DESIGNS

FOR PRINT

Ads and print designs deserve their own space here, just as typography deserves it’s own moniker within art. Text provides it’s own unique challenge, having to look pretty, fill space efficiently, AND still be legible; all while providing enough room for images to get cozy too. Image focused print, such as posters, also provide the challenge of having to communicate a mass of information, such as practical event info and subtext, and having to do so within the span of time the viewers attention span flickers…phew. All that being said the results are incredibly rewarding.

This was the time to shine by showcasing photos of their work to wet the audiences' appetite. However, I also wanted to go back in time to the era of illustrated ads. I hand illustrated baked goods, vectorized them in Adobe Illustrator, and wanted to create almost a visual of goodies falling from the sky, akin to Cloudy with A Chance of Meatballs. Pairing that with some faux blackboard images successfully created texture, so that the page becomes immersive to the reader’s eyes. With all this being done I used a san-serif font paired with smoothed serif headings, ultimately creating a modern look with notes of nostalgia.

This was the time to shine by showcasing photos of their work to wet the audiences' appetite. However, I also wanted to go back in time to the era of illustrated ads. I hand illustrated baked goods, vectorized them in Adobe Illustrator, and wanted to create almost a visual of goodies falling from the sky, akin to Cloudy with A Chance of Meatballs. Pairing that with some faux blackboard images successfully created texture, so that the page becomes immersive to the reader’s eyes. With all this being done I used a san-serif font paired with smoothed serif headings, ultimately creating a modern look with notes of nostalgia.

Airline Highway is a quirky play to say the least, and I believe there could be no quirkier art era as Dadaism. I decided to give subtle hints at play events with incorporations of the hummingbird, a decadently dressed older dame, and mardi gras beads. I let the headline steal the show by creating a neon sign effect, and allowing the supplementary text to remain simple san serif. This successfully gives a passerby some nuance about the play’s main character, setting, tone, and plot.

The font and text I kept simple by choosing a clean san-serif with average height and width, so that it wouldn’t steal the show from the actual showcased images, but instead complement them. I ensured there was ample negative space to leave visual breathing room, since the art works are already so energetic and busy. When the die lines are cut, the panels actually pop and fold out to create a gallery look, as if you were turning corners in a museum.

The font and text I kept simple by choosing a clean san-serif with average height and width, so that it wouldn’t steal the show from the actual showcased images, but instead complement them. I ensured there was ample negative space to leave visual breathing room, since the art works are already so energetic and busy. When the die lines are cut, the panels actually pop and fold out to create a gallery look, as if you were turning corners in a museum.

The Mile High Horror Festival needed a hero image that was interesting, energetic, ominous, and alluring, all without taking away from the hero text and headline. I created a composition of layered photographs and brush strokes and effects, successfully creating a textured and palpable image. I allowed for enough shadows to let the smaller text remain highly legible. The headline needed a horror twist, so I took a san-serif font, converted it to outlines, and slashed the text myself. The tagline at the top is somewhat blended into the texture, so as not to detract from the headline, but still visible enough, like a hidden clue or a weathered sign in the forest, or a remnant of the past speaking to the future. All together this piece tells a story and gives the viewer a warning and an invitation all at once.