gilana: (Default)
I'm really excited about some of the projects I've got going on right now.  [livejournal.com profile] ceciliatan has successfully funded her Kickstarter  campaign to create a printed omnibus edition of her Daron's Guitar Chronicles, and I'm doing the cover and book design.  We've got a first draft that I'm really excited about -- hope to have a more final version to show off here soon.

But moo.com has been having contests to design business cards for fictitious people; the first one was Zeus, and there were some really fun entries.  So when the announced a new contest yesterday to design a card for the Tooth Fairy, I couldn't resist.  The winner gets $300 plus $100 to spend at moo, so keep your fingers crossed for me!
Wanna see? )

Tooth Fairy business cards
gilana: (Default)
Business cards for a writer with a focus on the Elizabethan era. She showed me some samples images from a book that appealed to her, I noticed a page from a book that looked like this, and suggested she use the business card as a short writing sample.  I love designing really personal business cards like this, that can visually give you so much more information than just the contact info!

Business cards
gilana: (Default)

2012 Naughty Nurse Calendar
2012 Naughty Nurse Calendar
For those of you going to Arisia, don't forget to support the Heinlein Society and the Naughty Nurses by giving blood or buying a calendar! Here's a peek at this year's calendar layout.



gilana: (Default)
One of a series of two posters I'm working on for Booty Vortex. I wanted to try to capture some of the high-energy dance fest of their shows, along with a little of the retro disco vibe.

Boogie down! )
gilana: (Default)
Here are the wedding invitations I designed for Briavael O'Reilly and Nicole Pashka. They wanted the invites to look like carnival tickets, so I drew from my extensive collection of vintage woodtype fonts to create something with a fun old-time feel. The final invitations were 9" x 4", designed to fit into standard envelopes to keep costs down, while still looking like a ticket. I suggested using string-tied policy envelopes, with the flap on the short side, to add some extra flair for mailing.
See the image )

gilana: (Default)
I've been posting samples of my design work over at my facebook page for Rosenthol Design, but I know not everyone is on facebook, and it's easy to miss posts over there.  So I'm curious -- would you want to see some of my design work posted here, too?  Or is that overkill?
gilana: (design)
[livejournal.com profile] muffyjo suggested I write something for The Margaret Ghost blog about the process of updating the art for the new production -- I'm posting it here as well for your convenience.

A few early logo concepts for Theatre@First's 2006 production of The Margaret GhostWhen I first designed the art for Theatre@First’s 2006 production of The Margaret Ghost, we were still a very young theatre company, and all of our materials were photocopied at someone’s office. All of our promotional art at the time had to be in black and white, to copy clearly. We’ve since graduated to printing in color, so I welcomed the chance to revisit the design and expand on it for this new production.

For the 2006 materials, the director and I had long talks about the play. We decided that the important things to emphasize were the humanity of the piece, including the fact that Margaret was a real woman, and her writing, which was such an important facet of her self-expression. We went through a number of rounds of possible fonts and quills, as you can see in the image on the side, before settling on the font Archive Petite Script, which brings to mind weathered writing from a quill pen, and a simple and less literal calligraphic flourish of a quill, positioned as if writing the title.

Final logo for the 2006 Theatre@First production of The Margaret Ghost

When it came time to update the art, I wanted to keep some consistency with the original, but add more depth and texture. To add to the sense of history, I decided to keep to literal physical objects. I looked through dozens of stock art photos of pens before finding a pen and ink set that grabbed me -- something utilitarian but with a sense of personality, and even a dash of femininity. We wanted to show a picure of the real-life Margaret, so I found an antique frame image to put it in, as if it were a miniature sitting on a desk.

For the background, I had hoped to find a sample of Margaret’s own writing to scan and use as a texture. When that failed, I took an excerpt from one of her books and typeset it in a vintage handwriting font, blurred it enough to not be distracting, and added some vintage paper behind it.

I decided to use a dark sepia brown for the type, and toned the pen set and frame to a dark bronze to match and create a more unified whole.

Updated logo for the 2010 Theatre@First production of The Margaret Ghost

And there you have it! Same play, same message, but a very different look.

--Gilly Rosenthol, RosentholDesign.com
gilana: (design)
[livejournal.com profile] muffyjo suggested I write something for The Margaret Ghost blog about the process of updating the art for the new production -- I'm posting it here as well for your convenience.

A few early logo concepts for Theatre@First's 2006 production of The Margaret GhostWhen I first designed the art for Theatre@First’s 2006 production of The Margaret Ghost, we were still a very young theatre company, and all of our materials were photocopied at someone’s office. All of our promotional art at the time had to be in black and white, to copy clearly. We’ve since graduated to printing in color, so I welcomed the chance to revisit the design and expand on it for this new production.

For the 2006 materials, the director and I had long talks about the play. We decided that the important things to emphasize were the humanity of the piece, including the fact that Margaret was a real woman, and her writing, which was such an important facet of her self-expression. We went through a number of rounds of possible fonts and quills, as you can see in the image on the side, before settling on the font Archive Petite Script, which brings to mind weathered writing from a quill pen, and a simple and less literal calligraphic flourish of a quill, positioned as if writing the title.

Final logo for the 2006 Theatre@First production of The Margaret Ghost

When it came time to update the art, I wanted to keep some consistency with the original, but add more depth and texture. To add to the sense of history, I decided to keep to literal physical objects. I looked through dozens of stock art photos of pens before finding a pen and ink set that grabbed me -- something utilitarian but with a sense of personality, and even a dash of femininity. We wanted to show a picure of the real-life Margaret, so I found an antique frame image to put it in, as if it were a miniature sitting on a desk.

For the background, I had hoped to find a sample of Margaret’s own writing to scan and use as a texture. When that failed, I took an excerpt from one of her books and typeset it in a vintage handwriting font, blurred it enough to not be distracting, and added some vintage paper behind it.

I decided to use a dark sepia brown for the type, and toned the pen set and frame to a dark bronze to match and create a more unified whole.

Updated logo for the 2010 Theatre@First production of The Margaret Ghost

And there you have it! Same play, same message, but a very different look.

--Gilly Rosenthol, RosentholDesign.com
gilana: (Default)
FYI, I've registered RosentholDesign.com and put up a web page with some samples of my work and testimonials from satisfied customers. So if you know of anyone who's looking to have some design work done, please feel free to point them there, or tell them to email gilly@RosentholDesign.com. Thanks!

(OK, link now fixed. Also, I had temporarily broken the lightbox feature; if you click on any of the images, a larger or expanded version should pop up. You can scroll through all the pictures on a page by either hitting "p" and "n" for "previous" and "next", or else just clicking on the right and left sides of the image. You can hit escape or click on the "close" link to get out of that.)
gilana: (Default)
FYI, I've registered RosentholDesign.com and put up a web page with some samples of my work and testimonials from satisfied customers. So if you know of anyone who's looking to have some design work done, please feel free to point them there, or tell them to email gilly@RosentholDesign.com. Thanks!

(OK, link now fixed. Also, I had temporarily broken the lightbox feature; if you click on any of the images, a larger or expanded version should pop up. You can scroll through all the pictures on a page by either hitting "p" and "n" for "previous" and "next", or else just clicking on the right and left sides of the image. You can hit escape or click on the "close" link to get out of that.)
gilana: (Default)
A book is an inherently satisfying object to hold in your hands, at least to me.  But to be holding a book that I actually designed myself -- well, believe it or not, it's actually even more exciting than holding one that I was published in.  (Of course, they misspelled my name that time; at least this time, I can make sure it's right!)

This is my first book, and it's a bound copy of the script for The Margaret Ghost, so the fact that it's a T@F project makes it even more special.  The ever-patient [livejournal.com profile] lillibet and I have spent a more hours than I care to count going over and over and over it, eleven rounds of revisions at last count, but I think it's really paid off -- it looks, well, professional!  I wish I could do more books, but sadly, breaking into publishing is really tough.  Still, having a sample to show off is a good start.

This is just the sample copy, the test pancake so to speak, so I have a few tweaks to make, but by the time the show rolls around, if not before, we should have copies for sale.  I can't wait for everyone to see them!  And the contents are pretty great, too; in addition to the script, the book contains an introduction and postscript by [livejournal.com profile] lillibet , and a paper by the playwright.  I think we're planning to sell them for $15, so bring money to the show! :)  And we'll probably also be selling them directly through lulu.com, although that will add some shipping costs.
gilana: (Default)
A book is an inherently satisfying object to hold in your hands, at least to me.  But to be holding a book that I actually designed myself -- well, believe it or not, it's actually even more exciting than holding one that I was published in.  (Of course, they misspelled my name that time; at least this time, I can make sure it's right!)

This is my first book, and it's a bound copy of the script for The Margaret Ghost, so the fact that it's a T@F project makes it even more special.  The ever-patient [livejournal.com profile] lillibet and I have spent a more hours than I care to count going over and over and over it, eleven rounds of revisions at last count, but I think it's really paid off -- it looks, well, professional!  I wish I could do more books, but sadly, breaking into publishing is really tough.  Still, having a sample to show off is a good start.

This is just the sample copy, the test pancake so to speak, so I have a few tweaks to make, but by the time the show rolls around, if not before, we should have copies for sale.  I can't wait for everyone to see them!  And the contents are pretty great, too; in addition to the script, the book contains an introduction and postscript by [livejournal.com profile] lillibet , and a paper by the playwright.  I think we're planning to sell them for $15, so bring money to the show! :)  And we'll probably also be selling them directly through lulu.com, although that will add some shipping costs.
gilana: (design)

Somerville Theatre logo
Capitol Theatre logo



I've been working on building up my freelance design practice lately, and I thought I'd show off the logos I just completed for the Somerville & Capitol Theatres. I really love those theatres, both as a performer and a patron, so it'll be extra fun to see my work representing them!

I'm definitely looking for more work; if you know anyone who might be looking for some print design, please do feel free to point them to my online portfolio at rosenthol.carbonmade.com
gilana: (design)

Somerville Theatre logo
Capitol Theatre logo



I've been working on building up my freelance design practice lately, and I thought I'd show off the logos I just completed for the Somerville & Capitol Theatres. I really love those theatres, both as a performer and a patron, so it'll be extra fun to see my work representing them!

I'm definitely looking for more work; if you know anyone who might be looking for some print design, please do feel free to point them to my online portfolio at rosenthol.carbonmade.com
gilana: (Default)
I'm really amused that the "Please, no tips" sign in Dunkin' Donuts was done in a font called Hobo.
gilana: (Default)
I'm really amused that the "Please, no tips" sign in Dunkin' Donuts was done in a font called Hobo.

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