My original intent was to create a new piece in the style of one of my favorite Pop artists, Roy Liechtenstein. I started with by using the primary colors — a pallet he often uses, then incorporating color halftones for the gradations. But as the piece progressed, I felt that the halftones were making it too busy… jarring to the eye.
Fortunately, working digitally allows me to easily walk back creative descisions, and freely experiment. I kept replaced the halftones with “conventional” gradations, and expanded the color pallet a bit… adding more variations of yellows and blues. The final result is more serious in tone, perhaps a wee bit like some of Guy Billout’s work from the 80s.
All of the colors used in the environment also appear in the car. This allows the car to “feel” integrated into the composition (though it still “pops” off of the highly saturated yellow ground plane).
Some composition tricks: note that the driver’s side tail light is clipped. This makes the subject look like it’s still moving into frame — implying movement. The car is angled as if it is being launched upwards to suggest speed.