Art & Design in Photoshop [With CDROM] 0240811097, 9780240811093, 1865843830

Fancy designing your own classic and contemporary movie posters, books and magazine covers?Feel like turning your photog

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Table of contents :
Front cover......Page 1
Art & Design in photoshop......Page 2
Copyright page......Page 3
Contents......Page 4
Introduction......Page 7
Acknowledgments......Page 9
How to use this book......Page 10
Chapter 1 Typography......Page 11
Serif fonts......Page 13
Sans serif fonts......Page 15
Picking the wrong font......Page 17
Picking the right font......Page 19
Size and arrangement......Page 21
Designing with type......Page 23
Customizing film logos......Page 25
Monogram letters......Page 27
Font smoothing......Page 29
Don't try this at home......Page 31
Finding and using fonts......Page 33
Chapter 2 Principles of design......Page 35
Facing in and out......Page 37
The focus of attention......Page 39
The strong diagonal......Page 41
The rule of thirds......Page 43
Perspective: the horizon......Page 45
Reading perspective......Page 47
Foreground elements......Page 49
Chapter 3 Contemporary design......Page 51
Digital grids......Page 53
Stencil graffiti......Page 55
Line art: simplified......Page 57
Line art: crosshatching......Page 59
Cut paper montages......Page 61
Outline and fill......Page 63
iPod advertising art......Page 65
Pixel art......Page 67
Simpsons cartoon......Page 69
Caricature......Page 71
Steampunk......Page 73
Line action and texture......Page 75
Chapter 4 Poster design......Page 77
Victorian playbill......Page 79
Russian revolutionary......Page 81
Bauhaus......Page 83
Art Deco......Page 85
Boxing promotion......Page 87
Western movies......Page 89
Science fiction......Page 91
1950s B movies......Page 93
Horror movies......Page 95
Comedy movies......Page 97
French art house......Page 99
Film noir......Page 101
Romantic comedy......Page 103
Apocalyptic thriller......Page 105
Psychedelia......Page 107
Swinging sixties......Page 109
Motivational......Page 111
Museum exhibitions......Page 113
Chapter 5 Works on paper......Page 115
Ransom notes......Page 117
Medieval manuscripts......Page 119
Bank checks......Page 121
Paper in perspective......Page 123
Certificates......Page 125
Picture postcards......Page 127
Postage stamps......Page 129
Old newspapers......Page 131
Album covers......Page 133
Chapter 6 Books and magazines......Page 135
1950s horror comics......Page 137
Glamor magazines......Page 139
Victorian periodicals......Page 141
News periodicals......Page 143
Pulp fiction......Page 145
Thrillers......Page 147
Chick lit......Page 149
Historical non-fiction......Page 151
Children's reference......Page 153
Textbooks, old and new......Page 155
Mystic and inspirational......Page 157
Adolescent fiction......Page 159
Chapter 7 Great works of art......Page 161
Thomas Gainsborough......Page 163
J. M. W. Turner......Page 165
Georges Seurat......Page 167
Paul Cézanne......Page 169
Henri Matisse......Page 171
Piet Mondrian......Page 173
Pablo Picasso......Page 175
Henry Moore......Page 177
René Magritte......Page 179
Salvador Dalí......Page 181
Francis Bacon......Page 183
Roy Lichtenstein......Page 185
Andy Warhol......Page 187
Bridget Riley......Page 189
Jeff Koons......Page 191
Chapter 8 Packaging......Page 193
Pharmacy cartons......Page 195
Flat artwork into 3D......Page 197
Cereal boxes......Page 199
Wine labels......Page 201
Action figure box......Page 203
Container perspective......Page 205
Soup cans......Page 207
Chapter 9 Any other business......Page 209
Credit cards......Page 211
Carving in stone......Page 213
Stained glass windows......Page 215
Quick and dirty neon......Page 217
Writing under water......Page 219
Fabric badges......Page 221
Button badges......Page 223
Leather work......Page 225
Enamel pin badges......Page 227
Bling bling......Page 229
www.wrong......Page 231
Chapter 10 Photoshop reference......Page 233
Selection tools......Page 235
Painting tools 1......Page 237
Painting tools 2......Page 239
Working with layers......Page 241
Layer styles: basics......Page 243
Layer styles: metal......Page 245
Adjusting images......Page 247
Working with text......Page 249
What's on the CD......Page 251
F......Page 253
I......Page 254
R......Page 255
X......Page 256
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Steve Caplin

$067(5'$0‡%26721‡+(,'(/%(5*‡/21'21‡1(: Create Clipping Mask, or use !-D *D as a shortcut. OAt first glance, the standing figure of the cowboy is too posed and artificial for our purposes. But when seen as a silhouette, it adds the sense of a mysterious stranger to the composition, as well as adding a sense of depth and perspective to the scene. It also serves to draw the eye back to the main figure, the direction in which the cowboy is facing.

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The ragged edge is made on a separate layer, above all the rest. Draw this freehand, with the Lasso tool, then inverse the selection using !1F *1F and fill the inverted region with white. This technique is far easier than making complex masks for every layer in the document.

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Finally, make another new, empty layer beneath the mask. Use a soft-edged brush with either a black or a dark brown foreground color, and paint in around the edge of the jagged shape. This adds depth to the poster, and gives it the impression of slightly burnt edges appropriate to the style.

OThis sky serves both as a sunset and as a suggestion of flames – which could be why they’re used so often.

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Science fiction +

Science fiction posters have intrigued, inspired and occasionally frightened us since the earliest days of film. There are as many different types of science fiction poster as there are science fiction films, of course; but they do share a number of common elements, and certainly a common feel. These films are always publicized using posters that have a strong black element to them, in order to express the emptiness of space. Ever since the first Alien poster, above, there’s been a tendency for widely-spaced lettering. We can’t attempt to show how every kind of sci-fi poster is put together. But we can look at some general principles which may help you in the design of your own posters.

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There are three starting elements to this poster: the model of a satellite, the photograph of the Earth and the starry background. Each is on a separate layer, and so may be moved around and manipulated at will. In this first example, we can see each element clearly.

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We’re used to thinking of the Earth as lying beneath us – the normal state of affairs. But when we move the planet to the top of the screen, we create a tension that wasn’t there before: this is no longer a satellite hovering above the earth, but a spaceship creeping upon it surreptitiously.

.

We can make the lettering more eerie and atmospheric by adding a glow treatment to it. Here, we’ve used the Outer Glow section of Layer Styles to make a white glow. In fact, the glow alone is enough: we don’t need the actual letters at all. Set the text color to black, and set the layer mode to Screen so it disappears.

Art & Design in Photoshop

Poster design FEK? Stroke to apply a 1 pixel outside stroke. Here, I’ve also added a sunset – the first element of the montage.

I don’t know who invented the motivational poster. I don’t know who buys motivational posters. And above all, I can’t imagine how bored and unmotivated office and factory workers would have to be in order to be uplifted by these crass, corny, clumsy truisms. That said, the genre is ripe for parody. There’s a distinct look to these posters that’s seen nowhere else: the black frame, the serif white text with oversized first and last characters. But there’s more to these posters than the obvious. They tend to have very high production values, since they’re stared at (in theory, at least) for days on end: glossy sunsets, warm glows, and a sense of overall perfection mark these posters out.

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To make the reflective surface, we can begin by making a copy of the sky layer. Flip it vertically using Edit > Transform > Flip Vertical, and move it down to the bottom so that the reflection butts right up against the original sky. Don’t lower the transparency yet – we’ll do that later.

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Select the reflected sky, kitten, and both parts of the tray, and choose New Group from Layers from the pop-up menu in the Layers palette. We can now lower the opacity of the group as a whole: around 30% produces this subtle sense of reflection in a black surface, which adds an immediate sense of luxury and sophistication to the image.

Art & Design in Photoshop

Poster design FEK?