Do you need to present your products in a special, idealized situation or create a special effects type of reality in which to position them? Illustration is the way to create the perfect presentation artwork for magazine ads, packaging and product literature. Give us a call to discuss your products and what you have in mind.
This is the second in a series of continuing illustrations created as a packaging design for Fantastic Plastic Models, LLC. The Vickers Type C Giant Bomber was a concept aircraft from WWII. It had 6 sets of twin counter-rotating propellers and an unusual rear-mounted wing design and a set of smaller wings (canards) set closer to the cockpit. Brad was directed to portray an air battle between the giant bomber and the German jet fighter plane known as the Messerschmitt ME 262 that came into limited service near the end of the war.
The illustration was made by first suspending the model by fine thread and lighting it from below using an intense incandescent light to simulate the warm glow of the setting sun in the background. A blue gelled light from above the model simulated the light from the open sky. Using several reference cloud and sky photos, Brad digitally painted the background, including the anti-aircraft fire and flak explosion clouds.
In 2017 Brad linked up with a toy manufacturer called “Fantastic Plastic Models”, a company offering model kits of striking and unusual aircraft from the World War II era all the way through the latest Science Fiction concepts out of major motion pictures such as "Star Trek", and the "Avengers”.
The model he was to illustrate was called the NX-Alpha / NX-Beta Warp Ship from the film “Star Trek: Enterprise — First Flight” (2003). The owner shipped the assembled model to Brad who photographed it suspended from threads. Brad lit the ship with one strong main light, to simulate the light from the sun, and a blueish fill light from underneath to add extra detail to the underside of the craft. Color and texture details were painted in as well as the background image of the Earth.
Product illustration can make your company's products and services in magazine advertising, packaging and product promotional materials so much more effective than simply bland photography. When I was a teenager I remembered an old TV ad that showed a razor gliding through the air and across a man's face. At a local Best Buy I bought a product with a blue, sleek design which would integrate well with the blue sky background I was planning. I photographed the razor, cleaned it up in Photoshop and painted in some reflections and highlights on the surface. Using some cloud photos as reference, I painted the sky and added a stylized motion blur behind the razor to make it appear as though it was gliding through space.
In advertising and marketing, the most difficult thing to do is to quickly get across the benefits and features of your product or service. This is where product illustration comes to the rescue, by visually being able to instantly demonstrate what the product does or provides. While shopping one day I noticed an interesting hand-held massaging tool in a Bed, Bath and Beyond store. I liked the design of the tool, but realized that the packaging didn't really show what the product was for. I photographed the gadget, and using Photoshop I enhanced the look of the surfaces and reflections. I researched rippling wave/vibration patterns and images to communicate the idea of soothing massage relief. I then photographed the bare back of a woman and combined the images for an instant recognition of the product's use.
This type of illustration can be used to promote auto body work, polishes, painting services and vehicle-related products. The image was inspired by a close-up photograph I took of a vehicle at a vintage auto show in California. The vehicle had been converted from an old farmer’s truck to a curvaceous, classic automobile and I was attracted by the reflections and sparkle of the glossy polished metal flake finish.
Using the photograph as reference I repainted the image in Photoshop. I wanted to show off the sparkle of the paint job, so I painted in the flare streaks to each point where there was bright reflection on the surface of the car. I wanted to show the iridescence of the particles in the paint itself, so I zoomed into the image, and added “Noise” by use of the “Noise filter” and then increased the saturation of the noise “grains”.
Give us a call to discuss concepts that will help you to maximize the impact of your company's advertising, product literature and packaging design.
This piece inspired from a photo I shot of a Classic car at a Glendale, California auto show. I loved the look of the reflections on the chrome surfaces so I decided to enhance the slick look of the vehicle. The cars were parked on a grassy lawn, so I replaced the lawn with a stock image of the gray slate background. The shadows were then painted in along with the light flares to give the auto it’s extra “sparkle”. The original photograph had a problem: The hood of the vehicle was raised, leaving a gaping hole to show the engine — which I did not find particularly attractive. I wanted to show the beauty of the car’s polished surface, so I repainted the hood in the closed position.
One day while photographing cars at our local Auto Show I spotted a classic 1965 Mustang. It was a crystal blue color and had a license plate showing a rearing horse with a blue bolt of lightning flashing behind it and silhouetting the horse. The image on the license plate gave me an idea of doing a painting of this car speeding down a desert highway at dusk with its lights gleaming and a flash of lightning in the distance.
The landscape was first painted in in crisp detail – without distance blur. Then I did multiple sweeps of the foreground using the Motion blur filter… The Motion Blur filter works by blurring all items that have been selected in the same direction. Since I was working the scene from left to right I needed to change the angle of blur with every sweep of the filter so that the blur followed with the perspective of the scene.
Using the Photoshop selection tools I selected the headlights of the car and turned up the brightness and contrast, which instantly had the effect of “turning on” the headlights. I wanted to give the scene some atmospheric mood so I added rain to illuminate the beams of the headlights. The rain was painted in by stroking dozens and dozens of straight lines, fading out the edges, and then using the Dodging Tool to brighten the areas in front of the headlights.
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