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The back of the gala invitation features Rhodes and Gotham. The artwork surrounding it is a variation on the textured kaleidoscope pattern created for Mr. Brewster's Invigorating Invention. I varied the opacity on each hexagon to create depth to the tiles.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
Teerasej and Kajorn - Adobe CS5.5 Speaker is preparing all device to seminar
- Licensed to Thai Adobe User Group
Audiences are listening to Teerasej in Adobe CS5.5 Road show at Sheraton Grand Sukhumvit.
Thank you, K. Kajorn for this nice shot. :)
- Licensed to Thai Adobe User Group
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The 31st Annual Vocal Competition. The same program is used for both days of the weekend long event, with an insert added in announcing the winners of the first round. The next frames in the album contain all the pages of the printed program. The program was laid out in InDesign and pulls in elements from Illustrator and Photoshop.
Coming up with the artwork for the Vocal Competition was surprisingly challenging. Because there is no plotline for vocal competition the theme is simply “music” and “singing.” This makes it very hard to narrow down which artistic elements to focus on. I decided to make the treble clef the star of the show. I also used the five lines of the staff consistently throughout the program to create unity and line. The color palette and textures match with the rest of the season’s artwork.
Because the theme for this show was so open I was able to pull in artistic and graphic elements from other shows just for decoration throughout the event’s printed program. For example I used the pink color that was created for The Three Little Pigs and added in roses from Carmen and Arias & Encores.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, and the 40-page show program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their Celebrate Opera, which was a program filled with Maestro Gretz’ personal favorites. The next slides in the album feature all of the spreads in the 32-page program. The program was laid out in Adobe InDesign and pulls in elements from Photoshop and Illustrator.
Interior spread that features both artwork for The Ruby Society and a full page ad for Susannah, which was unfortunately cancelled due to the Coronavirus outbreak.
For the new season I have adopted an entirely new brand. The artwork for this season relies heavily on fabric and grunge textures. The color palette contains a full range of blues, violets and purples as well as two shades of red. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For Celebrate Opera I focused on the blues within the palette and altered the velvet sky texture I created for Susannah so that it seemed misty. I wanted to give the impression of a galaxy full of stars. I had many different ideas but eventually settled on the idea of a spotlight so that the star of the show would be the music. The script font that takes center stage is called Sign Painter and the body copy is Gotham.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for Celebrate Opera: A Celebration of American Music.
With the artwork for this show I saw the opportunity to carry over the illustrated roses that I created and used in both of the main stage productions, Carmen and Barber of Seville. The roses fill up the stage, as if being thrown by adoring fans after a performance. This indicates the “Encore” part of the title. The “Arias” part is represented by the theatrical curtains. The title lockup uses Charcuterie Block and Adorn Coronet.
Although it looks like the title lockup and roses look like they are simply filled with color, the file is actually setup so that they are cut out of a black rectangle. This made the artwork harder to work with within Illustrator but allowed me to achieve exactly the effect that I was looking for.
Unfortunately, I was unable to get my hands on a printed version of the program since I was unable to attend this performance. With this 36 page program I paid particular attention to creating subtle variations in texture each time the rose graphics were used. The collateral for this show includes web banners, brochure thumbnail, postcard and 36-page program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
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I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their Celebrate Opera, which was a program filled with Maestro Gretz’ personal favorites. The next slides in the album feature all of the spreads in the 32-page program. The program was laid out in Adobe InDesign and pulls in elements from Photoshop and Illustrator.
For the new season I have adopted an entirely new brand. The artwork for this season relies heavily on fabric and grunge textures. The color palette contains a full range of blues, violets and purples as well as two shades of red. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For Celebrate Opera I focused on the blues within the palette and altered the velvet sky texture I created for Susannah so that it seemed misty. I wanted to give the impression of a galaxy full of stars. I had many different ideas but eventually settled on the idea of a spotlight so that the star of the show would be the music. The script font that takes center stage is called Sign Painter and the body copy is Gotham.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their Celebrate Opera, which was a program filled with Maestro Gretz’ personal favorites. The next slides in the album feature all of the spreads in the 32-page program. The program was laid out in Adobe InDesign and pulls in elements from Photoshop and Illustrator.
For the new season I have adopted an entirely new brand. The artwork for this season relies heavily on fabric and grunge textures. The color palette contains a full range of blues, violets and purples as well as two shades of red. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For Celebrate Opera I focused on the blues within the palette and altered the velvet sky texture I created for Susannah so that it seemed misty. I wanted to give the impression of a galaxy full of stars. I had many different ideas but eventually settled on the idea of a spotlight so that the star of the show would be the music. The script font that takes center stage is called Sign Painter and the body copy is Gotham.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for Celebrate Opera: A Celebration of American Music. The next slides include every spread from the 36 page program. The program brochure was laid out using Adobe InDesign and incorporates elements created in Illustrator and Photoshop.
With the artwork for this show I saw the opportunity to carry over the illustrated roses that I created and used in both of the main stage productions, Carmen and Barber of Seville. The roses fill up the stage, as if being thrown by adoring fans after a performance. This indicates the “Encore” part of the title. The “Arias” part is represented by the theatrical curtains. The title lockup uses Charcuterie Block and Adorn Coronet.
Although it looks like the title lockup and roses look like they are simply filled with color, the file is actually setup so that they are cut out of a black rectangle. This made the artwork harder to work with within Illustrator but allowed me to achieve exactly the effect that I was looking for.
Unfortunately, I was unable to get my hands on a printed version of the program since I was unable to attend this performance. With this 36 page program I paid particular attention to creating subtle variations in texture each time the rose graphics were used. The collateral for this show includes web banners, brochure thumbnail, postcard and 36-page program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for Celebrate Opera: A Celebration of American Music.
With the artwork for this show I saw the opportunity to carry over the illustrated roses that I created and used in both of the main stage productions, Carmen and Barber of Seville. The roses fill up the stage, as if being thrown by adoring fans after a performance. This indicates the “Encore” part of the title. The “Arias” part is represented by the theatrical curtains. The title lockup uses Charcuterie Block and Adorn Coronet.
Although it looks like the title lockup and roses look like they are simply filled with color, the file is actually setup so that they are cut out of a black rectangle. This made the artwork harder to work with within Illustrator but allowed me to achieve exactly the effect that I was looking for.
Unfortunately, I was unable to get my hands on a printed version of the program since I was unable to attend this performance. With this 36 page program I paid particular attention to creating subtle variations in texture each time the rose graphics were used. The collateral for this show includes web banners, brochure thumbnail, postcard and 36-page program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The 31st Annual Vocal Competition. The same program is used for both days of the weekend long event, with an insert added in announcing the winners of the first round. The next frames in the album contain all the pages of the printed program. The program was laid out in InDesign and pulls in elements from Illustrator and Photoshop.
Coming up with the artwork for the Vocal Competition was surprisingly challenging. Because there is no plotline for vocal competition the theme is simply “music” and “singing.” This makes it very hard to narrow down which artistic elements to focus on. I decided to make the treble clef the star of the show. I also used the five lines of the staff consistently throughout the program to create unity and line. The color palette and textures match with the rest of the season’s artwork.
Because the theme for this show was so open I was able to pull in artistic and graphic elements from other shows just for decoration throughout the event’s printed program. For example I used the pink color that was created for The Three Little Pigs and added in roses from Carmen and Arias & Encores.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, and the 40-page show program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for Celebrate Opera: A Celebration of American Music. The next slides include every spread from the 36 page program. The program brochure was laid out using Adobe InDesign and incorporates elements created in Illustrator and Photoshop.
With the artwork for this show I saw the opportunity to carry over the illustrated roses that I created and used in both of the main stage productions, Carmen and Barber of Seville. The roses fill up the stage, as if being thrown by adoring fans after a performance. This indicates the “Encore” part of the title. The “Arias” part is represented by the theatrical curtains. The title lockup uses Charcuterie Block and Adorn Coronet.
Although it looks like the title lockup and roses look like they are simply filled with color, the file is actually setup so that they are cut out of a black rectangle. This made the artwork harder to work with within Illustrator but allowed me to achieve exactly the effect that I was looking for.
Unfortunately, I was unable to get my hands on a printed version of the program since I was unable to attend this performance. With this 36 page program I paid particular attention to creating subtle variations in texture each time the rose graphics were used. The collateral for this show includes web banners, brochure thumbnail, postcard and 36-page program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for Celebrate Opera: A Celebration of American Music. The next slides include every spread from the 36 page program. The program brochure was laid out using Adobe InDesign and incorporates elements created in Illustrator and Photoshop.
This spread contains the artwork designed for The Ruby Society. I changed this page in every program so that the artwork matched the program. For example this version that's featured in Arias & Encores features roses filling the page. The version in Amazing Grace has stars and mountains to compliment the program's theme.
With the artwork for this show I saw the opportunity to carry over the illustrated roses that I created and used in both of the main stage productions, Carmen and Barber of Seville. The roses fill up the stage, as if being thrown by adoring fans after a performance. This indicates the “Encore” part of the title. The “Arias” part is represented by the theatrical curtains. The title lockup uses Charcuterie Block and Adorn Coronet.
Although it looks like the title lockup and roses look like they are simply filled with color, the file is actually setup so that they are cut out of a black rectangle. This made the artwork harder to work with within Illustrator but allowed me to achieve exactly the effect that I was looking for.
Unfortunately, I was unable to get my hands on a printed version of the program since I was unable to attend this performance. With this 36 page program I paid particular attention to creating subtle variations in texture each time the rose graphics were used. The collateral for this show includes web banners, brochure thumbnail, postcard and 36-page program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their Celebrate Opera, which was a program filled with Maestro Gretz’ personal favorites. The next slides in the album feature all of the spreads in the 32-page program. The program was laid out in Adobe InDesign and pulls in elements from Photoshop and Illustrator.
For the new season I have adopted an entirely new brand. The artwork for this season relies heavily on fabric and grunge textures. The color palette contains a full range of blues, violets and purples as well as two shades of red. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For Celebrate Opera I focused on the blues within the palette and altered the velvet sky texture I created for Susannah so that it seemed misty. I wanted to give the impression of a galaxy full of stars. I had many different ideas but eventually settled on the idea of a spotlight so that the star of the show would be the music. The script font that takes center stage is called Sign Painter and the body copy is Gotham.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their Celebrate Opera, which was a program filled with Maestro Gretz’ personal favorites. The next slides in the album feature all of the spreads in the 32-page program. The program was laid out in Adobe InDesign and pulls in elements from Photoshop and Illustrator.
This spread features a quarter page ad for the children's opera, Mr. Brewster's Invigorating Invention.
For the new season I have adopted an entirely new brand. The artwork for this season relies heavily on fabric and grunge textures. The color palette contains a full range of blues, violets and purples as well as two shades of red. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For Celebrate Opera I focused on the blues within the palette and altered the velvet sky texture I created for Susannah so that it seemed misty. I wanted to give the impression of a galaxy full of stars. I had many different ideas but eventually settled on the idea of a spotlight so that the star of the show would be the music. The script font that takes center stage is called Sign Painter and the body copy is Gotham.
Khun Monwipa Marketing Manager,ITSC, is speaking to open the seminar.
- Licensed to Thai Adobe User Group
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their Celebrate Opera, which was a program filled with Maestro Gretz’ personal favorites. The next slides in the album feature all of the spreads in the 32-page program. The program was laid out in Adobe InDesign and pulls in elements from Photoshop and Illustrator.
For the new season I have adopted an entirely new brand. The artwork for this season relies heavily on fabric and grunge textures. The color palette contains a full range of blues, violets and purples as well as two shades of red. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For Celebrate Opera I focused on the blues within the palette and altered the velvet sky texture I created for Susannah so that it seemed misty. I wanted to give the impression of a galaxy full of stars. I had many different ideas but eventually settled on the idea of a spotlight so that the star of the show would be the music. The script font that takes center stage is called Sign Painter and the body copy is Gotham.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The 31st Annual Vocal Competition. The same program is used for both days of the weekend long event, with an insert added in announcing the winners of the first round. The next frames in the album contain all the pages of the printed program. The program was laid out in InDesign and pulls in elements from Illustrator and Photoshop.
Coming up with the artwork for the Vocal Competition was surprisingly challenging. Because there is no plotline for vocal competition the theme is simply “music” and “singing.” This makes it very hard to narrow down which artistic elements to focus on. I decided to make the treble clef the star of the show. I also used the five lines of the staff consistently throughout the program to create unity and line. The color palette and textures match with the rest of the season’s artwork.
Because the theme for this show was so open I was able to pull in artistic and graphic elements from other shows just for decoration throughout the event’s printed program. For example I used the pink color that was created for The Three Little Pigs and added in roses from Carmen and Arias & Encores.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, and the 40-page show program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
Thumbnail sketch for Bizet's Carmen used online and in the 2018-2019 season brochure. The three main visual elements are present here: Carmen/Rose, Seville skyline and fan.
All of the artwork for the season was created in the span of one month so that it could be included in the season brochure mailer.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for Celebrate Opera: A Celebration of American Music. The next slides include every spread from the 36 page program. The program brochure was laid out using Adobe InDesign and incorporates elements created in Illustrator and Photoshop.
With the artwork for this show I saw the opportunity to carry over the illustrated roses that I created and used in both of the main stage productions, Carmen and Barber of Seville. The roses fill up the stage, as if being thrown by adoring fans after a performance. This indicates the “Encore” part of the title. The “Arias” part is represented by the theatrical curtains. The title lockup uses Charcuterie Block and Adorn Coronet.
Although it looks like the title lockup and roses look like they are simply filled with color, the file is actually setup so that they are cut out of a black rectangle. This made the artwork harder to work with within Illustrator but allowed me to achieve exactly the effect that I was looking for.
Unfortunately, I was unable to get my hands on a printed version of the program since I was unable to attend this performance. With this 36 page program I paid particular attention to creating subtle variations in texture each time the rose graphics were used. The collateral for this show includes web banners, brochure thumbnail, postcard and 36-page program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for Celebrate Opera: A Celebration of American Music. The next slides include every spread from the 36 page program. The program brochure was laid out using Adobe InDesign and incorporates elements created in Illustrator and Photoshop.
This spread features a full page ad for The Grand Finale with Denyce Graves.
With the artwork for this show I saw the opportunity to carry over the illustrated roses that I created and used in both of the main stage productions, Carmen and Barber of Seville. The roses fill up the stage, as if being thrown by adoring fans after a performance. This indicates the “Encore” part of the title. The “Arias” part is represented by the theatrical curtains. The title lockup uses Charcuterie Block and Adorn Coronet.
Although it looks like the title lockup and roses look like they are simply filled with color, the file is actually setup so that they are cut out of a black rectangle. This made the artwork harder to work with within Illustrator but allowed me to achieve exactly the effect that I was looking for.
Unfortunately, I was unable to get my hands on a printed version of the program since I was unable to attend this performance. With this 36 page program I paid particular attention to creating subtle variations in texture each time the rose graphics were used. The collateral for this show includes web banners, brochure thumbnail, postcard and 36-page program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for Celebrate Opera: A Celebration of American Music. The next slides include every spread from the 36 page program. The program brochure was laid out using Adobe InDesign and incorporates elements created in Illustrator and Photoshop.
With the artwork for this show I saw the opportunity to carry over the illustrated roses that I created and used in both of the main stage productions, Carmen and Barber of Seville. The roses fill up the stage, as if being thrown by adoring fans after a performance. This indicates the “Encore” part of the title. The “Arias” part is represented by the theatrical curtains. The title lockup uses Charcuterie Block and Adorn Coronet.
Although it looks like the title lockup and roses look like they are simply filled with color, the file is actually setup so that they are cut out of a black rectangle. This made the artwork harder to work with within Illustrator but allowed me to achieve exactly the effect that I was looking for.
Unfortunately, I was unable to get my hands on a printed version of the program since I was unable to attend this performance. With this 36 page program I paid particular attention to creating subtle variations in texture each time the rose graphics were used. The collateral for this show includes web banners, brochure thumbnail, postcard and 36-page program.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their Celebrate Opera, which was a program filled with Maestro Gretz’ personal favorites. The next slides in the album feature all of the spreads in the 32-page program. The program was laid out in Adobe InDesign and pulls in elements from Photoshop and Illustrator.
For the new season I have adopted an entirely new brand. The artwork for this season relies heavily on fabric and grunge textures. The color palette contains a full range of blues, violets and purples as well as two shades of red. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For Celebrate Opera I focused on the blues within the palette and altered the velvet sky texture I created for Susannah so that it seemed misty. I wanted to give the impression of a galaxy full of stars. I had many different ideas but eventually settled on the idea of a spotlight so that the star of the show would be the music. The script font that takes center stage is called Sign Painter and the body copy is Gotham.