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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.
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.
Teerasej and Kajorn are demonstrating new feature in Adobe Dreamweaver CS 5.5
- Licensed to Thai Adobe User Group
Teerasej is introducing audience to new mobile publishing feature in Adobe CS 5.5
- Licensed to Thai Adobe User Group
I created all of the artwork for the Annapolis Opera’s 2018-2019 season, including graphics for The Grand Finale starring Denyce Graves.
This spread features both the specialized artwork for The Ruby Society and the brand new artwork for the 2019-2020 season! This iteration of the season artwork was put together fairly quickly bet the elements of the knife, river of blood and blue mountains remain true. Once I get into truly designing for the next season I change fonts and textures based on my research.
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.
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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.
This spread features a half page ad for an upcoming show, Celebrate Opera.
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.
#companyprofile #brochuredesign #companyprofiledesign #annualreport #businessprofile #businessplan #brochure #booklet #businessbrochure #businessproposal #proposal #catalog #bookletdesign #trifold #bifoldbrochure #trifold #brochurebusiness #flyers #indesign #bifold #report #flyerprofile #productcatalog #companybrochure #businessflyer #adobeindesign #ebook #ebookdesign #socialmediadesign
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A product brochure can make more sell for a business. I worked an Australian client. It was Hybrid Trakker product company. This company want to improve business.
You can Contanct with me for your Project Design in Adobe InDesign.
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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.
The front of the gala invitation features prominent type lockup of Sign Painter and Rhodes. The artwork surrounding it is a variation on the textured kaleidoscope pattern created for Mr. Brewster's Invigorating Invention. I varied the opacity on each hexa
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.
Included in the GALA Celebration invitation were two inserts, and RSVP card & cruise raffle card. Both cards are designed with event branding and textures.
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.