World Wide Interactive Music Festival
An exploration of how design can support a more immersive and inclusive global festival where music, visual art, and innovation converge with guest engagement. Guests become active contributors through immersive environments, interactive stages, and participatory technology. | Presented at *Fusion: 2025 RIT Graphic Design Capstone*
The Brief
What if a festival could be co-authored by its audience — not just attended by them? WWIMF is a year-long capstone exploring that question through brand, environment, and technology.
WWIMF is a conceptual global festival where music, visual art, and emerging tech converge with active guest participation. Audiences become contributors through immersive environments, interactive stages, and participatory wearables that influence what they see and hear in real time.
The project had to deliver as a complete brand system — identity, environment design, merchandise, marketing, motion, and a printed art book — and stand up as a public-facing presentation at Fusion: the 2025 RIT Graphic Design Capstone show.
The Approach
Capstone work lives or dies on cohesion. I built WWIMF as a system from the inside out — identity first, then environments and objects designed against the identity, then marketing built against the environments. Every artifact had to feel like it came from the same festival.
Build the logo, type system, and visualizer motif that everything else inherits.
Design the physical stages and interactive elements the brand would live in.
Translate the brand into merchandise and wearable tech for participation.
Build the posters, social, and OOH that pull people toward the festival.
Print everything into a single art book to anchor the brand in physical form.
Visual Identity
The primary logo for WWIMF was built around two core themes: interactivity and music. Bars integrated into the wordmark represent a music visualizer, emphasizing the dynamic and immersive nature of sound central to the festival experience. A secondary logo extends this concept by combining the visualizer motif with the shape of a hand, a symbol of human interaction, creativity, and expression. The modular design of the bars within the hand allows for customization, reflecting the festival's adaptable and participatory spirit. WWIMF's typography blends Cityburn Regular with Courier New, creating a balance between experimental energy and technical precision. Cityburn adds a bold, contemporary edge, while Courier New brings a structured, analog feel connecting the identity to both music production and digital interaction. The color system is bold, abstract, and high-energy, using unconventional combinations to echo the festival's immersive and boundary-pushing character. The overall visual system is designed to be flexible, expressive, and suitable across both digital and physical environments.
The festival needed an identity that could read across screens, signage, wristbands, and printed booklets without losing its sense of motion. Music had to be present in the mark itself — not just implied by the surrounding design.
Built the primary wordmark, secondary hand-mark, type system (Cityburn + Courier New), and color palette. Designed the modular visualizer bars that show up in every other artifact downstream.
The visualizer bars became the load-bearing element of the whole system. Once they existed, every subsequent decision — stage lighting, merch patterns, poster type — pointed back to them.
Stage Designs
This spread showcases how architecture, lighting, and digital media can fuse to create fully immersive performance spaces. Through a series of conceptual mock-ups and visual studies, we explore biomorphic structures, theatrical light displays, augmented stages, and reactive installations that invite festival-goers to shape, and be shaped by their surroundings. Each design underscores WWIMF's commitment to interactivity and multisensory engagement, offering a blueprint for redefining the relationship between music, space, and audience participation on a global scale.
The festival needed environments that justified the participatory premise. A normal stage with a normal crowd in front of it wouldn't do — the architecture itself had to invite audience interaction.
Concepted four distinct stage typologies — biomorphic structures, projection-mapped facades, light-reactive frames, and audience-immersive surrounds — and rendered them as photoreal mockups for the capstone show.
Interactive Elements
At WWIMF, interactivity is central to the experience, transforming attendees from passive spectators into active participants. From touch-responsive environments and immersive tunnels to motion-activated light displays and interactive stages that place audiences beneath the performance itself, every element is designed to react to presence, gesture, and movement. Wearable tech like smart wristbands enables guests to influence live performances and trigger real-time effects. Glow-in-the-dark pens offer opportunities for spontaneous creativity, allowing attendees to leave their mark on the festival's physical environment. These tools, combined with collaborative interfaces, empower co-creation and personal expression. WWIMF reimagines the live music experience by making the audience an integral part of the performance, blurring the boundaries between art, technology, and human connection.
The participation premise needed objects you could actually touch. Without physical artifacts, "interactive festival" stays an abstraction in a brand deck.
Designed the wearable tech (smart wristbands), the glow-in-the-dark pen system, and the touch-responsive surfaces — including the visual language they share, so an attendee picking up a pen feels the same brand they felt on the wristband.
Designing for participation means designing the affordance, not the object. The wristband isn't a wristband — it's a permission slip to influence the show.
Merchandise
WWIMF's merchandise extends the festival's identity into wearable and collectible pieces that blend function, fashion, and interactivity. This section showcases examples including a tote bag, shirt, and festival wristband — each designed to reflect the bold, immersive aesthetic of the event.
Festival merch has a unique pressure: it has to look good as a flat artwork AND survive being worn / carried / wristed at full volume. The same identity has to translate to fabric, paper, and plastic.
Designed the merch family — tote, shirt, and printed wristband — using the visualizer-bar pattern as the connective tissue so the pieces read as a set rather than three one-offs.
Instagram Posts
A series of Instagram posts designed to spotlight new artists joining the WWIMF lineup. Each visual pairs dynamic imagery with bold typography to capture the energy and diversity of the festival's global soundscape.
Pre-festival social had to do two jobs at once: announce the lineup and prove the festival's visual world before anyone had ever been to it.
Designed an artist-spotlight template that could carry any genre while staying recognizably WWIMF — same grid, same type, swap the artist and the color block.
Marketing
Posters designed to showcase the WWIMF daily lineup, highlighting performance dates and featured artists. Each poster balances clarity and visual impact, using bold typography, color coding, and grid-based layouts to organize information while maintaining the festival's immersive aesthetic. These designs function both as promotional materials and informational tools, crafted to be displayed digitally and in print across festival spaces, social media, and citywide advertising. The goal: to communicate schedule details at a glance while reinforcing the identity of the WWIMF.
The festival needed daily lineup posters that worked equally well as functional schedules and as decorative pieces fans would want to keep.
Designed three daily posters around a shared grid, color-coded by day, with the visualizer pattern reading as a low-key background texture and the artist names doing the heavy typographic lifting.
Marketing Visualization
These urban mockups showcase how WWIMF's lineup posters function in real-world environments — integrated into cityscapes, transit stations, and public walls. The placements emphasize visibility, accessibility, and the posters' ability to stand out in diverse, high-traffic settings. Together, these visualizations present a cohesive strategy for extending festival branding beyond the digital space and into the streets, where curiosity, discovery, and engagement begin.
A poster that lives only on a screen doesn't sell a festival. The visualizations had to prove the brand could survive in the city — bus shelters, subway panels, plywood walls.
Composited the lineup posters into photographed urban environments, choosing surfaces and contexts that matched the festival's tone (street-level, slightly chaotic, public).
Animations
A series of animated visuals created to extend the WWIMF brand into motion. These animations bring the festival's identity to life through audio-reactive elements and dynamic transitions, mirroring the energy and interactivity at the heart of the event. Designed for use across screens, stage visuals, and social media, these animations reinforce the immersive nature of the festival. Visual motifs from the branding system, like the waveform-inspired pattern and bold color gradients, are animated to pulse, shift, and respond, echoing the rhythm of live music and crowd movement.
The visualizer bars existed as static elements in the brand sheet — but the whole point of a visualizer is movement. They needed to be brought to life as motion stings the festival could use across screens.
Animated the visualizer pattern as an audio-reactive system, tuned the timing to feel rhythmic without being literally beat-matched (the music it accompanies will vary).
Capstone Show Setup
Presented at Fusion: 2025 RIT Graphic Design Capstone, this installation showcased the WWIMF brand through a multi-sensory display. The setup included dual-screen animated visuals, printed posters, a branded info poster, and the WWIMF book. This exhibition space served as both a culmination of my senior capstone project and a branded environment in itself, bringing the WWIMF concept to life through spatial design.
Fusion is RIT's senior capstone show. WWIMF needed to translate from screen-based brand work into a physical exhibition space without losing its energy.
Designed the booth layout — dual-screen animation loops, printed lineup posters, info panel, and the WWIMF book on a plinth. Built the booth as a small-scale stand-in for the festival itself.
A booth at a capstone show has eight seconds to communicate before someone walks past. Solve that and you can defend the whole rest of the project in the conversation it earns you.
WWIMF Book
This conceptual art book serves as the visual heart of the World Wide Interactive Music Festival brand. Designed to express the spirit of global creativity, connection, and innovation, the book weaves together branding elements, motion stills, interactive concepts, and festival-worldbuilding into one cohesive narrative.
The brand needed a permanent, physical home — somewhere the visual language, the world-building, and the case for the festival's existence could live together in one object.
Wrote, designed, and printed a 60-page art book that doubles as the brand's bible: identity, environments, interactive systems, marketing, and motion stills, all in one volume.
