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Procedure for re-wiring a solenoid to add addition equipment.
Website portfolio www.markrberggren.com/Portfolio_new.html
Done 1 year after the original Who Said What Art Show began, this piece is part of a quartet in which a new style of illustration was explored, making use of a more intricate background.
Pearl Mae Bailey originally wrote this quote as part of her first book, an autobiography called "The Raw Pear", which she wrote in 1968 in the latter part of her very successful acting and singing career.
if you want one like those one for your website or your computer or anything
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if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
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.
I am quite pleased with how both pages of this spread came together. I like the sharp juxtaposition of the yellow and red backgrounds that I created. I link the two pages by having the rose-decorated fan spill over the margin. Additionally, on the left I watermark the page with skyline of Seville, while on the righthand Carmen herself makes a (not-so-subtle) appearance.
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.
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.
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
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 features a half page ad for The Grand Finale. The artwork for this show was a bit of an outlier because I needed to use the photography provided to me of Denyce Graves.
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.
Kerry Kleid opened the doors for professional women motocross riders by becoming the first woman to possess an American Motorcyclist Association professional motocross license, as well as being inducted into the AMA Hall of Fame. She applied for the license in the 1970s so that she could enter an all-male racing competition. Although her request was initially denied, she eventually received the license, and consequently succeeded in progressing from the novice to expert class in less than a year at the age of 21. Kleid was also a highly respected member of the Metropolitan Sports Committee (MSC).
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.
This spread contains the artwork designed for The Ruby Society. I changed this page in every program so that the artwork matched the program. For example this version that's featured in Carmen has a wash of roses. (A more detailed version of these same roses make themselves front and center in the Arias & Encores program.) The version in Amazing Grace has stars and mountains to compliment the program's theme.
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.
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
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.
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
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.
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
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.
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
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.
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.
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
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.
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.
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper
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.
if you want one like those one for your website or your computer or anything
here is the link : www.fiverr.com/yasserimzi/design-clean-minimalist-wallpaper