little trip: I leaves the guides unlocked in Illustrator, but place them on their own locked layer. This is something to keep in mind while we design our type element. All set up?
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My favorite is the one at the top left. League Gothic is a great typeface. It could seem a bit too soft for this application though. Remember where the car comes up to. I actually saved a quick comp of the Photoshop document and placed in Illustrator to help with sizing the type. My goal is to hide the type behind the car.
Mind your layer order to achieve the masking. The type is well masked by the car, but slightly unreadable. Too much of the bottom of the letters is hidden for them to be properly interpreted. The solution? Simply to slide them up until they become decipherable. Another option you could explore would be to nudge the car, texture, and color layers down. Change the color, save your changes, and head back to Photoshop to find the changes transferred over. Now is also a good time to play with the Illustrator brushes, to add a bit of grunginess to our main text block.
Set 1 is more for linework, and 6 is to create ornamental borders. The next step is to simply apply the same color, our dark gray 0d , to everything. The car right now still looks pretty much like a photograph. Brush consideration. I want now to move to the darker area below. I have to sample the color again 5c Simply take your eraser tool E with a very small brush pixels or so , and carefully remove the excess. I sampled 8d , but will use bfb to paint. Got the process down?
And here are the wheels so far. Just remember to not overdo it. You want the original car to still be legible under the brush layers.