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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.
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સૌને ░ ગુજરાત ░ સ્થાપના ░ દિવસ ░ ની ░ શુભકામના!!!
અભિમાન છે ગુજરાતી હોવાનો, ગર્વ છે ગુજરાતમાં રહેવાનો
"જય ░ જય ░ ગરવી ░ ગુજરાત"🍀🌎🍀
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 Bizet's Carmen.
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.
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