Click the image to see the final result in full scale.
- Image: Full Moon Luc Viatour
- Image: Hogwards Castle by Dominic Kamp
- Image: Stock photo: Join me in the abyss…
- Image: Victorian Gustov 39 by Falln-Stock
- Texture: Texture No.14 from the Lost and Taken Subtle and Light Grunge Textures
- Brushes: Halloween Vectors Photoshop & GIMP Brushes
- Brushes: CD Scratch
- Font: Bebas
- Font: League Gothic
Step 1: Create the Photoshop Document
Start Adobe Photoshop and create a document with your desired poster dimensions (File > New). If you are planning to send your work to the printing press, use a high DPI (between 150-300dpi) and CMYK Color Mode (learn more in our guide on preparing files for print).
For this tutorial, I created a document sized at 1920x1200px, RGB Color at 72dpi (for web use).
Step 2: Create a Dark Gradient Background
Set the Foreground color to a very dark gray color (#1c2021) and the Background color to black (#000000). With the Gradient Tool (G), fill the Background layer so that the very dark gray color is on top, and black is at the bottom.
Step 3: Add the Moon
Grab the Full Moon Luc Viatour stock image and open it in Photoshop. With the Magic Wand Tool (W), click on the Moon’s background, then invert the Magic Wand selection by either pressing Shift + Cmd/Ctrl + I or going to Select > Inverse. You should now have the outline of the moon selected.
Copy (Cmd/Ctrl + C) and paste (Cmd/Ctrl + V) the moon into our scene. Place the moon at the top of the canvas, with parts of it spilling out of the canvas.
Go to Layer > New Adjustment Layer > Brightness/Contrast and lower the Brightness option to -40.
Let us give the moon a subtle glow. Set the Foreground color to a light gray (#d0d0d0). Create a new layer (Shift + Cmd/Ctrl + N) and place it below the moon’s layer. Cmd/Ctrl + click on the moon layer’s thumbnail to load a selection around the moon.
Make sure you’re on the new layer (below the moon layer), then fill the selection with the foreground color (Option/Alt + Del/Backspace) and then deselect the selection (Cmd/Ctrl + D).
Apply Gaussian Blur with the Radius at 10px, then lower the Opacity of the layer to 50%.
Move the glow a bit to the right and a bit to the top.
Let’s create a shadow over the moon. Cmd/Ctrl + click on the thumbnail of the moon layer to load a selection around it again. Create a new layer and, on this new layer, fill the selection with black (#000000).
Apply the Gaussian Blur filter with Radius at 50px.
Move the shadow a little bit to the left.
Since we need the shadow to be just on top of the moon, Cmd/Ctrl + click on the thumbnail of moon layer to load a selection around it, and, making sure the active layer is still the shadow layer, go to Layer > Layer Mask > Reveal Selection to apply a layer mask to the shadow layer.
Step 4: Add the Castle
Download and open the image of the Hogwards Castle. Isolate the castle from its background by first using the Pen Tool (P) with the Paths option selected in the Options Bar to trace an outline of the castle, then, in the Paths Panel (Window > Paths), right-click on the path you drew and choose Make Selection.
Copy and paste the castle into our main document. Use Free Transform (Cmd/Ctrl + T) to make the castle a bit bigger and then rotate it a bit. Afterwards, move the castle in position; use the image below as a reference.
Desaturate the castle layer by either pressing Shift + Cmd/Ctrl + U or going to Image > Adjustments > Desaturate.
Then lower the layer’s Opacity to 35%.
Cmd/Ctrl + click on the castle layer’s thumbnail to create a selection around it. Create new layer above the castle layer, and fill this new layer with black.
Use the Eraser Tool (E) with a very soft brush tip (0% Hardness) to slowly remove the black color from parts of the castle you want to be visible.
You should now have something like this:
Step 5: Create Some Fog and Clouds
Add a new layer on top of all the other layers and then set the Foreground color to black and the Background color to white by pressing D. Afterwards, go to Filter > Render > Clouds.
Change the Blend Mode for this layer to Screen and lower the Opacity to 30%.
Go to Layer > Layer Mask > Hide All.
Set your Foreground color to white (#ffffff). With the Brush Tool (B) and a very soft brush (0% Hardness), paint white on the layer mask at areas where you want the fog/clouds to be visible; use the image below for reference.
Click on the fog/clouds layer in the Layers Panel and then duplicate it (Cmd/Ctrl + J). Change the Blend Mode of the duplicate layer to Multiply, and set the layer Opacity to 30%.
The fog/clouds reinforce our theme, giving it an eerie look.
Step 6: Creating Mysterious Light
Create a new layer, grab the Brush Tool (B), select an aqua green color (#49a69e), and, with a large, soft brush (800-900px Master Diameter) apply a big spot by the moon (as shown below).
Apply the Motion Blur filter on this layer (Filter > Blur > Motion Blur).
Change the layer’s Blend Mode to Lighten and lower the Opacity to 60%.
Step 7: Create a Human Silhouette
Open up the Victorian Gustov 39 image referenced in the Tutorial Resources at the top, and isolate the man from its background using your Pen Tool (P), similar to what we did with the castle in Step 4.
Place the man into our scene and scale him down with Free Transform (Edit > Free Transform).
Open the Layer Style dialog window and apply a black Color Overlay to the layer.
Soften the silhouette with Gaussian Blur (Filter > Blur > Gaussian Blur) and then lower the Opacity of the layer to 80%.
Create a new layer below the silhouette layer. Switch your Foreground color to gray (#7a8384). Create a light spot behind the silhouette using the Brush Tool (B) with a large, soft brush (500px Master Diameter). Lower the layer’s Opacity to 62%.
Create a new layer above the light spot layer. Set your Foreground color to a bluish gray (#7a8384) and your Background color to white (#ffffff), then go to Filter > Render > Clouds.
Give the clouds filter layer a clipping mask (Layer > Create Clipping Mask).
Then, change the layer’s Blend Mode to Color Burn.
Click on the silhouette layer to make it the active layer, duplicate it (Cmd/Ctrl + J), then press Cmd/Ctrl + T to enter Free Transform mode.
Hold down Cmd/Ctrl and pull the center-top transform control straight down until the duplicate silhouette is flipped vertically. This will become the silhouette’s shadow.
Move this shadow layer below the silhouette layer, apply Gaussian Blur with a 6px Radius, and then set the layer’s Opacity to 60% afterwards.
Here is a preview of where we are now:
Step 8: Add Trees
Open the Join me in the abyss… stock photo, desaturate it (Shift + Cmd/Ctrl + U) and, with the Rectangular Marquee Tool (M), create a selection around the trees.
Copy and paste the selection into our scene. Flip the trees horizontally (Edit > Transform > Flip Horizontal).
Next, adjust the levels to render the sky white (Image > Adjustment > Levels).
Position the trees to the left of the silhouette with the Move Tool (V).
To blend the trees layer with the layers behind it and to hide the white areas, change the Blend Mode to Multiply.
Move the trees layer below the fog/clouds layer, but keep it above the castle layer.
Step 9: Add Bats
In this step, we will add bats to the scene. First, download and install these splendid Halloween Vectors Photoshop & GIMP Brushes. Create a new layer above the fog/clouds layer, but below the mysterious aqua green light layer.
Set the Foreground color to black (#000000), switch to the Brush Tool (B), choose one of the bat brushes, and start adding bats. I suggest that each bat should have its own layer. I know we will end up with a bunch of layers if we were to have one bat per layer, but it gives us freedom to adjust and modify each of them individually.
Reduce the Opacity of the bat layers so that bats father away into the distance are fainter.
Once you are satisfied, select all the bats layers and group them into a layer group (Cmd/Ctrl + G) named "Bats".
Step 10: Add Text to the Composition
Download and install the Bebas font. With the Horizontal Type Tool (T), type "Dark Castle", with each letter on its own layer.
We are going to use the Character Panel (Window > Character) to modify each letter a bit so they have varying letter-spacing and font sizes; let’s start with letter "D".
Next, modify the character options of "A".
And then "K".
This is what we have after the character option modifications:
Do the same for each letter in word "Castle," but do it in reverse order such that as you go towards the last letter, the letters get bigger.
After making the character modifications, select all the text layers, Control-click/right-click, and then choose Rasterize Type in the menu that appears.
After rasterizing the text layers, make sure they’re still selected in the Layers Panel, then merge them into one layer (Cmd/Ctrl + E).
Cmd/Ctrl + click on the merged "Dark Castle" layer’s thumbnail to create a selection around the letters.
Create a new layer below the "Dark Castle" text layer, go to Select > Modify > Expand and expand the selection by 3px.
Fill the selection with red (#c90801).
Let us add more text to our poster. Download and install League Gothic. Use the Horizontal Type Tool (T) to place some text above and below the "Dark Castle" text using the League Gothic font.
Here’s what we should have now:
Step 11: Add Grunge and Scratch Textures
In this last step of the tutorial, we will distress the design a little bit using stock textures and a free Photoshop brush library. First, download Texture No.14 (or, alternatively, use one of the textures from the Grunge Grab Bag: Texture Pack here on Design Instruct) and place it on top of our composition.
Desaturate the texture (Image > Adjustments > Desaturate) to remove its colors, then set the layer’s Blend Mode to Multiply at 70% Opacity.
Next, add some scratches to the surface to give our design an aged, worn look. Download and install the CD Scratch brush pack for this.
Create a new layer on top of the grunge texture. Set the Foreground color to white (#ffffff), switch to the Brush Tool (B), choose one of the CD Scratch brushes, and then set the Brush Tool’s Master Diameter to something large (1920px) so that it will span the entire canvas.
On the new layer, click once to apply the brush. Then, lower the Opacity of the layer to 5%.
In this Photoshop tutorial, I showed you how to create a dark, mysterious horror movie poster design by mixing stock photos, textures, brushes, filters and blend modes. I hope you enjoyed this tutorial and I look forward to hearing your thoughts in the comments. Show your own final result by linking to it in the comments and posting it up on our community Flickr group pool.
Download Source Files
- horrormovie_poster_design (ZIP, 31.80 MB)
Step 1: Isolating the Bird
We’re going to start things off by downloading the Bird in flight stock image and opening it up in Photoshop. Using the Zoom Tool (Z), zoom in to a level where you can begin to trace around the bird. Then switch over to the Pen Tool (P).
Use the Pen Tool to trace around the bird — this process may take a while to complete.
Step 2: Place and Desaturate the Bird
Next, create a new Photoshop document that is 7in wide by 5in tall. We want to create our work at a print size (roughly the size of a postcard). We can always scale it down later, but for now, we will stick with this dimension.
Fill the default Background layer with black (#000000) using the Paint Bucket Tool (G).
Next, copy the isolated bird into the new document. Use Edit > Free Transform (or Ctrl/Cmd + T) to make the bird bigger, holding Shift to maintain the bird’s proportions as you rescale its size. Whenever you make a raster graphic bigger, you will lose resolution fidelity, but fortunately, we can do this without reducing the quality of the bird too much.
Duplicate this layer by pressing Cmd/Ctrl + J (or dragging the layer to the Create a new layer button at the bottom of the Layers Panel) and turn off the visibility of the first bird layer.
In the Layers Panel, click on the duplicated bird layer just to be sure that it is the active layer. Go to Image > Adjustments > Hue/Saturation (or press Cmd/Ctrl + U) to bring up the Hue/Saturation image adjustment window. All we are going to do is just slide the Saturation option all the way to the left to desaturate the layer.
Step 3: Boost the Contrast
Duplicate the black and white bird layer and then turn off the visibility so we can concentrate on the duplicate layer. Next, go to the Image > Adjustments > Brightness/Contrast.
Set the options to match up with the settings shown below, and then press OK to apply the image adjustment.
Next, change the blending mode of this layer to Overlay.
We will now merge this layer with the one below it by going to Layer > Merge Down (or pressing Cmd/Ctrl + E) — this should merge the top layer with the layer that we turned off earlier in this step.
Step 4: Blurring the Bird
Duplicate the layer we merged in the previous step, then apply Filter > Blur > Gaussian Blur (Radius at about 60px) to the duplicate layer.
Change the blending mode of the blurred layer to Screen. The image below shows you the result of using the Screen blend mode versus Normal blend mode.
Step 5: Creating a Radial Gradient
Create a new layer just above the Background layer. Set your Foreground Color to white (#ffffff). Choose the Gradient Tool (G) and, in the Options Bar, pick the Radial Gradient option and use the Gradient Editor to set up the gradient to fade from white to transparent (you could use the Foreground to Transparent preset).
With our Gradient Tool good to go, we can click-hold-and-drag from the center of the bird and outwards to apply the radial gradient on the new layer. After this, we are just going to reduce the layer’s Opacity to around 20-25%. This should result in an interesting glow effect behind the bird.
Step 6: Texturize the Background Using the Noise Filter
Create a new layer above the gradient layer and then switch over to the Paint Bucket Tool (G). Choose a medium gray color — I am using #767676. Fill your new layer with this color and then go to the Filter > Noise > Add Noise.
Use the Add Noise filter settings shown below:
After applying the filter, change the blending mode of this layer to Soft Light. Because we are using the Soft Light blend mode, the noise will only seem apparent on the glow effect. You should now have something like this:
Step 7: Adding Smoke
- Smoke Brushes Set 1 by Falln-Brushes
- Smoke Brushes Set 2 by Falln-Brushes
- Smoke Brushes – Six by Jon Bee
Next, create a new layer at the very top of the Layers Panel for the smoke brush. Switch to the Brush Tool (B) and, in the Options Bar, set its brush tip to one of the smoke brushes.
Press the right bracket key (]) a few times to increase the size of the brush to about 2000px, click once on the canvas to apply the smoke, and then use the Move Tool (V) to position it as shown below.
Use the Eraser Tool (E) with a soft, round brush tip to remove the area of the smoke brush that is above the bird.
Step 8: Adding More Smoke
Create a new layer for more smoke. Choose another smoke brush and scale it up to about 2200px.
Click once on the canvas to apply the smoke brush, then press Cmd/Ctrl + T to activate the Free Transform command. Rotate the smoke so that it matches the positioning of the image below. Also, Use the Eraser Tool (E) to remove the smoke at the highlighted areas below.
Here is what our piece should look like by now:
Step 9: Create Smoke Around the Bird
On a new layer, we are now going to use another smoke brush (set to about 2200px). After adding the smoke, rotate it and position it near the head of the bird.
Moving along, I am going to repeat this process using another brush tip and placing it near the wing.
The main objective of what we’re doing in this step is to use a variety of smoke brushes and then flipping, rotating, transforming, and moving them into positions that seem to follow and exaggerate the shape of the form you want to create with the smoke.
Here is what I ended up with:
Step 10: Create Smoke Inside the Bird’s Body
Before proceeding, select all of your smoke layers thus far, then either press Cmd/Ctrl + G or drag them to the Create a new group button at the bottom of the Layers Panel to put them into a layer group. Once you have done that, temporarily turn off the visibility of the layer group so we can focus on the new set of smoke effects.
On a new layer, use an assortment of smoke brushes to paint over the bird — we don’t have to worry too much about being neat because we will be masking this soon. If you want to paint brushes on different layers, go for it.
Select all of your smoke brush layers (excluding the smoke brushes layer group) and press Cmd/Ctrl + E to merge them together. Hold Cmd/Ctrl and then click on the layer thumbnail of the black and white bird layer to load a selection around the bird.
Click on the merged smoke brushes layer just to make sure that it’s the active layer in the Layers Panel, then press Cmd/Ctrl + J, which will duplicate just the smoke inside of the bird, on a new layer.
You can now delete the merged smoke layer beneath the new layer. Then, turn on the visibility of the smoke layer group that we hid temporarily at the beginning of this step.
Step 11: Adding (Even) More Smoke
We are now going to add some additional smoke around the outer contours of the bird. We can add these new smoke layers inside of the existing smoke layer group containing our other smoke brush layers. The process is the same as earlier — use varying brushes and transform them into a position that complements the bird’s shape, then erase certain areas as needed.
Step 12: Bring the Bird Back
Remember the black and white bird layer we turned off earlier? Well, we are going to be bringing it back. Turn the visibility of the layer on, and drag the black and white bird layer to the very top of the Layers Panel.
Now that we have reintroduced the bird back into the scene, the result is looking pretty good in my opinion.
Step 13: Add Some Light
Create a new layer at the top of the Layers Panel. Switch to the Gradient Tool (G) and check to make sure that you still have the Radial Gradient option selected and that the gradient is still set to go from white to transparent; we used this tool earlier in Step 5, so it should already be set up for you. What we want to do here is just click and drag outwards to create a small- to medium-sized radial gradient.
Afterwards, change the blending mode of this layer to Overlay and reduce the layer’s Opacity to 50%. Then use the Move Tool (V) to position the radial gradient over the breast of the bird.
The image below shows our work without adjusting the layer’s blend mode:
The image below shows our work with the Overlay/50%-opacity blend mode:
Step 14: Adding Dynamic Foreground Smoke
Create a new layer, make sure your Foreground Color is still set to white, switch to the Brush Tool (B), select a new smoke brush, and change the brush size to about 2200px.
Click on the canvas once to apply the smoke brush, use the Move Tool (V) to position the smoke at the upper-left corner, and then use the Free Transform command to angle it slightly.
Make sure Free Transform mode is still active, hold down Cmd/Ctrl and then, on the canvas, right-click inside the smoke, which should display a contextual menu.
In the contextual menu, choose Warp, and then modify the smoke to make it appear as if it’s creating a dynamic, swooping motion (as shown below).
Next, go to Filter > Blur > Gaussian Blur and apply a blur with a Radius of 30.9px.
Step 15: Adding More Foreground Smoke
Create a new layer and select another smoke brush using a Master Diameter of 2200px. Click on the canvas to apply the smoke brush on the new layer, and move it to the upper-left corner, aligning it so it almost matches up with the smoke we applied in the previous step.
Like before, transform and warp the smoke slightly, and then soften it up with the Gaussian Blur filter using the same settings. A quick way of reusing the previous filter with the same setting is to press Cmd/Ctrl + F.
Step 16: Add Swooping Smoke
Using the same techniques, continue to use different brushes and transform them in order to make a trail of smoke that flows down into the right corner of the canvas. Working this into our design will help to push the depth even further, and it will also add some more movement and dynamism to the scene.
After experimenting with a few brushes, you may begin to create some interesting shapes with the smoke. Remember, you can always cut or erase parts that you don’t want, or copy them in new layers and use them in a different area.
Step 17: Modify the Placement and Arrangement of Smoke
Next, we are going to take the blurred smoke that we made in the upper-left corner and just move it off the canvas a bit more so it doesn’t dominate and take away from the subject (the bird) too much. After that, copy the foreground smoke and flip it horizontally (Edit > Transform > Flip Horizontal) so that you can position some of the smoke in the opposite corner.
Play around with the positioning and, when you are satisfied with the result, lower the Opacity of the smoke at the upper-right to about 60%.
This will make it feel like the bird has flown around in a circular motion before coming towards the viewer, but at the same time, we don’t want it to be too distracting because the focal point should be directed to the center of the scene.
Step 18: Duplicate And Merge
Select all the layers in the Layers Panel. Next, drag all of the layers down to the Create a new layer button at the bottom to duplicate all the layers.
While all of the duplicated layers are still selected, press Cmd/Ctrl + E to merge them into one layer. You should now have a flattened copy of the image at the top of the Layers Panel, above all of the original layers.
Step 19: Creating Shattered Shards of Smoke
On the flattened layer, use the Pen Tool (P) to create a path in the shape of a triangle near the wing. Next, right-click inside the triangular path and choose Make Selection from the contextual menu that appears.
You will then be prompted by the Make Selection dialog window; just press OK to accept the default options.
You should now have a selection around the triangle — press Cmd/Ctrl + J to duplicate this selection onto a new layer. After doing this, you can turn off the visibility of the flattened layer, reduce the size of the triangle using the Free Transform command, and move your triangle slightly off to the side using the Move Tool (V).
We are going to repeat this process to create a few more shapes so we will need to toggle the visibility of the flattened layer on and off so that we can make our selections, then position them without distraction.
Rotate, flip, transform, and play with the opacity of the triangles to create variations. A way of enhancing depth is to use a soft, round eraser at a low opacity and erasing some of the shapes a bit so that they appear to be receding into the background.
Step 20: Finishing Up
Before we finish up, I am going to do some housekeeping and organize the layers by placing them into layer groups — this is good practice and helps keep things in order for whenever we need to revisit this Photoshop document later on.
Once that is done, you can save your work and take another look at what we have just created:
This Photoshop tutorial showed you how to create an interesting monochromatic scene with a smoking bird as the subject. We applied smoke effects, played with blend modes, created simple light and glow effects using the Gradient Tool, used Photoshop filters, and created shattered shard elements from scratch to make our work even more intriguing.
Thanks for following along with me and I hope you have learned some useful techniques. Happy Photoshopping!
Download Source Files
- surreal_smoking_bird (ZIP, 72.30 MB)
The other day I attended a very informative webinar given by Anna Talerico from Ion Interactive. I was so inspired by her talk that I decided to recap the webinar with a nice blog entry.
As Anna stated, there are four key aspects that make up a high-performing landing page. What is a landing page? Landing pages are used as a high point of conversions typically in conjunction with a PPC Ad Campaign, or Email Blast. These four fundamentals state that your page should be engaging, dynamic, disposable, and agile. I’ll break each of these down for you.