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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.
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. 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.
Football program cover for the Westmoore High School Athletic department, Adobe Illustrator/InDesign.
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.
For each show, the web banners were always the most challenging piece of art to design. This is because the artwork was all concepted with verticality in mind, so it had to be completely rethought for a horizontal space.
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 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 Vocal Competition.
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 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 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.
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.