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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
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
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
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...
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. Discurso de Alfredo R. Cebrián, CEO de Cuatroochenta. 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
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 graphics for their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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.
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
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...
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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.
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
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...
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...
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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.
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 graphics for their production of Bizet’s Carmen.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. The way that she is moving her dress with her hand is also purposefully reminiscent of a matador waving his red cape. To bring Carmen to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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.
Using an Adobe Stock image for advertising purposes.
Please note, that the watermarks are gone :-)
Licensing Adobe Stock is not that expensive. Appr. 12$ a piece. Or an Adobe Stock account, with a monthly fee of 33$ will give you 10 images every month. I could never make this image for 12 $. Naturally there's a risk, that this woman appears on several adds for many different products - but I guess we'll just have to take that chance :-)
It's interesting, that the original keywords (tags) and EXIF data is still embedded in the stock image. It was taken with a Phase One Camera by STUDIO GRAND OUEST - Fotolia. I forgot to disable meta data while saving for web :-)
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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.
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...
Get your design done for a reasonable price on Fiverr or Upwork.
Fiverr: www.fiverr.com/naleen123
Upwork: www.upwork.com/fl/naleengraphics
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
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...
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
This spread includes a quarter page ad for the Annual Vocal Competition.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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 their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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 their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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 their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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.
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 graphics for their production of Bizet’s Carmen.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. The way that she is moving her dress with her hand is also purposefully reminiscent of a matador waving his red cape. To bring Carmen to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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 their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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 their production of Bizet’s Carmen. The next frames in the album contain all of the pages for the printed show program. The program was laid out using Adobe InDesign and pulls in elements created in Photoshop and Illustrator.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. To bring her to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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.
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 graphics for their production of Bizet’s Carmen.
Out of the season’s eight shows, creating the artwork for Carmen was definitely my favorite. The concept came together with ease. The silhouette of the eponymous Carmen dominates the artwork. She is seductive and a bit risqué. Her flamenco style dress doubles as a rose, with its center directly between her spread legs. The way that she is moving her dress with her hand is also purposefully reminiscent of a matador waving his red cape. To bring Carmen to life I highlighted her lip, fan and an earring in the golden yellow color that is part of the season’s palette.
The title is placed dramatically above her head and the Seville skyline in Adorn Coronet. The other font used is Charcuterie Block. Depending on the layout the main elements of rose-decorated fan, skyline and Carmen herself became larger or smaller to accommodate changes in ratio.
The collateral for the show includes web banners, thumbnail for use on web and in print, postcard, various print ads, a restaurant table card, large format 5x9’ banner, 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 (the other one being Rossini’s Barber of Seville, which opened the season.) 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.
Brightstripe is a social enterprise and Community Interest Company (CIC) who organise cultural and sporting events and activities throughout Herefordshire. The Nth Degree were part of a consortium that developed a marketing strategy, brand guidelines, website and online software.
Brand guidelines, collateral and a website were created to reflect the new positioning and key messages for Brightstripe – developed by marketing strategist, Dynamic Heart, after extensive research. Dynamic Heart lead all the key stages of the project to ensure everything was consistently aligned to Brightstripe’s marketing strategy. The brand guidelines, collateral and website design was created by independent designer, Graeme Stoddart.
In response to Brightstripe’s staff and customer feedback, we developed a bespoke online software and a publishing solution for Brightstripe to remove manual administrative and publishing processes which were time consuming and inefficient.