The notes are an energetic ‘d,’ ‘p’ and ‘o.’ The loose, sketchy quality is paired with an art deco-style font, which reflects the signage on the apartments in “Poet’s Row,” just down the street. The typography tells the DPO’s 66-year history while the icon suggests that the orchestra is still young at heart, family friendly and community based. Taking a step back, the full logo suggests music staff—the ‘dpo’ notes are playing along, and the wordmark itself bounces in a musical way giving the entire logo movement and rhythm. The color in the mark suggests our blue Colorado skies, and the gold is a nod to the Capitol’s dome one block north of the DPO’s venue, KPOF Hall.
Creative direction and design by Ligature Creative Group
LOVING V. VIRGINIA was a commission through the Fellowship program at the Williamstown Theatre Festival. Created in a few short months, the musical was a tender glimpse at Richard and Mildred Loving, the couple who challenged interracial marriage laws all the way up to the Supreme Court in 1967.
Models: John Bambery & Chelsea Williams
Costumes: Cole McCarty
Photo: Paul Fox
Art Direction: Matthew Meier
“… I can carry most of contemporary literary opinion, liquidated, in the hollow of my hand—and when I do, I see the swan floating on it and—I find it to be you and you only. But Swan, float lightly because you are a swan, because by the exquisite curve of your neck the gods gave you some special favor, and even though you fractured it running against some man-made bridge, it healed and you sailed onward. Forget the past—what you can of it, and turn about and swim back home to me, to your haven forever and ever—”
MAGIC FLUTE is a 200-some-year-old German-language opera — my job was to translate Mozart’s work to be visually interesting to 20-year-old college kids.
Initially plagued with “artist’s block,” I had no idea where to go with this poster. To get started on the artwork, I read the synopsis and commentary about the piece and the time at which it was written, reviews images of productions from around the world and listened to the complete opera in German on YouTube. (The internet is a wonderful thing.)
And it all started to come together.
Inspired by the illustrations of Ed Fairburn, Jeremy Cowart and others, I used a photo of a robin that I shot in Versailles, Ohio, as a base and layered the image (a few times over) on top of a triplicated celestial star chart. I sketched over the bird it a few times. And a few more.
Adding more and more layers — I built up the illustration with paper and watercolor textures, and other photos from my archive including a peacock, a tree, fallen leaves and a human eye.
Knowing all of the details that are hidden in the art, MAGIC FLUTE has truly become one of my favorite posters. For my viewer’s sake, I wish that I had recorded the process à la Cowart’s Thom Yorke portrait/illustration, but it’ll have to wait until next time. I promise.
No. 17 — February 17, 2013
What struck me about the final scene in STREETCAR, Act III, Scene 5, was the burst of color that enters the scene. Particularly since our main character is named Blanche. I see the color as what her world becomes after she breaks from reality and goes into her fantasy state.
I also recorded this poster’s creation process — check out the video here.
Act III, Scene 5
“And, Stella—that cool yellow silk—the boucle—see is it’s crushed. If it’s not too crushed I’ll wear it and on the lapel that silver and turquoise pin in the shape of a sea-horse. […] And, oh, Stella—try to locate that bunch of artificial—violets in that box, too, to pin with the sea-horse on the lapel of the jacket.”
“I’m green with envy.”
“Such a pretty blue jacket.”
“One day out on the ocean I will die—with my hand in the hand of some nice-looking ship’s doctor, a very young one with a small blond mustache and a big silver watch. […] And I’ll be buried at sea sewn up in a clean white sack and dropped overboard at noon—in the blaze of summer—and into an ocean as blue as—the blue of my first lover’s eyes!”
Models: Cassandra Engber, Chiara Motley
Photos layered into this poster are from my personal photo archive and include images from New Orleans, Ohio, Massachusetts, Indiana, Ireland, Chicago, Paris, Spain and even one from an airplane.
Sarah Overbeck has been at Law Week for the past year and is the photographer behind such covers as Waiting It Out, Super Lawyers 2012 and number of other stellar snaps. As part of finishing her second bachelor’s degree, she hired me to design her a logo for her freelance photography business.
Sarah is a fantastic artsy soul and has a number of tattoos on her body — all with strong meaning behind them. One of her prominent tattoos is the poppy flower on her right arm which she got in memory of her father who passed away a few years ago.
The icon here represents Sarah’s poppy and connects her art back to her roots.
I’m excited to release the artwork for my first full-season brand — Fabrefaction Theatre Company’s 2012–2013 season. Branded as FTC’s “American Season,” the ’12–’13 season takes Atlanta theatre-goers on a journey through what being an American is all about. Using four colors — red, white, blue, gold (and black) — each poster is based on typographic folksy fair and Americana posters.
Along with these five “Professional Season” productions are four “Young Artist Series” — plays and musicals that give students of all ages the chance to perform. The YAS uses the same colors, but with strong vector icons to represent the individual productions.
Three months after their engagement, my brother Joe and his new fiancée Valerie announced to their families that Joe was taking a job literally half-way around the world in Perth, Australia.
A few weeks later, I sat down with the couple over breakfast to discuss what their wedding brand would look like. Based on a late-summer wedding in Montana followed by a huge international move, I suggested a “par avion” envelope look for the brand. This was carried through with a coral and navy color palette, as well as diagonal stripes on each piece.
In total, we ended up with 5 pieces in the package: a two-color letterpressed invitation, beautifully printed by Flourish Letterpress in Denver; a cheesy postcard announcing the big move; a gate-folded guest-info booklet with RSVP instructions, a map and accommodations; a rehearsal-dinner invitation featuring an illustration of my dad as a bear; and the envelope.
Photos by Laura Murray Photography.
For the past six months, I have been working with the National Center for Learning Disabilities on this report and I am excited to finally be able to launch it into the world.
In my initial meeting with Director of Development Kevin Hager back in October, we discussed how NCLD’s 2011 annual report could be more readable than those in the past. Some of the previous reports “read like a Hemmingway novel” and consequently, no one digested the content. I pitched to Kevin that we could format this year’s report like a magazine—keep the articles short and use a lot of large, full-color artwork to draw readers into the material. Each section of content is formatted like an editorial story with a headline and artwork to match. The print version is printed on a high-gloss, high-quality, magazine stock. The idea behind the visual report was to keep the reading light; NCLD donors are parents—and on top of that—women, or mothers, whose reading schedules might be limited to a few minutes of a magazine here and there.
Shortly after I started working at Law Week Colorado, the CEO of Circuit Media announced that she was in the planning stages of a company service trip to Mexico. A few months later, we found ourselves on a hot, sweaty bus ride from Puerto Vallarta to the small town of Bucerias.
From Bucerias, we met up with men and women working at a nonprofit called PEACE Mexico. They toured the Circuit Media team around the area of Punta de Mita showing us the tangible results of the work they have been doing for years.
When we returned to Denver in November of last year a few shades darker than when we were when we left, I started thumbing through the hundreds of photos that I took while we were down in Nayarit. I found myself drawn to all of the color and texture that Mexico had to offer. From those images, I based my concept for the 2010 Annual Report—a kind of tactile vibrance that PEACE brings to the area. Independently, I designed the entire 96-page report using supplied copy and my own photographs, as well as additional photos by Jamie Cotten, Elizabeth Lloyd Photography, Nikhol Esteras Roberts and Nova Pennison.
© PEACE Mexico, Circuit Media
First of all—Joseph is passionate about massage and definitely knows what he’s doing. As someone who has had back problems since high school (I met a chairlift pole skiing when I was 15), I have had a lot of work done on my body by chiropractors, physical and massage therapists. Joseph would work on me, and I began sketching in my mind. The first visuals came from the pinnacle of art and science—Michelangelo. I could see my muscles through Michelangelo’s eyes—as technical drawings that were both artistic and anatomical.
From there, I wanted to create a simple, graphic icon that was almost primitive in nature. Five hash marks by five hash marks on my sketch pad evolved into the two hands that are woven together in the icon you see now. The brushed shape starting taking on a lotus flower shape further evoking the harmony the Canvas team provides.
Creative direction and design by Ligature Creative Group
I’ve been wanting to do a Banksy-inspired cover for a while and the legal-education issue lent itself to the urban-art style. For this cover, I had Law Week designer Amy Vanchina photograph my body holding a soda cup (for lack of a spray-paint can) and then I proceeded to cut off my head and replace it with the head of actor Charles Andrew Callaghan (as actors are prettier than graphic designers). I desaturated the image and upped the contrast until I started losing detail. I then dropped out the white of the image and replaced it with my own spray-painted white background.
For the Law Week banner and title treatment, I basically created a stencil with layer masks and filled in with the white and red spray paint. You can see where the ‘stencil’ stopped and the paint bled over the edge. A few spray-paint drips later, we have the finished cover.
For this year’s Super Lawyers cover, Law Week’s Sarah Overbeck shot the photo on the roof at the Denver Athletic Club, and designer Amy Vanchina executed an architectural drawing of the skyline from the image. I then brought the photo and the drawing together, removed the photographic background and replaced the cityscape with an illustrative one. Layering on top of Vanchina’s sharp architectural lines, I loosely sketched the city, added watercolor and scribbled the Law Week banner.
In 2011, seven attorneys joined Law Week photographer Jamie Cotten and myself on the roof of the Lindsay-Flanigan Courthouse with a beautiful geometric city-scape behind them. Inspired by the first comic books of the 1930s, I then illustrated the image with an art-deco Americana style. Law Week masked the Super Lawyers and Rising Stars revealing their faces with the original photo inside the issue.
Two years ago, Law Week brought three Super Lawyers into the alley behind the Rocky Mountain Diner for an urban comic-book style photo shoot. I layered the photos with a half-tone pattern for my first Law Week cover which featured three images from the shoot in a comic-book-style story board.
The editorial focus for the March 12, 2012 issue of Law Week centered around employment and recruitment—including a feature story by editor Meg Satrom about law school graduates who aren’t currently practicing law, voluntarily or not.
Actress Amy Kersten clears tables in this photo taken by Law Week photographer Sarah Overbeck at Denver’s Appaloosa Grill. Acting as art director for the shoot and cover art, I researched images from Depression-era photographer Dorothea Lange to capture feelings of hopelessness and underemployment.
A SPARE ME
by A. Rey Pamatmat
directed by Patrick Diamond
Designed to stimulate the creation of high-quality, new plays for young actors, Waterwell’s New Works Lab at PPAS offers emerging and established playwrights the chance to develop their work with the support of professional directors and designers and a cast of exceptionally talented high school artists. This annual workshop series presents stripped down, actor-centric productions that add to the canon of thematically rich, complex and original scripts and roles for student actors. After the workshop, the scripts are published by Playscripts, Inc., listing the PPAS production as the original cast and creative team.
Waterwell’s educational mission is to deliver the highest caliber theatre training available to young artists in the nation. Central to that mission is preparing students to be full participants in their profession and to make their own contributions to the canon of new American plays.
The Associated Collegiate Press named the 2009 LinC as a National Yearbook Pacemaker Winner
The Indiana Collegiate Press Association awarded the 2009 LinC the following honors:
* Indiana Yearbook of the Year, including first place in the following categories…
* Best Execution of Theme
* Best Portrait Section
* Best Student Life Spread
* Best Sports Spread
* Best Overall Design
Please Take A Moment To Locate The Nearest Exit, Law Week Colorado, August 27, 2012
By David Forster
Our production day for Law Week is every Friday. I have to produce new and original cover art every week, which is always a challenge. As you might expect from a legal publication, the topic of the cover story is often not very visual.
On Wednesday afternoon of this particular week, I sat down with reporter David Forster and discussed his cover story for the week. He explained to me that the story was about damage control. After such horrific events such as the Aurora shooting right here in Colorado, it brought up a lot of issues in the corporate legal community about being prepared — for anything. Literally anything. David talked to me for a while about his story while I tried to visualize how this would look.
Having just flown home to Montana, my mind flashed to the airplane card in the seat back pocket instructing you to hold onto your seat cushion incase of a water landing — on a flight from Colorado to Montana. Worst case scenario. Prepare for anything.
With a cover due at the end of the day on Thursday, I didn’t have access to or time to access a model. So first thing the next morning, I burst into the sales office and forced account man Dan to pose for me. I shot a couple pics of him on my phone with him posing as a running man for an airplane exit-instruction illustration — I built the illustration the rest of the day.
Thanks to Dan for being such a good sport. I suppose that I owe you a drink for that.
Illustrated cover for white-collar crime edition of Law Week.
Despite calling a number of really nice Canadians to track down photos, we had no artwork to run with this story. Additional last-minute illustrations by myself and creative team made up the inside-artwork.