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iconoclast

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Everything posted by iconoclast

  1. iconoclast
    I think so. It is of course non-destructive - the objects keep their sizes inside the group. But the group has the size you want. And this method has a lot of advantages, as you might know.
  2. iconoclast
    As an alternative, you can even use the Vector Crop Tool.Select all Layers, Group them and use the Vector Crop Tool on that group.
  3. iconoclast
    It looks at least more spooky. The thing I don't like is the way you place the cast on your poster. It seems arbitrary. I think, the most interesting figure in your story is Pennywise. But on the poster he is only supporting actor. I could imagine this shadowed Pennywise as background for the poster, with the rest of the cast in front of him. Instead of this "ligth background" that reminds me a little bit to "Close Encounters of the Third Kind" and movies like that.
  4. iconoclast
    It may be a matter of taste, but I would prefer the style of the "Stranger Things"-poster, because it is much more frightening. It is a bit overloaded and the title looks a little bit lost, because of the bad contrast, but I think you should be able to make that a little bit better.
  5. iconoclast
    It's definitely more horrible and not so overloaded. So from this point of view, it is more effective. But it doesn't communicate your intention of an alternative story around Georgie. Don't know how important this is for you.
  6. iconoclast
    It is still not bad. But to be honest, from the point of view that it shall be a Horror-Poster, it is not horrible enough, in my opinion. There is a tiny Horror-Accent on the top right of the poster, where we see Pennywise, but the whole thing looks much more dreamy than spooky. Mystery, not Horror. And I ask myself, why does the bicycle lamp shine so bright, even it isn't really dark? Maybe I'm not the right one to judge about your design.
  7. iconoclast
    Usually the best way is to think about such things before you start creating an image. I would at least keep a backup of your actual version, before you start turning it inside out completely. If you look at the "Stranger Things"-poster, there is a background coloured in red on the left and blue on the right side. And the whole scene is gathered by a black vignette. That could be a solution for your design too. If you don't like the blue/red-scheme, test out if the vignette works without it. For my taste Pennywise looks too much like a sidekick on your poster. He is the character the whole story is based on. He and the "Club of loosers" on the other side. I don't remember who the guy on the left is - the one with the walking cane. Is he important? I could imagine Pennywise's face big, looking evil in the background, and the other figures smaller standing in front of him. The vignette also gives a good background contrast to the text elements.
  8. iconoclast
    But if you look at that "Stranger Things"-Poster, you can see that it is coloured much darker than yours. And it uses the blue/red-scheme I was talking about. And the title is red with a relative good contrast to the background. You should always think about what is important for the effect you want to achieve. Not only what seems to look good. On the last version of your poster, the two things that catch the eye first are your signature and the VHS-sticker, because they have the best contrast to the background. The "IT"-logo is sunken in the background so that it is nearly invisible. And as I already said, the mood of the poster suggests mystery, not horror. If that's your goal, you've got it.
  9. iconoclast
    I don't know stranger things, so I can't say anything about that. But as I said, your colouring doesn't look like an 80s Horror-Poster. Even from our today's perspective, it doesn't really loo like a Horror-Poster, but like a Fantasy- or Mystery-Poster. You don't need red and blue objects. The colours of objects depend on the colour of the light they reflect. If you take a look e.g. at some "Terminator"-Posters, you will see that Arnie seems to have blue skin there. It is because of the light. At lunchtime usually the daylight is as white as it can be, so it shows all objects in their native colours. In the evening, at sunset, all things get a red tint. And at night everythig becomes grey, but with a blue colour cast (especially in movies of the 80s). Just take a look at the examples in the Youtube-Videos you linked above. The second one has this blue/red-scheme. The first one shows faces lightened by warm lights, but the scenery is much darker than on your poster. The most areas are black and only the kids are highlighted. That produces suspense. Your poster almost suggests peace and quiet. You don't need to put stickers on the poster that claim "Horror" (and you shouldn't) if you visualize this horror on the poster itself. Unfortunately it takes some studies and time to learn about lighting and colours, I'm afraid. But I would recommend you to take closer looks at the posters from the 80s, if it is really important for you.
  10. iconoclast
    It's your decision, but I think a poster for this movie would'nt have looked like yours in the 80s. The TV-Movie "IT", from 1990, had a poster simply based on red and white. Unusual but effective. But the most movie posters from the 80s were based on blue and red, as far as I remember. At least Horror- and SciFi-Movie-Posters. By the way, for VHS there exists an official logo. You don't need to rebuild it. You can simply download it as PNG from the internet.
  11. iconoclast
    I think your poster in fact already looks much like an 80s-poster, but you did a little too much at some points. E.g. the "IT"-logo would be much more effective if it would be simply white or red, I think. This gradient damages its readability and lets it sink into the colours of the background. And the colours are an important point too, that still keeps your design away from the 80s style you are looking for, I think. If you take a look at the 80s posters, you will see that they are mostly coloured in blue and red. That was a typical colour code of that times. Today it is more blue and yellow/orange. This contrast scheme is meant to suggest opposites (e.g. darkness and light, good and evil...). I can't remember specific posters from the 80s, but a good example from the last years is the poster of "Blade Runner 2049" (orange/yellow vs. blue). A very typical thing for 80s movies was that darkness/night was always visualized by blue lighting, to make it possible to show whats happening, even if it is dark. Often so blue, that it looked very synthetic. The colour grading you used in your design looks a little more like "Lord of the Rings".
  12. iconoclast
    You could use a layer mask to delete that area. That would be a non-destructive solution.
  13. iconoclast
    Hi rAlexandrea! That's not an issue, but a feature. You probably pressed "\" by accident. You can activate this option to even see the parts of objects that are outside the canvas. You find the option in the View menu, View Mode ... at the bottom - I don't know how it is called in Englisch, because I'm german. And you can deaactivate it the same way.
  14. iconoclast
    OK, this would be a case for a global operation, I think. Not retouching by hand. You could try the method I was talking about. But I'm not sure if the result will be good, because the relation between the size of the image and the size of the texture is not very good. Just try it.
  15. iconoclast
    Hi voitek! I suppose, it is just a zoomed excerpt of the photo, right? Usually textures like this and Moirés can be removed if you scan the image with a higher resolution (e.g. 1200 ppi or 2400 ppi) and then blur it carefully, using the Gaußian Blur). But only as much as affordable. After that you can reduce the resolution to 300 ppi and resharpen the image a bit. But again: only as much as affordable. But be aware that this method also removes all details that are nearly at the size of the texture details. Another, more complicated way is to retouche the image by hand, using the Clone, Repair... Tools.
  16. iconoclast
    On the right side: "Protect Alpha". I see, it's not ticked. So what about the colour you are painting with? Black on black will of course not cause visible results. I checked it with on my PC, and it worked corrctly. Deactivated Alpha only doesn't cause this problem. Another idea: is there possibly a hidden selection somewhere on that document? In that case, you can only paint inside the selection.
  17. iconoclast
    Hi eobet! Take a look at the context bar at the top of the GUI. Is Transparency locked (the checkbox on the very right side)? Or is black selected as foreground colour?
  18. iconoclast
    I can't test it at the moment, because my PC is off, but if you have the layers selected, you want to keep, you should be able to group them and move the group to the top or bottom of the layers stack. After that, it should be easy to select the rest and delete it. After that you can ungroup the layers, if needed and wanted.
  19. iconoclast
    Another idea. Probably bullshit, but just to be safe: as we can't see the top of the layers stack on the screenshot: is there possibly a Softproof layer with some kind of colour profile that could have caused the problem? And by the way, I agree with NotMyFault - I don't think that your files are damaged.
  20. iconoclast
    OK, so possibly the colour depth?
  21. iconoclast
    In opposite to RGB,which is a colour space for colours of light, CMYK is a colour space for body colours (colours for print). CMYK colour spaces contain less different colours than RGB colour spaces. So if you export a CMYK image as a PNG or JPEG, which don't support CMYK, the image will be converted to RGB automatically, and the colours will change at least a little bit. As I tested it on my computer, the effect was very small, but in fact the PNG was a bit more saturated than the CMYK original. The strength of the effect may be defined by the certain colours you chose. But I'm not really sure if this could be the reason for your problem. As an additional information: for professional printing, colours always must be converted to CMYK. But usually you should do that well controlled to prevent unwanted changes of the colours. You can see if your original image is CMYK if you open "File" > "Document Settings" Colour". There must be a drop down menu called "Colour Settings" or so.
  22. iconoclast
    Could it somehow have to do with CMYK colourspace. I ask because you said that the problem doesn't occur if you export as PNG and JPEG, which don't support CMYK.
  23. iconoclast
    Even my very old Wacom Bamboo Pen & Touch is much better for some things like retouching, painting and drawing than a mouse. But of course a graphics tablet with a display is even better, because you see what you do where you do it.
  24. iconoclast
    Thanks for that very promising stuff! Looks great!
  25. iconoclast
    Hi LaraF! Ärgerliche Sache. Ich persönlich empfehle immer Publisher und auch andere Layout-Programme wie InDesign, Quark XPress usw., nur zum Layouten zu benutzen und die Texte vorher unformatiert in einem Text-Editor oder Office-Programm zu schreiben, als Textdatei (Dateiendung *.txt) zu speichern und dann in Publisher zu laden. *.txt, weil das Format keine Formatierungen speichert. Formatierungen führen nämlich öfter mal zu Problemen beim Laden von Texten in Layout-Programme. Und formatieren kann man in Publisher auch viel besser als in Office-Programmen und Text-Editoren. Das Schreiben von längeren Texten in Layout-Programmen macht, nach meinen Erfahrungen, auch manchmal Probleme. Dafür sind sie ja eigentlich auch nicht gemacht. Ein professioneller Workflow wäre jedenfalls die Fotos vorher in Photo zu bearbeiten, Grafiken in Designer zu erstellen, Texte in einer Office-App zu schreiben und das alles dann in Publisher zusammenzuführen. Das ist in der Regel auch die wirtschaftlichere Herangehensweise. Ich wünsche Dir natürlich alles Gute für Deine Masterarbeit.
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