I let my imagination take me everywhere it decided to land. When I was looking for a unique and playful typeface on Adobe Fonts, I came across this typeface called “Lunatique.” The form itself attracts many possibilities to appear in my head. So, I tried various ways of putting the coffee and music festival elements of the festival into an arrangement of playful letterforms.

This idea of the poster was based on my intention to make it eye-catching. I figured that by trying to make the coffee plant illustration appear from a fish-eye perspective, it could grab more people's attention. The very close-up coffee fruits should draw our attention to the rest of the poster.

I took a picture of my lint roller with a 0.5 wide-angle lens on my phone as a reference. From there, I drew the digital sketch.

The class agreed to use cornflower blue and red for this risograph poster part of the project. Once the placement of the objects was settled, I explored various ways of creating a gradient effect to be used as a system for the whole project. The gradient plays an important role in bringing the illustration to life and bringing a sense of liveliness and excitement into the poster to support the main characters of my festival, which I stated previously.

What came next after the completed illustration was trying out some more variations of color combinations to open my mind to even better results.

The next step of the festival project was to design a series of three posters promoting the guests and events. Firstly, I tried using the letters “BIOL” to create patterns (drawing from the logo itself) as an identity, but it didn’t work out as they are not workable/versatile to work with. Part of it was because I was scared that it would look too repetitive to be used over time.

After some thinking, I ended up applying the dripping shape I made on the B and O of my logo, expanding them into shapes of liquid movements—making it part of the festival’s visual identity itself.

Each Indonesian island produces a different characteristic of its grown coffee plants. A new question appears in my mind: Should I use this information as part of the brand identity? This question emerged new thinkings inside my mind on how I could incorporate the multi-flavor and multi-texture values of Indonesia’s coffee beans into the design system:

1. Idea 1: Collaborating the coffee splashes with introductions to the various textures and sensory perceptions associated with consuming Indonesian coffee.
2. Idea 2: three main background elements that always need to be included in many parts of the festival’s design collaterals: splashes, coffee fruits, and coffee foliage. Following this system, there will be three colors set as part of the primary color palettes: the red color represents the intense, strong, and earthy flavors of coffee; the yellow color represents richness and spiciness in flavor; and the dark blue Tosca is there to set the mood to reach the intended target audience.
   
   After some thinking, I decided to go with Idea 2.

The next step was to create a tri-fold brochure containing the festival’s details and other necessary information that a visitor should know before or when coming to the event.

The last page “feels empty!”

I was glad I solved the location page problem by modifying the drip background so that the map goes right in the circle. This creates much more of a gap between the map, heading, and body copy.