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This brochure is designed with .125" overprint margins at A4" dimensions trifold. This template uses smart objects to allow better resolutions and layout for your projects.
This brochure is designed with .125" overprint margins at A4" dimensions trifold. This template uses smart objects to allow better resolutions and layout for your projects.
Stock photo can be quite useful. I can get an Adobe Stock account for a monthly fee - or I can just buy single images, when ever I need to. This is Adobe Stock photo used for a pH-Skincare brochure. In the right hand side image, I simply put in my clients product in the hand of the pretty model. We save a lot of time and money, since I don't need to shoot models in the studio :-) The first image was shot at Leon Petersen A/S, Ishøj, Denmark, who kindly let me use their Showroom.
PS: This is just a test (small files with watermarks) for my client to review.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes six productions and the yearly GALA fundraiser.
In order to get the season brochure ready to send by early June the artwork for all productions needs to be completed in a little under two months so that it can be featured in said direct mailer.
The dark and brooding artwork for this season is a combination of themes and iconography from the two main stage productions, Puccini’s Tosca and Floyd’s Susannah. The two seemingly unrelated operas share quite a bit in common including themes of lust, lost innocence and faithful, strong women torn down by their corrupt religious leaders.
A bloodied dagger drips into a red river that cuts a path through the blue Appalachian mountains. Silhouetted against a velvet sky, heavy with diamonds, is a stained cross. Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, and Scarpia is meant to take after him, so the dagger is actually modeled after one that Mussolini owned. The Appalachian mountains where Susannah grew up are textured with burlap. I chose this to add a rustic feel to the artwork, and also because burlap is hot and itchy.
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 distinct shades of red: fresh blood and drying blood. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season. The predominant fonts are Rhode, Sign Painter for titles – although both Susannah and Tosca feature some hand lettering – and Gotham for all body copy.
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.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes six productions and the yearly GALA fundraiser.
In order to get the season brochure ready to send by early June the artwork for all productions needs to be completed in a little under two months so that it can be featured in said direct mailer.
The dark and brooding artwork for this season is a combination of themes and iconography from the two main stage productions, Puccini’s Tosca and Floyd’s Susannah. The two seemingly unrelated operas share quite a bit in common including themes of lust, lost innocence and faithful, strong women torn down by their corrupt religious leaders.
A bloodied dagger drips into a red river that cuts a path through the blue Appalachian mountains. Silhouetted against a velvet sky, heavy with diamonds, is a stained cross. Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, and Scarpia is meant to take after him, so the dagger is actually modeled after one that Mussolini owned. The Appalachian mountains where Susannah grew up are textured with burlap. I chose this to add a rustic feel to the artwork, and also because burlap is hot and itchy.
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 distinct shades of red: fresh blood and drying blood. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season. The predominant fonts are Rhode, Sign Painter for titles – although both Susannah and Tosca feature some hand lettering – and Gotham for all body copy.
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.
Kajorn Bhirakit is speaking for InDesign and Digital Magazine session
- Licensed to Thai Adobe User Group
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...
The video is going faded out - and welcome to Adobe CS5.5 Road show by IT Solution
- Licensed to Thai Adobe User Group
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 had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes six productions and the yearly GALA fundraiser.
In order to get the season brochure ready to send by early June the artwork for all productions needs to be completed in a little under two months so that it can be featured in said direct mailer.
The dark and brooding artwork for this season is a combination of themes and iconography from the two main stage productions, Puccini’s Tosca and Floyd’s Susannah. The two seemingly unrelated operas share quite a bit in common including themes of lust, lost innocence and faithful, strong women torn down by their corrupt religious leaders.
A bloodied dagger drips into a red river that cuts a path through the blue Appalachian mountains. Silhouetted against a velvet sky, heavy with diamonds, is a stained cross. Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, and Scarpia is meant to take after him, so the dagger is actually modeled after one that Mussolini owned. The Appalachian mountains where Susannah grew up are textured with burlap. I chose this to add a rustic feel to the artwork, and also because burlap is hot and itchy.
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 distinct shades of red: fresh blood and drying blood. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season. The predominant fonts are Rhode, Sign Painter for titles – although both Susannah and Tosca feature some hand lettering – and Gotham for all body copy.
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.
Teerasej Jiraphatchandej and Any Screen video for Adobe CS 5.5 road show.
The video is showing 3D object on mobile tablet.
- Licensed to Thai Adobe User Group
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes six productions and the yearly GALA fundraiser.
In order to get the season brochure ready to send by early June the artwork for all productions needs to be completed in a little under two months so that it can be featured in said direct mailer.
The dark and brooding artwork for this season is a combination of themes and iconography from the two main stage productions, Puccini’s Tosca and Floyd’s Susannah. The two seemingly unrelated operas share quite a bit in common including themes of lust, lost innocence and faithful, strong women torn down by their corrupt religious leaders.
A bloodied dagger drips into a red river that cuts a path through the blue Appalachian mountains. Silhouetted against a velvet sky, heavy with diamonds, is a stained cross. Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, and Scarpia is meant to take after him, so the dagger is actually modeled after one that Mussolini owned. The Appalachian mountains where Susannah grew up are textured with burlap. I chose this to add a rustic feel to the artwork, and also because burlap is hot and itchy.
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 distinct shades of red: fresh blood and drying blood. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season. The predominant fonts are Rhode, Sign Painter for titles – although both Susannah and Tosca feature some hand lettering – and Gotham for all body copy.
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.
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...
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...