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"Develop a reportage. Edit it. Sequence it. You have two and a half days. Go!" - Christopher Morris of VII. (Long story short.)
--
Please do not use my pictures without prior agreement. All rights reserved. Copyright by Erik Schrader.
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
"Develop a reportage. Edit it. Sequence it. You have two and a half days. Go!" - Christopher Morris of VII. (Long story short.)
--
Please do not use my pictures without prior agreement. All rights reserved. Copyright by Erik Schrader.
A leaflet I designed publicising The Fair Trade Way, a walk between Fairtrade Towns in the UK.
The leaflet has been commissioned and will be distributed by The Co-operative to all their staff members.
"Develop a reportage. Edit it. Sequence it. You have two and a half days. Go!" - Christopher Morris of VII. (Long story short.)
--
Please do not use my pictures without prior agreement. All rights reserved. Copyright by Erik Schrader.
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
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 Amazing Grace has stars and mountains to compliment the program's theme. The version in Barber of Seville has a fan with roses at the bottom.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
Adobe CS6. Creative Direction and Design by Tolleson. 2012
CS6 case study:
Inside look at Tolleson and CS6:
tv.adobe.com/watch/adobe-cs6-artist-series/artist-profile...
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
Presentación oficial de 480interactive en la sala El Cubo del área Central de Diseño en Matadero Madrid. 480interactive es la herramienta desarrollada por Cuatroochenta para convertir, sin conocimientos de programación, publicaciones de Adobe InDesign en apps interactivas para iPad y tablets Android. Jueves, 17 de octubre de 2013.
Fotos: Pablo Gómez Iglesias.
Más información: www.480interactive.com/blog/disenadores-editores-agencias...
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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 the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
This spread includes a full page advertisement for Bizet's Carmen. Additionally there is a space for IronMark, responsible for printing the programs, to put their own half page advertisement.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
"Develop a reportage. Edit it. Sequence it. You have two and a half days. Go!" - Christopher Morris of VII. (Long story short.)
--
Please do not use my pictures without prior agreement. All rights reserved. Copyright by Erik Schrader.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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 the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
This spread includes custom themed black and white artwork on the "Thank You" page. In each program I used artistic elements from the main show graphic throughout the whole program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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 the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
I am particularly pleased with how well the balance of the full title page turned out.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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 the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
This spread includes a full page ad for the annual Vocal Competition.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
"Develop a reportage. Edit it. Sequence it. You have two and a half days. Go!" - Christopher Morris of VII. (Long story short.)
--
Please do not use my pictures without prior agreement. All rights reserved. Copyright by Erik Schrader.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
Ad/ Flier/ Menu created by K. Fairbanks for fictional cupcake store, using two spot colors and black, with tints of the two spot colors utilized. Created in page layout software InDesign, with some graphical work done in Illustrator.
(The white stroke/border on both pieces is for internet display purposes only. If this piece were to be printed for a client, it would not have the white border.)
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.
Hire Naleen for Exceptional Graphic Design! 🎨✨Don't hesitate to reach out to me on Flickr to discuss your project! Let's create something amazing together! ✉️✨ #DesignsWithNaleen #GraphicDesignExpert
"Develop a reportage. Edit it. Sequence it. You have two and a half days. Go!" - Christopher Morris of VII. (Long story short.)
--
Please do not use my pictures without prior agreement. All rights reserved. Copyright by Erik Schrader.
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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 the show Amazing Grace: A journey from Opera to Gospel. The following slides in the album include all 36 pages printed in the program.
In order to create artwork for this program I first did some research on gospel music and its origins. I watched a short documentary and discovered the wonderful music and voice of Mahalia Jackson. This was a very rewarding project because I got to learn about a musical genre that I didn’t have a whole lot of prior knowledge about.
In the artwork for the show, I wanted to connect the two genres visually, so I framed the artwork in red, theatrical curtains. The woman singing could easily be wearing a dramatic flowing dress while performing as an opera diva or she could be wearing choir robes and singing gospel. The curtains open onto a winding path coming down from the mountains. The pathway symbolizes both the connection between opera and gospel and also the journey taken by enslaved Africans to escape from their bondage. Gospel music has its roots in that time period, so I thought the connection was important to include. Additionally, stars were an important symbol and navigational tool for enslaved peoples escaping to freedom, and operatic performers are often referred to as stars. So, I was sure to include plenty!
I played around a lot with what color to make the stars, white or gold. I eventually settled on gold because I wanted it to look like the stars were simply cut out of the black "fabric" of the night. I wanted to allude to the quilts that were used to signal people traveling the Underground Railroad.
The background art was created in Photoshop using a set of watercolor brushes. The program was set up using InDesign and the vector artwork featured within was setup in Illustrator. The collateral for Amazing Grace includes a set of website sliders, season program artwork and ads, large format building banner, and the 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.