Check this one out. This memorial poster of MCA from the Beastie Boys was made by my pal and Signalnoise contributor Paul Panfalone down in Buffalo. He sent it to me this past weekend out of the blue, “Hey, here’s something I’ve been working on” he said. Promptly stopped me in my tracks. Paul said this portrait is based on MCA from the early 90s. Here is the original red version and a couple of colour variants.
Paul is efficient in both Photoshop and Illustrator but for the most part I’ve seen him work in Photoshop primarily. This departure into 100% vector is much the same as myself recently, exploring some new territory and techniques and basically getting out in the woods with very little reference points. I support that action, well done Paul. Probably your best work yet. Look at that shading and line work. Meticulous!
Be sure to swing over to Paul’s website Swivel Arms for more info on this piece and other stuff Paul is working on. And say hi on Twitter, he’s a nice guy. Likes good movies and toys and stuff.
What started as a little doodle yesterday turned into a full tilt poster design. This one caught me offguard but thought it would be a real fun one to dive into. Here is my third poster for the Prince Charles Cinema, this time for their screening of the some of my all-time favorite films, the mighty INDIANA JONES TRILOGY. The boys at the PCC didn’t even know this one was coming. Heh heh.
This was a bit of a strange undertaking since the screening is today and I started this poster last night. But the idea hit me so I just ran with it. Lots of fun. There’s a few relevant additions to the hieroglyphs if you look closely.
So if you’re over in London, get over to the Prince Charles Cinema ASAP to see these on the big screen. Believe me, I’d be there if that annoying ocean wasn’t in the way.
View larger version.
Here’s a new poster for our pals at the Prince Charles Cinema over in London for their screening of one of my favorite modern movies by the mighty Coen Brothers: NO COUNTRY FOR OLD MEN. The movie screens on July 24.
I knowingly approached this poster differently than my previous ones. NO COUNTRY FOR OLD MEN is a unique movie on it’s own … there’s no music, the main characters though tied tightly by story never really meet. It’s brutal yet quite funny in parts, all wrapped in a beautiful landscape. It’s a film you need to watch several times to truly appreciate it. So I wanted this poster to have a light touch, something serene that takes cues from one of my favorite scenes near the beginning. A merging of the old west with today’s violent reality.
I started off designing a pretty standard poster, but quickly changed gears. This is also my first landscape movie poster, which took me way out of my comfort zone but ultimately was best for the concept. Here are some ridiculous sketches and conceptual. Things came together rather quickly.
I am working with Mystery Box and the Prince Charles Cinema in order to bring this poster to life through some nice screenprints. Watch this space for details as they become available.
Here is the first poster created for the Prince Charles Cinema in London. One of my favorite childhood movies, MASTERS OF THE UNIVERSE will be playing at the cinema this coming Monday so be sure to check their schedule to see this sucker on the big screen. It’s on a double-bill with CYBORG too. Wish I could be there.
I had a great time on this one, creating something more stripped down and stylized as compared the the “likeness heavy” posters I’ve been doing. The influence for this one came right from early STAR WARS posters, depicting a heavily silhouetted character. Maybe channeling a bit of Olly Moss in there too. I wanted He-man to resemble Dolph Lundgren from the live-action film, but posed exactly like the He-man from the cartoon. I also wanted Skeletor to double as Castle Grayskull in the background, again a reference to the cartoon. I love the live-action film but it really missed a few of those nice cartoon cues.
Since the show at the PCC is in 3 days, we’re as yet unsure about the printing of this one. But I assure you we are on the case to get things sorted out. I’d love to have a screenprinted copy of this one and already have some variant ideas in the works.
“By the power of Grayskull!”
Here is my new portrait piece, THE VILLAIN. If you’re new to these ones, I tend to do portraits in between full posters as a form of practice as I continue to explore this form of print design. Trying to sharpen my skills.
As with all my stuff lately, this is 100% vector. No brushes, or plugins, or LiveTrace or fancy “time-saving” tools either. Just hardcore bezier point scrutiny through lots of hours. Nuts and bolts stuff. If you want it to look right you have to get right in there and do it yourself. Really trying to simplify things too.
I wanted the colour palette to hinge on THE DARK KNIGHT film, but not exactly. This one is much grimmer than my previous portraits: THE SMUGGLER and THE SCIENTIST.
EDIT: This is the second version of THE VILLAIN. I did further work on it this weekend to mend some issues.
A couple of early digital concept studies.
Sketch of the alien gore on tracing paper. Ink and blue lead.
Here’s a poster for my favourite movie, John Carpenter’s masterpiece: THE THING.
I started this design hot on the heels of completing the BLADE RUNNER poster. I’m continuously learning new tricks and processes as I go, so I wanted to really dial in on the style I explored in BLADE RUNNER and simplify it. Really concentrate on the shapes that make up the highlights and shadows. The goal was to reduce the overall number of points, but really make them count. Smooth curves.
The over-arcing concept was to depict the alien taking human form, so I knew early on I needed some kind of weird abstract alien gore in there which proved to be the toughest challenge. I sought reference in the film, but I didn’t want hands, or tentacles, or a spider-head. I wanted a mess of scary “whatever”. I had to draw it all from the ground up (pencil and paper, kids) and on the third attempt it finally fell into place. From there it hit the scanner to be re-built in Illustrator.
Like my BLADE RUNNER poster, this is 100% vector. Not a hint of Photoshop in there. I see this and the BLADE RUNNER poster as kind of companion pieces since I did them both back to back with similar methodologies.
But again, it was all about atmosphere. I wanted this poster to feel like the movie. That was priority 1.
I spoke at Montreal Meets on April 9th and one of the big hooks in my presentation was revealing this poster onstage for the first time. Until now, it had only existed in cellphone photos on Twitter. But here we go, a poster for one of my favorite films: BLADE RUNNER.
This poster truly represents the new direction I’m forcing into my work. I’ve had a keen interest in designing movie posters for quite some time, and this was nothing less than a huge undertaking. From reference photos, digital studies to the final build it took about 2 weeks full time to get it done. Another big departure was building this thing entirely in Illustrator. There is zero Photoshop work in this piece, something I’m pretty proud of. If you saw my Influxis Voodoo Lounge presentation at FITC Toronto 2012 you would have seen an indepth process of how I planned and built this poster. Really long process, so long it ultimately changed how I work.
This poster needed to be treated with respect. I love the film and it has a huge following all over the world. It ultimately defined a new genre of science fiction in both story and atmosphere, and I needed to keep that intact as I worked through the design. High scrutiny was placed on every element in this poster to ensure I got it right. Pursuit of a proper representation of BLADE RUNNER.
“All those moments will be lost in time, like tears in rain.” – Roy Batty
Here’s a poster design of everyone’s favorite scientist, Dr. Emmett L. Brown. In between doing full movie posters I like to do practise pieces to improve on some skills and techniques I’m exploring. This one started that way, as did THE SMUGGLER.
I’d like to think this was the expression Doc had on his face right before that lightning struck the DeLorean at the end of Part II. Stone cold determination, bravery and curiosity toward the unknown. But lets face it, he was probably screaming like a loon. His character was always my favorite from the BACK TO THE FUTURE trilogy. So here he is, heroic, immortalized in blue and purple.
“Roads? Where we’re going, we don’t need roads.”