Water Reflection Film Poster
A painterly mirrored film poster — with the reflection joined to its subject at a stated surface line, so it reflects rather than merely repeats. Five fields.
We made two examples: a figure by the water, and a scene with stacked stones and a crane. The figure's reflection joins at the boots; in the second, the stones join at the waterline, and the crane, standing well above the surface, is reflected the same distance below it. Both examples show some invented text in a lower corner, which is not part of the design.
The reflection is joined to its subject at the waterline: it starts at the figure's boots and goes down, and the sun comes back as a long glitter path rather than a second disc. What you get is not a scene flipped and repeated, but a scene with a real reflection in it.
Generated for this library
Input
Scene a sunset estuary - a plank jetty running out to
the right, mooring posts, a small ferry standing
off, a low sun behind it
Subject a person with a rucksack from behind, standing on
wet sand at the jetty's foot - boots on the
surface
Surface wet tidal sand with a thin sheet of water - the
line two fifths up the sheet
Title THE LAST FERRY across the upper half, subtitle
beneath
Palette indigo and slate above - burnt orange, gold and
cream in the sun
Returned 1 poster · 2:3 · thick paint, warm on cool
line one horizontal surface at two fifths, unambiguous
joined the figure's reflection begins at their boots -
no gap, no float
offset the ferry sits well above the line, so its
reflection sits equally far below it
quality the reflection darker, shorter, and broken into
horizontal ripples across its whole length
type title and credits both in the upper half, neither
crossing the surfaceYou fill in 5 fields — the braced lines at the top. Everything below them is fixed.
- 1The scene, and what is in it
- 2The subject, and how far above the surface they stand
- 3The surface, and where the line sits
- 4The title, and where it goes
- 5The palette
Water Reflection Film Poster
What this makes
A painterly mirrored film poster — with the reflection joined to its subject at a stated surface line, so it reflects rather than merely repeats. Five fields.
The whole template, in one piece. The steps below are the entire workflow.
How to use it
- Copy the whole template with the button above.
- Replace the five FIELDS lines. Always say where the subject's feet are relative to the surface — that is what the reflection is measured from.
- Paste it into any image-capable agent or model, in one message. One run returns the poster.
- Follow the subject down to the line before shipping. If the reflection is not attached at their feet, the picture is a flip, not a reflection.
What you swap
- The scene, and what is in it
- a sunset estuary — a plank jetty running out to the right, a line of mooring posts, a small ferry standing off, a low sun behind it
- The subject, and how far above the surface they stand
- a person with a rucksack, seen from behind, standing on the wet sand at the jetty's foot — their boots on the surface itself
- The surface, and where the line sits
- wet tidal sand with a thin sheet of water on it — the line two fifths up the sheet
- The title, and where it goes
- THE LAST FERRY across the upper half, with a small subtitle beneath it
- The palette
- deep indigo and slate above — burnt orange, gold and cream in the sun and its reflection
Before it runs
- A subject that touches the surface. Someone standing in shallow water reflects; someone on a distant clifftop has nothing to meet.
- Objects at different heights. Posts, a boat and a figure at three heights make the offset rule visible; a flat scene hides it.
- A title short enough to sit in one half. Anything longer will want to cross the surface line, which is the one place it cannot go.
When to reach for it
Film and festival posters, album art, anything elegiac. Templates in this style flip the scene and stack it, leaving the figure and its reflection at opposite ends of the sheet with the title in the gap — two copies of a picture, one upside down.
What changes
- One thick-painted scene reflected in a surface, in a warm-against-cool palette.
- A stated surface line where the two halves meet, with every object touching its own reflection there.
- Reflections offset from the line by the same distance their objects stand above it.
- A reflected half that is dimmer, compressed and disturbed by the surface, rather than an identical flip.
- Title and credits held inside one half, never crossing the surface.
Pairs with
- 3D Character Screen BreakoutA soft-3D character coming out of a screen — with the crossing proved: named parts behind the plane, named parts through it, and the surface visibly giving way. Five fields.
- Bakery Food PosterA bakery-counter food poster — one dish shot large under a Didot title — with the overlap specified as a construction so the picture layers instead of stacking. Six fields.
- Barcode PosterA barcode poster in two colours — with the code built on a base module, guard bars and a numeral row, so it reads as a scanned object rather than a stripe field. Five fields.