View allAll Photos Tagged AdobeInDesign
Kajorn is speaking to audience in Adobe CS 5.5 road show at Sheraton Grand Sukhumvit
- Licensed to Thai Adobe User Group
Kajorn is introducing to fundamental of Digital Publishing - Adobe CS 5.5 Road show
- Licensed to Thai Adobe User Group
Hi There,
I am a professional graphic designer. I designed print items for clients worldwide. You can ask me for a draft of your design; then if you satisfied, you could proceed to order.
Hire me : tinyurl.com/y2amod9o
My Services :
Annual report
Sales Report
Corporate proposals
Company profile
White paper
Newsletter
Brand Guide
Business Brochure
Real state Brochure
Technology Brochure
Business Catalog
Corporate Flyer
Bi-fold Brochure
Tri-fold Brochure
Quad-fold Brochure
A4, A5, Square Brochure
Magazine
University Prospectus
Product Catalog
Lookbook
Workbook
Cookbook
Casestudy
Leadmagnet
ETC
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The 31st Annual Vocal Competition. The same program is used for both days of the weekend long event, with an insert added in announcing the winners of the first round. The next frames in the album contain all the pages of the printed program. The program was laid out in InDesign and pulls in elements from Illustrator and Photoshop.
Coming up with the artwork for the Vocal Competition was surprisingly challenging. Because there is no plotline for vocal competition the theme is simply “music” and “singing.” This makes it very hard to narrow down which artistic elements to focus on. I decided to make the treble clef the star of the show. I also used the five lines of the staff consistently throughout the program to create unity and line. The color palette and textures match with the rest of the season’s artwork.
Because the theme for this show was so open I was able to pull in artistic and graphic elements from other shows just for decoration throughout the event’s printed program. For example I used the pink color that was created for The Three Little Pigs and added in roses from Carmen and Arias & Encores.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 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 (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
The colors didn't print as vibrantly as I would have hoped, but seeing my artwork larger than life, taking up the full length of a building was one of the coolest things ever!
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
For this program I was provided three photographs of the lovely and talented Denyce Graves for use in the show’s marketing materials. The use of photography meant that the artwork for this show would definitely be an outlier when compared with the artwork used in the season’s other seven shows. To help make the artwork for this show cohesive and conform to the season’s brand I heavily Photoshopped the photos I was provided of Ms. Graves. I did not alter her appearance in any way, but added watercolor brush strokes, textures and colors from the season’s palette.
Additionally I carried through the same fonts that I used on the other shows. The artwork for this show was challenging to work with because unlike the other shows it was set up primarily in Photoshop and therefor is raster as opposed to vector.
The collateral for the show includes web banners, thumbnail for use on web and in print, various print ads, 5x9’ Maryland Hall banner, and the 48-page show program. The length of the program is due to the many pages of translations.
My overarching goal for the Annapolis Opera 2018-2019 season was to have a cohesive visual brand that carried across all eight productions, and especially tied together the two main-stage shows (Rossini’s Barber of Seville & Bizet’s Carmen). I did this by using the same color palette (reds & yellows) and textures in every production. Additionally, by limiting myself to three fonts I created unity. For titles and subheadings, I used either the script font Adorn Coronet with its many ligatures and swoops, or Charcuterie Block. I started the season with Adorn Roman, but this font did not have any variations in weight, so I ended up changing to Acuta after the first program. The first three fonts were all created by Laura Worthington, so they worked well together. Additionally, silhouettes, and cutouts feature prominently in the artwork of almost all eight shows.
Hi There,
I am a professional graphic designer. I designed print items for clients worldwide. You can ask me for a draft of your design; then if you satisfied, you could proceed to order.
Hire me : tinyurl.com/y2amod9o
My Services :
Annual report
Sales Report
Corporate proposals
Company profile
White paper
Newsletter
Brand Guide
Business Brochure
Real state Brochure
Technology Brochure
Business Catalog
Corporate Flyer
Bi-fold Brochure
Tri-fold Brochure
Quad-fold Brochure
A4, A5, Square Brochure
Magazine
University Prospectus
Product Catalog
Lookbook
Workbook
Cookbook
Casestudy
Leadmagnet
ETC
24 x 26 inch, seamless repeat pattern tile, created in Adobe Illustrator, from compositional sketch ref.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes the yearly live & silent auction fundraiser called the Gala Celebration. Because the event is a fundraiser for the opera every year, I create this program and artwork pro bono as a donation to the opera. In addition to being the opera’s largest fundraising event of the year, this year’s Gala was also the kick-off to a yearlong celebration of and farewell to Maestro Ronald Gretz and Director Braxton Peters after their long and prolific careers with Annapolis Opera.
The artwork for Gala Celebration relies heavily on the textured kaleidoscope graphic that I created for the children’s opera, Mr. Brewster’s Invigorating Invention. I used the hexagon in several different patterns throughout the program, all overlaying the burlap texture that I developed for Susannah.
I purposefully have curtains framing the artwork for this show and the final show of the season, aptly called, The Grand Finale. My idea was to have the curtains rising and falling on the season by doing this.
The font for the word “GALA” is Sign Painter but it has been modified in a decorative way using Adobe Illustrator. The other font is Rhode and all the body copy within the program is Gotham.
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.
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. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For this particular show I focused on the lighter color variations within the scheme.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes the yearly live & silent auction fundraiser called the Gala Celebration. Because the event is a fundraiser for the opera every year, I create this program and artwork pro bono as a donation to the opera. In addition to being the opera’s largest fundraising event of the year, this year’s Gala was also the kick-off to a yearlong celebration of and farewell to Maestro Ronald Gretz and Director Braxton Peters after their long and prolific careers with Annapolis Opera.
The artwork for Gala Celebration relies heavily on the textured kaleidoscope graphic that I created for the children’s opera, Mr. Brewster’s Invigorating Invention. I used the hexagon in several different patterns throughout the program, all overlaying the burlap texture that I developed for Susannah.
I purposefully have curtains framing the artwork for this show and the final show of the season, aptly called, The Grand Finale. My idea was to have the curtains rising and falling on the season by doing this.
The font for the word “GALA” is Sign Painter but it has been modified in a decorative way using Adobe Illustrator. The other font is Rhode and all the body copy within the program is Gotham.
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.
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. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For this particular show I focused on the lighter color variations within the scheme.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes the yearly live & silent auction fundraiser called the Gala Celebration. Because the event is a fundraiser for the opera every year, I create this program and artwork pro bono as a donation to the opera. In addition to being the opera’s largest fundraising event of the year, this year’s Gala was also the kick-off to a yearlong celebration of and farewell to Maestro Ronald Gretz and Director Braxton Peters after their long and prolific careers with Annapolis Opera.
The artwork for Gala Celebration relies heavily on the textured kaleidoscope graphic that I created for the children’s opera, Mr. Brewster’s Invigorating Invention. I used the hexagon in several different patterns throughout the program, all overlaying the burlap texture that I developed for Susannah.
I purposefully have curtains framing the artwork for this show and the final show of the season, aptly called, The Grand Finale. My idea was to have the curtains rising and falling on the season by doing this.
The font for the word “GALA” is Sign Painter but it has been modified in a decorative way using Adobe Illustrator. The other font is Rhode and all the body copy within the program is Gotham.
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.
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. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For this particular show I focused on the lighter color variations within the scheme.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their mainstage production of Puccini’s Tosca. The next slides in the album feature every spread in the 36-page program. the program was set up in Adobe InDesign and features elements from Photoshop and Illustrator. I worked hard to infuse the show's branding wherever possible.
For the title page spread I washed everything in red and finally got to overlay the knife graphic onto the iron cross.
Tosca was the most challenging of the seven productions to create artwork for because I had so much to work with. The artwork for Susannah leapt fully formed from my mind onto the computer canvas, while the artwork for Tosca had many rounds of revisions and went back to the drawing board on several occasions.
I worked on the artwork for the two mainstage shows first and in tandem because this branding would be carried through the entire season. The result of their marriage is dark and brooding artwork that combines the themes and iconography from the two seemingly unrelated operas. Lust, loss of innocence and faith – strong women are torn down by their corrupt and supposedly religious leaders in both shows.
Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, as opposed to the traditional year 1800 Napoleonic setting. This new World War II setting added yet another layer of meaning to an already emotionally complex show. Because I had plenty to work with, it was at first hard to narrow down what I wanted the focus of the artwork to be.
The artwork for Tosca 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. Besides the hand-lettered title lockup, the other fonts used for the show are Rhodes for subheadings and Gotham for all body copy.
The end result has the title of Tosca larger than life, hand-lettered in a way that is reminiscent of World War II propaganda posters. The “T” in Tosca is the dagger that is used to kill Scarpia, and it drips blood onto a cross designed to resemble the German Iron Cross. The dagger itself is modeled after one owned by Benito Mussolini. In this production Mussolini is represented in the ruthless Scarpia. I wanted to include the figures of Tosca and Scarpia in the artwork but ended up choosing to exclude them so as to keep the messaging clear and uncluttered.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes the yearly live & silent auction fundraiser called the Gala Celebration. Because the event is a fundraiser for the opera every year, I create this program and artwork pro bono as a donation to the opera. In addition to being the opera’s largest fundraising event of the year, this year’s Gala was also the kick-off to a yearlong celebration of and farewell to Maestro Ronald Gretz and Director Braxton Peters after their long and prolific careers with Annapolis Opera.
The artwork for Gala Celebration relies heavily on the textured kaleidoscope graphic that I created for the children’s opera, Mr. Brewster’s Invigorating Invention. I used the hexagon in several different patterns throughout the program, all overlaying the burlap texture that I developed for Susannah.
I purposefully have curtains framing the artwork for this show and the final show of the season, aptly called, The Grand Finale. My idea was to have the curtains rising and falling on the season by doing this.
The font for the word “GALA” is Sign Painter but it has been modified in a decorative way using Adobe Illustrator. The other font is Rhode and all the body copy within the program is Gotham.
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.
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. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For this particular show I focused on the lighter color variations within the scheme.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their mainstage production of Puccini’s Tosca. The next slides in the album feature every spread in the 36-page program. the program was set up in Adobe InDesign and features elements from Photoshop and Illustrator. I worked hard to infuse the show's branding wherever possible.
The black and white spreads were somewhat challenging as I had to make sure none were too dark. In this spread he can lightly see the dagger overlaying the iron cross behind the copy.
Tosca was the most challenging of the seven productions to create artwork for because I had so much to work with. The artwork for Susannah leapt fully formed from my mind onto the computer canvas, while the artwork for Tosca had many rounds of revisions and went back to the drawing board on several occasions.
I worked on the artwork for the two mainstage shows first and in tandem because this branding would be carried through the entire season. The result of their marriage is dark and brooding artwork that combines the themes and iconography from the two seemingly unrelated operas. Lust, loss of innocence and faith – strong women are torn down by their corrupt and supposedly religious leaders in both shows.
Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, as opposed to the traditional year 1800 Napoleonic setting. This new World War II setting added yet another layer of meaning to an already emotionally complex show. Because I had plenty to work with, it was at first hard to narrow down what I wanted the focus of the artwork to be.
The artwork for Tosca 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. Besides the hand-lettered title lockup, the other fonts used for the show are Rhodes for subheadings and Gotham for all body copy.
The end result has the title of Tosca larger than life, hand-lettered in a way that is reminiscent of World War II propaganda posters. The “T” in Tosca is the dagger that is used to kill Scarpia, and it drips blood onto a cross designed to resemble the German Iron Cross. The dagger itself is modeled after one owned by Benito Mussolini. In this production Mussolini is represented in the ruthless Scarpia. I wanted to include the figures of Tosca and Scarpia in the artwork but ended up choosing to exclude them so as to keep the messaging clear and uncluttered.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their mainstage production of Puccini’s Tosca. The next slides in the album feature every spread in the 36-page program. the program was set up in Adobe InDesign and features elements from Photoshop and Illustrator.
Tosca was the most challenging of the seven productions to create artwork for because I had so much to work with. The artwork for Susannah leapt fully formed from my mind onto the computer canvas, while the artwork for Tosca had many rounds of revisions and went back to the drawing board on several occasions.
I worked on the artwork for the two mainstage shows first and in tandem because this branding would be carried through the entire season. The result of their marriage is dark and brooding artwork that combines the themes and iconography from the two seemingly unrelated operas. Lust, loss of innocence and faith – strong women are torn down by their corrupt and supposedly religious leaders in both shows.
Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, as opposed to the traditional year 1800 Napoleonic setting. This new World War II setting added yet another layer of meaning to an already emotionally complex show. Because I had plenty to work with, it was at first hard to narrow down what I wanted the focus of the artwork to be.
The artwork for Tosca 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. Besides the hand-lettered title lockup, the other fonts used for the show are Rhodes for subheadings and Gotham for all body copy.
The end result has the title of Tosca larger than life, hand-lettered in a way that is reminiscent of World War II propaganda posters. The “T” in Tosca is the dagger that is used to kill Scarpia, and it drips blood onto a cross designed to resemble the German Iron Cross. The dagger itself is modeled after one owned by Benito Mussolini. In this production Mussolini is represented in the ruthless Scarpia. I wanted to include the figures of Tosca and Scarpia in the artwork but ended up choosing to exclude them so as to keep the messaging clear and uncluttered.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes the yearly live & silent auction fundraiser called the Gala Celebration. Because the event is a fundraiser for the opera every year, I create this program and artwork pro bono as a donation to the opera. In addition to being the opera’s largest fundraising event of the year, this year’s Gala was also the kick-off to a yearlong celebration of and farewell to Maestro Ronald Gretz and Director Braxton Peters after their long and prolific careers with Annapolis Opera.
The artwork for Gala Celebration relies heavily on the textured kaleidoscope graphic that I created for the children’s opera, Mr. Brewster’s Invigorating Invention. I used the hexagon in several different patterns throughout the program, all overlaying the burlap texture that I developed for Susannah.
I purposefully have curtains framing the artwork for this show and the final show of the season, aptly called, The Grand Finale. My idea was to have the curtains rising and falling on the season by doing this.
The font for the word “GALA” is Sign Painter but it has been modified in a decorative way using Adobe Illustrator. The other font is Rhode and all the body copy within the program is Gotham.
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.
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. Both of these are distinctly different than the warm red-orange that dominated the palette of the 2018-2019 season.
My goal for the season was to create a cohesive style for all seven shows, so the fonts, color palette and textures carry from one production to the next. For this particular show I focused on the lighter color variations within the scheme.
Organization name - Department of Primary Industries and Regional Development
It was an Australian Government Departmental Report in 2021.
Department Service
We work to develop and protect Western Australia’s agriculture and food sector and aquatic resources, and build vibrant regions with strong economies.
You Can Contact with us :
Click Here for direct Contact : delographic@gmail.com
what's up: +8801911054396
Direct Order On Fiverr: www.fiverr.com/delographics
Direct Order On Upwork: www.upwork.com/services/product/a-brochure-trifold-report...
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their mainstage production of Puccini’s Tosca. The next slides in the album feature every spread in the 36-page program. the program was set up in Adobe InDesign and features elements from Photoshop and Illustrator.
Tosca was the most challenging of the seven productions to create artwork for because I had so much to work with. The artwork for Susannah leapt fully formed from my mind onto the computer canvas, while the artwork for Tosca had many rounds of revisions and went back to the drawing board on several occasions.
I worked on the artwork for the two mainstage shows first and in tandem because this branding would be carried through the entire season. The result of their marriage is dark and brooding artwork that combines the themes and iconography from the two seemingly unrelated operas. Lust, loss of innocence and faith – strong women are torn down by their corrupt and supposedly religious leaders in both shows.
Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, as opposed to the traditional year 1800 Napoleonic setting. This new World War II setting added yet another layer of meaning to an already emotionally complex show. Because I had plenty to work with, it was at first hard to narrow down what I wanted the focus of the artwork to be.
The artwork for Tosca 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. Besides the hand-lettered title lockup, the other fonts used for the show are Rhodes for subheadings and Gotham for all body copy.
The end result has the title of Tosca larger than life, hand-lettered in a way that is reminiscent of World War II propaganda posters. The “T” in Tosca is the dagger that is used to kill Scarpia, and it drips blood onto a cross designed to resemble the German Iron Cross. The dagger itself is modeled after one owned by Benito Mussolini. In this production Mussolini is represented in the ruthless Scarpia. I wanted to include the figures of Tosca and Scarpia in the artwork but ended up choosing to exclude them so as to keep the messaging clear and uncluttered.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their mainstage production of Puccini’s Tosca. The next slides in the album feature every spread in the 36-page program. the program was set up in Adobe InDesign and features elements from Photoshop and Illustrator.
Tosca was the most challenging of the seven productions to create artwork for because I had so much to work with. The artwork for Susannah leapt fully formed from my mind onto the computer canvas, while the artwork for Tosca had many rounds of revisions and went back to the drawing board on several occasions.
I worked on the artwork for the two mainstage shows first and in tandem because this branding would be carried through the entire season. The result of their marriage is dark and brooding artwork that combines the themes and iconography from the two seemingly unrelated operas. Lust, loss of innocence and faith – strong women are torn down by their corrupt and supposedly religious leaders in both shows.
Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, as opposed to the traditional year 1800 Napoleonic setting. This new World War II setting added yet another layer of meaning to an already emotionally complex show. Because I had plenty to work with, it was at first hard to narrow down what I wanted the focus of the artwork to be.
The artwork for Tosca 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. Besides the hand-lettered title lockup, the other fonts used for the show are Rhodes for subheadings and Gotham for all body copy.
The end result has the title of Tosca larger than life, hand-lettered in a way that is reminiscent of World War II propaganda posters. The “T” in Tosca is the dagger that is used to kill Scarpia, and it drips blood onto a cross designed to resemble the German Iron Cross. The dagger itself is modeled after one owned by Benito Mussolini. In this production Mussolini is represented in the ruthless Scarpia. I wanted to include the figures of Tosca and Scarpia in the artwork but ended up choosing to exclude them so as to keep the messaging clear and uncluttered.
I had the privilege to create all of the artwork for the Annapolis Opera 2019-2020 Season. This includes artwork for their mainstage production of Puccini’s Tosca. The next slides in the album feature every spread in the 36-page program. the program was set up in Adobe InDesign and features elements from Photoshop and Illustrator. I worked hard to infuse the show's branding wherever possible.
Tosca was the most challenging of the seven productions to create artwork for because I had so much to work with. The artwork for Susannah leapt fully formed from my mind onto the computer canvas, while the artwork for Tosca had many rounds of revisions and went back to the drawing board on several occasions.
I worked on the artwork for the two mainstage shows first and in tandem because this branding would be carried through the entire season. The result of their marriage is dark and brooding artwork that combines the themes and iconography from the two seemingly unrelated operas. Lust, loss of innocence and faith – strong women are torn down by their corrupt and supposedly religious leaders in both shows.
Annapolis Opera’s production of Tosca is set in Mussolini-era Rome, as opposed to the traditional year 1800 Napoleonic setting. This new World War II setting added yet another layer of meaning to an already emotionally complex show. Because I had plenty to work with, it was at first hard to narrow down what I wanted the focus of the artwork to be.
The artwork for Tosca 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. Besides the hand-lettered title lockup, the other fonts used for the show are Rhodes for subheadings and Gotham for all body copy.
The end result has the title of Tosca larger than life, hand-lettered in a way that is reminiscent of World War II propaganda posters. The “T” in Tosca is the dagger that is used to kill Scarpia, and it drips blood onto a cross designed to resemble the German Iron Cross. The dagger itself is modeled after one owned by Benito Mussolini. In this production Mussolini is represented in the ruthless Scarpia. I wanted to include the figures of Tosca and Scarpia in the artwork but ended up choosing to exclude them so as to keep the messaging clear and uncluttered.