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.

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.

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

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

cartoon portrait with vector format for Facebook, tweeter , Instagram and other social media as a display photo . Find me here

bit.ly/34r42Z2

Artwork created for animated advert, commissioned by Unilever for Bounty Paper Towels. Created using Adobe Illustrator, later animated with Adobe After Effects. Characters represent the various market segments.

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

Red Air Jordan Camro 4s

En verdad me gusto mucho retratarte eres una gran chica y te tengo mucho aprecio ... quiero que tomes esto como un regalo de grado anticipado jajajaj 🔥🔥🔥 #lovevectors #visforvector #vectorartwork #vectorillustration #vectorartist #adobeillustrator #girls #smile #love #ilustradorescolombianos #illustration #illustrationdigital #boxenoner

finished the sandwich bar. getting there....

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

Hi, I'm vector artist. I will do vectorart, vector, art, illustration, vectorillustration, digitalart, graphicdesign, illus, trator,

design, artwork, adobeillustrator, vectorartwork, vectordesign, photoshop, drawing, artist, logo,

id, digitalillustration, adobe, vectorindonesia, graphicdesigner, infinitedesign, cartoon,

kadounik, kadowisuda, artistsoninstagram, designer, vxvina, bhfyp, vector trace, vectorize, raster image,

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

Hi, I'm vector artist. I will do vectorart, vector, art, illustration, vectorillustration, digitalart, graphicdesign, illus, trator,

design, artwork, adobeillustrator, vectorartwork, vectordesign, photoshop, drawing, artist, logo,

id, digitalillustration, adobe, vectorindonesia, graphicdesigner, infinitedesign, cartoon,

kadounik, kadowisuda, artistsoninstagram, designer, vxvina, bhfyp, vector trace, vectorize, raster image,

Hi, I'm vector artist. I will do vectorart, vector, art, illustration, vectorillustration, digitalart, graphicdesign, illus, trator,

design, artwork, adobeillustrator, vectorartwork, vectordesign, photoshop, drawing, artist, logo,

id, digitalillustration, adobe, vectorindonesia, graphicdesigner, infinitedesign, cartoon,

kadounik, kadowisuda, artistsoninstagram, designer, vxvina, bhfyp, vector trace, vectorize, raster image,

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

We're turning Alice into vector gold one point at a time.

Adobe illustrator work to get my rustiness out of the way for later designs. Had fun doing this design, specially since I'm a fan of pokemon. Sadly, GameFreak doesn't give Farfetch no love through the years.

Character@GameFreak

jared leto portrait

Artwork created for animated advert, commissioned by Unilever for Bounty Paper Towels. Created using Adobe Illustrator, later animated with Adobe After Effects. Characters represent the various market segments.

Artwork created for animated advert, commissioned by Unilever for Bounty Paper Towels. Created using Adobe Illustrator, later animated with Adobe After Effects. Characters represent the various market segments.

HI,

This is a vector art of Lips . I found the reference image from Pinterest . This project entirely created in Adobe Illustrator cc.

›› Now what is Vector Art?

ANS: Vector artwork is art that's made up of vector graphics. These graphics are points, lines, curves and shapes that are based on mathematical formulas. When you scale a vector image file, it isn't low resolution and there's no loss of quality, so it can be sized to however large or small you need it to be. It's an excellent tool for putting company logos on business cards, creating poster designs, and when photo-shopping in Adobe Photoshop. Any art made with vector illustration software like Adobe Illustrator is considered vector art.

›› What's the color mode of this project?

ANS: RGB.

›› What tool was used to create thsi photo?

ANS: Pen tool(mostly), color picker tool, shape builder tool etc.

›› How many hour did it take to complete this project?

ANS: _ hours (as i am still learning and trying to be faster).

›› Why the RGB color mode?

ANS: As i was creating This photo for digital media(like fb,insta and portfolio sites), not for print media so i thought RGB is suitable for me.

Finally, if you think it has some problem here or there then please leave a note, so i can learn and be better next time.

THANK YOU...

Artwork created for animated advert, commissioned by Unilever for Bounty Paper Towels. Created using Adobe Illustrator, later animated with Adobe After Effects. Characters represent the various market segments.

Having originally asked for a character reminiscent of 'Nigella', the client didn't like the first version (after the animation stage had been done of course); hence a slightly toned-down yummy mummy second time round.

Finished working on the artwork tribute to Sir Christopher Lee, a great actor and a legend. RIP.

Check out the link below if you are interested in buying a print :-

society6.com/product/dracula-wyi_print#1=45

Artwork created for animated advert, commissioned by Unilever for Bounty Paper Towels. Created using Adobe Illustrator, later animated with Adobe After Effects. Characters represent the various market segments.

album for the westchester county, new york, band six speaker city.

Hi, I'm vector artist. I will do vectorart; vector; art; illustration; vectorillustration; digitalart; graphicdesign; illus;; trator;

design; artwork; adobeillustrator; vectorartwork; vectordesign; photoshop; drawing; artist; logo;

id; digitalillustration; adobe; vectorindonesia; graphicdesigner; infinitedesign; cartoon;

kadounik; kadowisuda; artistsoninstagram; designer; vxvina; bhfyp; vector trace; vectorize; raster image;

Thank you

This is the vector representation of Lady Loki aka Sylvie Laufeydottir, played by Sophia Di Martino. I used Adobe Illustrator for the portrait and Adobe Photoshop for the background.

For Facebook, Instagram and other social media display picture.

find me here bit.ly/34r42Z2