THEATRICAL POSTERS

I wanted the design to feel authoritative before you read a single word — Ibsen's name as the dominant structure, the figures secondary to the architecture around them. The Art Nouveau framing wasn't just period-appropriate; it mirrors how Nora's wor
The farm is what everyone in the play is destroying themselves over. Rendering it from directly above was deliberate — the characters invoke God constantly, so the poster gives you the God view. The farm looks like a farm.
The instinct was to render each woman distinctly rather than as a unified ensemble silhouette. The WPA illustration style gave me warmth without nostalgia — these aren't figures from the past, they're specific people caught at a specific moment, whic
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The layered texture was the first decision — this poster needed to feel handled, not printed. Troy's face and the trumpet occupy the same space because Wilson never lets you separate the man from what he gave up. The color palette came last, once I u
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Most Tartuffe marketing leans into the comedy. I went the other direction — the threat in the play is real, and a farce framing undersells it. The cloaked figure and the crucifix put the horror front and center. If it reads more like a thriller poste
The collage format came directly from the play's structure — evidence, testimony, story-within-story. Each object earns its place the way details do in an interrogation. The typewriter anchors it, but nothing in the composition is decorative. Everyth
An iron and a broken teacup — the most ordinary objects in a household, turned into the whole argument of the play. The red field was non-negotiable. Jimmy Porter's rage needed a background that was already on fire before anything else happened.
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Sketches/Illustration