anat cohen. the final poster.

Below is the final poster for the Jazz Folly Series with the Anat Cohen Quartet. My concept revolved around the idea of "organized chaos." What proved to have been the most impactful part of the concept building for me was when I looked up reviews on the Anat Cohen Quartet and Anat Cohen in general. The specific quotes that I kept in mind was: "bacchanalian riot of Cohen in person, whirling on the stage, curls flying, unleashing clarinet notes in formally elegant torrents" from imnworld, "unconventionally configured ensemble" from allaboutjazz, "A musical world traveler who likes to mix things up " from NYT and "… I was delighted by the liquid runs and rich, woody tone" from Washington Post.

My main musical inspirations to design came from her album “Clarinetwork Live at the Village Vanguard.” Although the actual sound of the music was not a major focus in my designing experience, it was taken into account.

In reference to rhetoric tropes, which was part of the initial concepting of this poster, I would say that synecdoche and hyperbole. Within this piece, synecdoche can be seen in parts of the four instruments pieced together to complete one instrument. The idea that this is portraying is the bringing together of four instruments to be one almost mind-blowing musical experience. More specifically what I mean is the idea that the four instruments together create one beautiful and almost unreal musical experience. Hyperbole is slightly seen within this composition as parts of the instruments are brought together. There is no instantly recognizable exaggeration of size of instruments, but they are slightly enlarged or downsized to create the best-combined mega-instrument.

The red haze, slightly sepia color that is applied to the overall image was based off of a color sample from the word of double bass. That red-ish color was also one of the initial colors off of the mood board. Red is used to emphasize love, passion, energy and rhythm. Geared Slab was chosen as the typeface for Anat Cohen Quartet to give personality but also control + structure. I also wanted the typeface to help further bring emphasis to the combined instruments; to play off one another with curves and straight lines. I chose Helvetica Neue LT Std for the date and time to bring in more stability, as well as create a closer tie-in to the typography being used in the Folly banner.

From this project, I learned more about the need to slowly build up an idea and not just jumping straight into the final piece. By adding more time and slowly building the concept, I realized how more achievable the ability to be proud of a piece of work can be. In previous projects, when I would jump ahead of steps, there would inevitably be one step that I end up not being able to reproduce right as I imagined, but by slowly building those steps, I was able to walk up a less steep incline to the final solution. Overall, I am fairly happy with my composition, images, and color. I know that the typography still needs some kind of work, but it is much closer than when I first started.