Assalamualaikum, Welcome, and thank you for visiting my profile.

--------------------------------------------------------

I am an illustrator doing this kinda work for like a year now.

Are you looking for a cartoon version of yourself or someone? I can transform your image into a cartoon for you!!

Order here: cutt.ly/bbh17qp

Just give me a knock and I will do the art for you.

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.

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.

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.

Amber Heard vector portrait illustration

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.

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.

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

After image tracing and vectorizing I tweaked and adjusted to my heart's content. I flipped and stretched the little nubby on the back of the "L" so that it points downward and lines up perfectly with the bottom of the "B" and front of the "L". With this change the logo is finally balanced the way I like it!

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.

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.

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.

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.

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.

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

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.

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.

custom summer beach t shirt

#comfortcolors #comfortclothing #vansshoes #singlefin #surfingclothes #outdoorclothing #outdoorbrand #vanstshirt #surferlife #surfing #floridasurf #californiasurf #hawaiisurf #gosurfing #cwp029 #nectaroptica #longboardingsurfing #oceanlifestyle #gosurf #designforsale #designavailable #jeepwrangler #offroad #badgedesign #badgelogo #vectorlogo #vectorart #vectorartwork #vectorillustration #vectordesign #beachtshirt #beach #summer #apparelbrand #apparel #supplyco #surf #hurley #volcom #bali #shaka #aloha

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.

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.

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

Thumbnail sketch for Bizet's Carmen used online and in the 2018-2019 season brochure. The three main visual elements are present here: Carmen/Rose, Seville skyline and fan.

All of the artwork for the season was created in the span of one month so that it could be included in the season brochure mailer.

jasa pembuatan vector murah berkualitas ini menyediakan pembuatan seni vector yang lebih murah daripada yang lain , tentunya berkualitas agar para pelanggan kami puas .. jasa vector memiliki banyak sekali style style unik yang masih jarang diketahui orang lain dan pastinya keren , pengin lihat seperti apa? contact 0822-2621-1352 (WA) Jasa vector juga menyediakan wpap, proses nya bisa 1 sampai 2 hari tergantung kesulitan,/pernak pernik.jasa vector murah dan berkualitas ini selalu memberikan diskon hingga 30% jika order lebih dari 10 foto, cocok sekali untuk kado pernikahan atau di kasih untuk pasangan anda .. jasa vector selalu terbuka untuk anda , jika berlangganan ada bonus tersendiri dari admin , untuk list harga contact nomor diatas , terimakasih..

I worked with the Community Cooperative to refine their existing logo ideas and create vector artwork for them to use in any situation. After a couple of rounds of revisions we came up with six variations from a full expanded, horizontal version, to a very condensed version that is just the most minimum of elements.

The CoOp is a social organization dedicated to organizing fun community events and collaborating with you to grow your skills as well as your passions. You can check them out here: www.thecommunityco.org/

Amber Heard vector portrait illustration

jasa pembuatan vector murah berkualitas ini menyediakan pembuatan seni vector yang lebih murah daripada yang lain , tentunya berkualitas agar para pelanggan kami puas .. jasa vector memiliki banyak sekali style style unik yang masih jarang diketahui orang lain dan pastinya keren , pengin lihat seperti apa? contact 0822-2621-1352 (WA) Jasa vector juga menyediakan wpap, proses nya bisa sampai 1-2 hari tergantung kesulitan,/pernak pernik.jasa vector murah dan berkualitas ini selalu memberikan diskon hingga 30% jika order lebih dari 10 foto, cocok sekali untuk kado pernikahan atau di kasih untuk pasangan anda .. jasa vector selalu terbuka untuk anda , jika berlangganan ada bonus tersendiri dari admin , untuk list harga contact nomor diatas , terimakasih..

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

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.

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.

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.

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

Assalamualaikum, Welcome, and thank you for visiting my profile.

--------------------------------------------------------

I am an illustrator doing this kinda work for like a year now.

Are you looking for a cartoon version of yourself or someone? I can transform your image into a cartoon for you!!

Order here: cutt.ly/bbh17qp

Just give me a knock and I will do the art for you.

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

jasa pembuatan vector murah berkualitas ini menyediakan pembuatan seni vector yang lebih murah daripada yang lain , tentunya berkualitas agar para pelanggan kami puas .. jasa vector memiliki banyak sekali style style unik yang masih jarang diketahui orang lain dan pastinya keren , pengin lihat seperti apa? contact 0822-2621-1352 (WA) Jasa vector juga menyediakan wpap, proses nya bisa sampai 1-2 hari tergantung kesulitan,/pernak pernik.jasa vector murah dan berkualitas ini selalu memberikan diskon hingga 30% jika order lebih dari 10 foto, cocok sekali untuk kado pernikahan atau di kasih untuk pasangan anda .. jasa vector selalu terbuka untuk anda , jika berlangganan ada bonus tersendiri dari admin , untuk list harga contact nomor diatas , terimakasih..

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

Welcome to my Profile

This is Mehedi, a professional Graphic Designer. Thank you for visiting my vector Traching gig. Are you looking for a creative, real , expert for you or your company or POD. You are in the right place now.

I hope you will get complete satisfaction from me according to your needs. I will give the most priority to your every single idea.

Order Here your design : bit.ly/3NULRkR

Get professional Social media design, Logo Design, Flyers, Leaflets, Banner, Graphics, poster design service at here: fiverrboy.com/

Welcome to our Vector Tracing, Raster to Vector, Image to Vector Design Profile.

------------------------------------------------------------------------------

If you need a Professional Image Tracing Design for your any Company? I am always with you.

Order this link: rb.gy/48tm9n

via Instagram ift.tt/2NnVBVx

I worked with the Community Cooperative to refine their existing logo ideas and create vector artwork for them to use in any situation. After a couple of rounds of revisions we came up with six variations from a full expanded, horizontal version, to a very condensed version that is just the most minimum of elements.

The CoOp is a social organization dedicated to organizing fun community events and collaborating with you to grow your skills as well as your passions. You can check them out here: www.thecommunityco.org/