AUDEMARS PIGUET. RD#2
OVERVIEW
The RD#2 film explored the relationship between precision engineering and the passage of time.
Working across conceptual direction and visual development, I helped define the project’s visual language, translating Audemars Piguet’s commitment to craftsmanship, innovation, and refinement into a cohesive system of form, motion, and light.
A central visual motif emerged through the idea of the event horizon, used as a metaphor for balance, precision, and control. Positioned between order and chaos, it became a visual expression of the watch’s pursuit of technical perfection while operating within the constraints of time itself.
The resulting language combined atmosphere, geometry, and movement to create a visual framework that supported both the product and the wider narrative of the film.
AMBIENT FILM
In collaboration with Silent Studio and Electric Theatre Collective
CONCEPT
The event horizon became the project’s central visual metaphor and organising principle.
Its geometry informed composition, motion, lighting, and spatial rhythm, establishing a visual framework that balanced containment with expansion, precision with movement.
Through this lens, the film explored time not as an abstract measurement, but as a condition shaped through discipline, engineering, and control. The visual language sought to express how technical complexity can feel calm, refined, and effortless when brought into perfect balance.
Typography, composition, and motion were developed around this idea of tension held in equilibrium, creating a coherent system that connected the watch’s engineering philosophy to the wider cinematic experience.
VISUAL DEVELOPMENT
Tone BOARDS
TONE BOARDS — EVENT HORIZON & MATERIAL GRAVITY
These tone boards explore the event horizon as a visual metaphor for craft, precision, and inevitability.
Rather than depicting the watch directly, the imagery investigates moments of tension, compression, and transformation, where form appears to bend, collapse, or hold itself in equilibrium under unseen forces.
Natural landscapes, abstract textures, and controlled voids are treated as studies in structure and pressure rather than representations of place. Surfaces feel dense, directional, and compressed, suggesting forces acting beneath the visible layer.
This approach allowed the visual language to express:
mechanical precision without literal mechanics
complexity without ornament
strength through restraint
luxury through inevitability rather than excess
The recurring use of horizons, voids, and compressed forms established a sense of controlled gravity, creating a visual parallel to the engineering discipline and temporal authority of the RD#2.
These references formed the foundation of the project’s visual logic, informing decisions around atmosphere, contrast, pacing, composition, and typographic placement throughout the final film.
TONE BOARD — PRECISION AND BALANCE
Explores the relationship between control and calm. Balanced compositions, restrained use of space, and controlled geometric relationships create a sense of quiet authority, expressing technical precision through clarity, proportion, and restraint.
TONE BOARD — Material Language
Defines surface behaviour, texture, and light quality. Studies in reflection, density, and illumination that informed the project’s approach to materiality, creating a visual language that felt engineered, precise, and refined.
TONE STUDIES
TONE & MATERIAL STUDIES
Material and tonal explorations for Audemars Piguet, investigating abstraction, texture, and time as expressions of precision and craft.
These studies explore visual systems developed for Audemars Piguet, focusing on the relationship between precision, materiality, and abstraction.
Rather than relying on illustrative imagery, the work investigates how texture, rhythm, light, and negative space can communicate the values of haute horology through a contemporary visual language.
Drawing from both natural and engineered forms, fractured landscapes, stratified surfaces, wave interference, and geological pressure become metaphors for craftsmanship, complexity, and control. Light and shadow are treated as structural elements, revealing depth, density, and surface tension in ways that echo the hidden intricacies of watchmaking.
Motion and distortion are used with restraint. Compression, repetition, and subtle disruptions suggest the passage of time, mechanical precision, and the tension between order and transformation.
These studies formed a material and tonal foundation for the wider project.
The resulting language sought to express luxury through clarity, discipline, and restraint rather than ornament or excess.
TONE STUDY - HORIZON & DIVISION
Controlled breaks in the horizon line explore balance, interruption, and the measured tension between continuity and precision.
TONE STUDY - MATERIAL CROSS-SECTIONS
Abstracted surface studies inspired by geological strata and engineered materials, revealing depth through subtraction and contrast.
TONE STUDY - PRESSURE & COMPRESSION
Forms shaped by force and restraint, where density, compression, and resistance become visual expressions of craft.
TONE STUDY - BRAND AS ANCHOR 01
The AP mark introduced with restraint, acting as a stabilising point within a broader material field.
TONE STUDY - MATERIAL QUIET
This tone board explores time as material, not motion.
TONE STUDY - WAVE INTERFERENCE
Layered waveforms and interference patterns suggest oscillation, resonance, and calibrated motion.
TONE STUDY - STRIATION & TIME
Vertical striations and rhythmic distortions reference mechanical repetition and the passage of time at a granular scale.
TONE STUDY - NEGATIVE SPACE & RESTRAINT
Reduction and silence are used as design tools, allowing form and texture to carry meaning without excess.
TONE STUDY - SURFACE INTELLIGENCE
Close studies of texture and grain, echoing the microscopic complexity of haute horology.
TypoGRAPHIC Studies / GRAPHIC MOTIFS
TYPOGRAPHIC DEVELOPMENT — HORIZON AXIS LAYOUT
Positions typographic structure around the event horizon form.
FINAL PRODUCTION ANIMATION
RESULT
The final ambient film presented the watch as a meeting point between design and physics, precise, minimal, and controlled.
Drawing on the visual language established throughout development, the work translated concepts of balance, gravity, material tension, and temporal precision into a cohesive cinematic experience. Light, composition, and motion were carefully orchestrated to reflect the discipline and refinement at the heart of the RD#2.
Rather than relying on traditional luxury cues, the film expressed craftsmanship through restraint, using atmosphere, structure, and controlled movement to communicate complexity without excess.
The result was a visual framework that reinforced the watch’s technical innovation while maintaining a sense of calm authority, creating an experience that felt both contemporary and timeless.
CREDITS
Client · Audemars Piguet
Studios · Silent Studio / Electric Theatre Collective
Role · Conceptual Direction & Visual Development
EXPEDIA
OVERVIEW
The project explored the creation of an abstract visual language for a custom lozenge-shaped display environment. Rather than relying on literal travel imagery, the work investigated how colour, atmosphere, movement and geometry could communicate the emotional experience of travel within the constraints of the format.
The process focused on building a flexible system capable of expressing anticipation, transition and arrival while remaining adaptable across a large-scale live environment.
Visual Development for a Large-Scale Live Experience
In collaboration with Nathan Prince Studio
VISUAL DEVELOPMENT
Phase 01
CORE LANGUAGE EXPLORATION
The event architecture established the primary lozenge-shaped display format from the outset. The challenge was therefore not to define a screen shape, but to develop a visual language capable of inhabiting that form with clarity, flexibility and emotional resonance.
Initial exploration focused on transparency, colour interaction, spatial layering and graphic rhythm. The objective was to establish a system that could feel both atmospheric and structured while remaining adaptable across different scales and environments.
GRAPHIC & STRUCTURAL STUDIES
TRANSPARENCY & MOTION BEHAVIOUR
ATMOSPHERIC EXTENSION
Phase 02
ATMOSPHERIC DISTILLATION
Following the development of the core visual language, exploration shifted towards reduction and atmosphere. Earlier graphic elements were progressively removed, allowing colour, light and transparency to become the primary carriers of meaning.
The objective was to determine how much visual information could be stripped away while retaining a sense of motion, depth and emotional resonance within the fixed screen architecture.
Phase 03
Material & OPTICAL SYSTEMS
Following the development of the core visual language, exploration shifted towards reduction and atmosphere. Earlier graphic elements were progressively removed, allowing colour, light and transparency to become the primary carriers of meaning.
The objective was to determine how much visual information could be stripped away while retaining a sense of motion, depth and emotional resonance within the fixed screen architecture.
TRANSPARENCY STUDIES
REFRACTION & LENS BEHAVIOUR NO.1
REFRACTION & LENS BEHAVIOUR NO.2
COLOUR INTERACTION STUDIES NO.1
COLOUR INTERACTION STUDIES NO.2
SOFT ATMOSPHERIC SYSTEMS
Phase 04
SCENARIO TESTING
The language was tested against different environmental conditions to understand how texture, rhythm and contrast influenced perception at scale.
The objective was not to create multiple styles but to determine which visual behaviours remained legible and emotionally effective across varying conditions.
FINAL DIRECTION
SELECTED VISUAL LANGUAGE
Following multiple phases of visual development, the final direction brought together the strongest qualities discovered throughout the process.
The selected language balanced atmosphere, materiality and graphic clarity while remaining adaptable across different content requirements and environmental conditions.
Working within the fixed lozenge architecture of the event screens, the system provided a flexible framework capable of supporting both ambient and high-energy visual moments.
RESULT
The visual system became a defining component of the project’s creative development, transforming the fixed lozenge-shaped screen architecture into a flexible and expressive visual platform.
Through successive stages of exploration, the language evolved from graphic structure into a richer material and atmospheric system, capable of supporting both ambient environmental content and more energetic visual moments. Transparency, colour interaction, optical layering, and scale became central characteristics of the final direction.
The resulting framework established a cohesive visual identity that could adapt across different content requirements and viewing conditions. Rather than functioning as a collection of individual visuals, the work defined a unified visual language capable of extending across the wider event environment.
Although the final direction was ultimately not implemented in its intended form due to production budget constraints, the development process successfully established a clear visual framework and demonstrated how the screen architecture could support a distinctive and immersive visual experience.
The result was a resolved visual language that balanced atmosphere, clarity, and flexibility while providing a strong foundation for future implementation.
CREDITS
Client · Expedia
Studios · Nathan Prince Studio
Role · Conceptual Direction & Visual Development
Title Design Studies
BOHM
OVERVIEW
Developed as an original TCTS studio concept, this title-sequence study draws inspiration from physicist David Bohm’s idea that “matter is frozen light.”
Rather than treating matter as fixed form, Bohm described reality as a dynamic field of energy and vibration, where matter emerges from deeper underlying processes.
The project translates this proposition into a cinematic visual exploration, investigating how light, energy, and structure might evolve into a single coherent visual system.
Through a series of studies examining movement, transformation, and emergence, the work explores how abstract scientific ideas can be expressed through atmosphere, rhythm, and form, creating a visual language that exists between physics, philosophy, and cinematic design.
TITLE SEQUENCE CONCEPT
Studio design exploration
CONCEPT
The design approach focused on expressing energy as structure, light folding into geometry, motion becoming form.
Typography and composition were developed to feel suspended between solid and fluid states, mirroring Bohm’s view of an undivided universe.
Every frame was built around a simple question: what if matter behaved like illuminated rhythm?
CONCEPT DEVELOPMENT
Tone BOARDS
Light becoming form; form becoming motion.
This study investigates the idea that matter is not static, but a temporal event shaped by movement and observation.
Rather than depicting form as fixed, the image tests how colour bands, geometric fragments, and directional motion blur interact to create a sense of vibration and instability.
Horizontal displacement and chromatic separation suggest energy passing through the image plane, while simplified geometric forms act as anchors within an otherwise fluid system.
The result is a visual language where structure is momentary, emerging, dissolving, and reforming, reflecting Bohm’s view of reality as an unfolding process rather than a collection of objects.
TONE BOARD SET — INTERFERENCE, MOTION, PERCEPTUAL SHIFT & TYPOGRAPHY
These frames explore how form breaks down under motion and interference.
Colour and geometry are treated as energetic fields rather than stable shapes, testing how perception changes when information is stretched, displaced, and partially obscured.
Also, the relationship between unstable motion fields and stable typographic elements.
The typography is treated as a fixed point of clarity within a shifting perceptual environment, testing legibility, hierarchy, and contrast under motion distortion.
TONE STUDIES / Typographic Development
TONE STUDY — ENERGY FIELD COMPOSITION WITH TYPOGRAPHY
Establishes the overall spatial rhythm and atmosphere.
TONE STUDY — VIBRATORY PATTERN — MOTION AS MATTER
Links the motion concept to Bohm’s theory
Shows how illumination defines the geometry
Adds tonal texture and environmental depth
TONE STUDY — TYPOGRAPHY & ENERGY FLOW ALIGNMENT
Demonstrates how type integrates with directional light.
TONE STUDY — MATTER AS RHYTHM — LAYER DEPTH & DENSITY
Explores depth and field relationships.
TONE STUDY — GEOMETRIC CONVERGENCE — UNBROKEN FIELD
Suggests unity and coherence within the frame.
BLACK AND WHITE SHAPE STUDIES
Preliminary explorations in form, rhythm, and spatial balance.
These sketches were an early part of the development process, quick studies testing the compositional logic behind the motion. By stripping away light and texture, the focus shifted to pure geometry and flow, the underlying rhythm that later informed the sequence’s tone and typography.
Before light, there is structure.
SHAPE STUDY — MOTION AXIS
SHAPE STUDY — FORM IN TENSION
SHAPE STUDY — STRUCTURAL BALANCE
RESULT
The outcome functions as a visual meditation on energy and coherence, a speculative title world where scientific principle meets cinematic tone. It established a framework for translating abstract theory into legible motion design, bridging conceptual physics and visual storytelling.
CREDITS
Client · TCTS Studio
Role · Concept, Direction & Visual Development
BINARY EXIST
TITLE SEQUENCE CONCEPT
Studio design exploration
OVERVIEW
Developed as an original TCTS studio concept, Binary Exist is a speculative title-sequence project exploring the emergence of Artificial Superintelligence (ASI) and the challenge of representing non-human perception through cinematic form.
The project investigates how machine awareness, observation, and evolving intelligence might be expressed through atmosphere, composition, motion, and visual transformation. Rather than depicting technology directly, the work explores the possibility of an intelligence emerging through shifting states of structure, texture, light, and pattern.
Inspired in part by Tarkovsky’s reflections on interconnected spheres of meaning, Binary Exist treats the ASI as a presence moving through overlapping layers of perception and identity. The resulting studies explore how abstract systems can acquire a sense of agency, observation, and presence without relying on familiar human characteristics.
The project functions as both a title-sequence concept and a broader investigation into how cinema might visualise forms of intelligence that exist beyond human experience.
CONCEPT
The sphere functions as the project’s central motif, representing coherence, autonomy, and the emergence of higher intelligence.
The sequence imagines an evolving presence moving through a series of shifting environments, mechanical, organic, and hybrid, each suggesting a different state of perception, adaptation, and self-organisation.
Rather than depicting Artificial Superintelligence directly, the work explores its possible emergence through recurring themes of origin, observation, pattern recognition, and transformation. Forms assemble, dissolve, and reconfigure as the system develops an increasingly complex relationship with the world around it.
The intention was to create a symbolic visual journey rather than a literal narrative: a title sequence that operates as both an emotional introduction and a conceptual prologue to a larger story world.
Through atmosphere, rhythm, and visual transformation, the sequence explores what it might feel like to witness the arrival of a new form of intelligence.
CONCEPT DEVELOPMENT
Tone BOARDS
These tone boards define the emotional, cinematic, and conceptual direction of Binary Exist.
Rather than illustrating a literal narrative, they define a series of states through which the sequence moves, from pre-conscious origin to autonomous intelligence. The imagery functions as a visual compass, guiding decisions around composition, motion, atmosphere, and visual transformation.
THRESHOLD / ORIGIN
The opening tone is one of absence and anticipation.
Dark fields, apertures, and distant light suggest a system before identity, not yet observing, only aligning. Negative space dominates. Forms appear incomplete, as though emerging from silence rather than construction.
The imagery explores the threshold between potential and awareness, where intelligence exists only as a possibility.
THE SPHERE / COHERENCE
The sphere serves as the sequence’s central symbolic anchor, representing coherence, autonomy, and internal consistency.
Neither planet nor eye, it exists outside conventional physical space, suspended within fields of light, texture, and void. Self-contained and balanced, it suggests an intelligence that has moved beyond reaction and towards self-organisation.
The sphere is not something being observed. It is the emergence of the observer itself.
HYBRID ENVIRONMENTS
The sequence moves through environments that resist clear classification, neither natural nor artificial.
Surfaces behave simultaneously as matter, memory, and information. Liquid forms ripple like data streams. Granular textures appear scanned, compressed, and reconstructed. Familiar distinctions begin to dissolve.
These spaces suggest a mode of perception operating beyond human categories, where everything becomes pattern, relationship, and transformable structure.
Collectively, the tone boards establish a visual language of emergence, coherence, and transformation, forming the conceptual foundation for the wider title-sequence design.
Form evolving through intelligence.
TRANSFORMATION — SELF-REFLECTION
(Distorted faces, symmetrical masks, split light)
Human forms return, but altered.
Faces are fractured, mirrored, or submerged in abstract geometry, suggesting the system testing identity without adopting it.
These images are intentionally unsettling: familiar shapes stripped of emotional access.
They represent a moment where the ASI reflects on consciousness itself, not as experience, but as structure.
Transformation here is internal, not visual spectacle.
COMPRESSION — RESOLUTION
As the sequence approaches its conclusion, the imagery simplifies.
Texture collapses into noise, light into signal, form into essence.
Black and white dominate, removing ambiguity and colour emotion.
This reduction suggests a system that has refined complexity into clarity, not simplicity, but compression.
What remains is not chaos, but distilled intent.
TONE STUDIES
These studies focused on defining the film’s emotional register:
contrast between sterile mechanics and warm biological detail
density and emptiness
the rhythm of emergence
subtle transitions between perception states
sphere-based geometry
COLOUR EXPLORATIONS
The colour system for Binary Exist focused on expressing information density rather than mood.
Instead of emotional palettes, the goal was to design colours that behaved like signals, intensities, pulses, and spectral shifts aligned with changes in the ASI’s state.
The palette ranges from more neutral tones to high-energy accents, reflecting transitions between stability, overload, and emergence.
Colour as signal behaviour, not decoration.
VISUAL LANGUAGE DEVELOPMENT
ENVIRONMENTAL AND MATERIAL SYSTEMS INFORMING THE TITLE SEQUENCE.
This part of the project focused on establishing the environmental and material logic that would support the title sequence.
Instead of building narrative lore, the aim was to define the world as an extension of the ASI’s perception, structure, space, and atmosphere, shaped by non-
human intelligence.
The development explored:
Material transitions — mechanical — organic — hybrid
Surface behaviour — reflection, absorption, irregular growth
Spatial rhythm — dense fields contrasted with empty voids
Structural geometry — spheres, lattices, and layered grids
Camera logic — slow observational movement, controlled drift
Depth and scale — environments that shift between micro and macro
Each of these visual systems informed how the ASI’s journey could be expressed without literal storytelling, allowing tone and structure to carry meaning.
The world is not a setting, it’s a signal.
These visual systems provided the framework for the final title sequence: a coherent language of light, form, and motion grounded in the project’s central ideas.
TYPOGRAPHY & LOCK-UP SCREEN TESTS
TITLE LOCK UP — BINARY EXIST
The title appears without spectacle.
Centred, restrained, and isolated, it exists as a statement rather than a reveal.
By this point, the imagery has done the work.
The title functions as a quiet confirmation: the system now exists, not as an entity we understand, but as one that understands itself.
These screen tests explored how the titles behave within the sequence’s computational environment.
The design process focused on how the type interacts with shifting information fields.
Typography here is treated not as branding, but as a structural extension of the ASI’s logic.
Type aligned to system behaviour.
RESULT
The project functions as a concept title sequence for a speculative science-fiction property, exploring how Artificial Superintelligence might be expressed through tone, structure, atmosphere, and cinematic language rather than literal plot.
Through a series of visual studies, Binary Exist developed a symbolic framework centred on emergence, observation, coherence, and transformation. The work investigates how non-human intelligence could be represented through evolving systems of light, form, texture, and motion, creating a visual language that remains abstract while retaining emotional and narrative resonance.
Rather than presenting a fixed story, the sequence operates as a conceptual prologue, suggesting a larger world beyond the frame. The result is both a title-sequence concept and a broader exploration of how cinema might visualise forms of intelligence that exist beyond human experience.
CREDITS
Project · TCTS Studio
Role · Concept, Direction & Visual Development
NERINGA
TITLE SEQUENCE CONCEPT
Studio design exploration
OVERVIEW
Developed as an original TCTS studio concept, Neringa is a title-sequence study for a fictional crime drama set on Lithuania’s Curonian Spit.
The project explores the Spit during deep winter, a landscape defined by fog, snow, frozen coastline, and long stretches of cold isolation.
The aim was to craft a title world where the environment itself carries the psychological weight of the series.
CONCEPT
The central idea was to use the winter landscape as a metaphor for internal tension.
Snow-covered forests and empty shorelines become quiet indicators of unresolved disturbance.
The environment functions as a silent character, observing, withholding, concealing.
Rather than illustrating scenes from the narrative, the sequence conveys the show’s emotional tone through visuals that are surreal in pacing, restrained in motion, and built to reflect a world where beauty and bleakness coexist without explanation.
Silence as atmosphere. Isolation as identity.
CONCEPT DEVELOPMENT
TONE BOARDS
These tone boards explored:
cold, desaturated palette with slight blue-grey bias
shaping objects into abstract forms
merging land with sea
negative space acting as emotional pressure
stark transitions between open dunes and submerged spaces
subtle symbolic details
minimal, slow camera drift
Each study reinforced a sense of emptiness, loss, and slow-building tension.
COLOUR AND LIGHT STUDIES
COLOUR & LIGHT STUDIES — ENVIRONMENTAL TONE
These studies explore the environmental conditions that define the emotional world of Neringa.
Rather than treating colour as expressive or decorative, the focus was on atmospheric restraint, cold palettes, muted contrast, and natural light that feels distant and unyielding.
The Curonian Spit becomes an emotional landscape as much as a physical one.
Snow, water, horizon lines, and overcast skies establish a sense of isolation, ambiguity, and psychological pressure, themes central to the series.
These frames informed decisions around:
palette limitation
tonal compression
horizon placement
negative space
visual silence
The intention was to create a world where tension is not announced, but slowly accumulates, allowing the title sequence to feel embedded in the environment rather than layered on top of it.
TONE STUDIES — PSYCHOLOGICAL LANDSCAPE
TONE STUDIES — PSYCHOLOGICAL LANDSCAPE
These tone studies explore the emotional and narrative atmosphere of Neringa through image, scale, and absence.
Rather than illustrating story events, the focus is on psychological state, isolation, distance, uncertainty, and the quiet pressure of place.
Human presence is reduced to a single figure or implied through traces: footprints, paths, silhouettes.
This restraint allows the landscape to dominate the frame, positioning the environment as an active force rather than a backdrop.
The imagery tests how tone is carried through:
negative space
horizon placement
scale imbalance between figure and landscape
low-contrast monochrome
softened detail and atmospheric diffusion
Forests, shorelines, dunes, and snowfields become metaphors for internal states, obscured truth, emotional fatigue, and moral ambiguity.
The intention was to create a visual language where tension accumulates slowly, without overt signals, mirroring the internal experience of the central character.
These studies informed the pacing, framing, and symbolic logic of the title sequence, ensuring that the titles feel psychologically embedded within the world of Neringa, rather than imposed upon it.
Rather than treating colour as expressive or decorative, the focus was on atmospheric restraint, cold palettes, muted contrast, and natural light that feels distant and unyielding.
TONE STUDY — SOLITARY FIGURE / SCALE & DISTANCE
PSYCOLOGICAL STUDY — HORIZON & UNCERTAINTY
TONE STUDY — TRACKS, TRACES, ABSENCE
ATMOSPHERIC STUDY — FOREST AS COMPRESSION
LANDSCAPE STUDY — EXPOSURE & SILENCE
ENVIRONMENTAL METAPHOR — THRESHOLD & VOID
SOURCE MATERIAL. ATMOSPHERE GENERATION STUDIES
This early phase used AI as a concept development tool to explore winter atmosphere, and surrealist abstract forms referencing imagery from the Curonian Spit.
The objective was not to create final imagery, but to generate raw visual fragments. I curated a large number of generated frames down to a small selection that carried the right emotional tone.
AI provided fragments.
Authorship came through selection, and direction.
Using AI in this way allowed for rapid exploration of environmental tension, negative space, and the abstracted shapes winter creates.
These studies helped define the emotional boundaries of the project before moving into handcrafted visual development.
RESULT
A visual exploration of how a title sequence can express the emotional core of a narrative through atmosphere rather than plot.
Developed as an original TCTS studio concept, Neringa investigates how landscape, season, and environmental conditions can function as storytelling devices in their own right. Through restrained motion, fragmented visibility, and psychologically weighted imagery, the sequence establishes a world defined by isolation, ambiguity, and quiet tension.
The result is a title-sequence concept built around silence, absence, and atmosphere, a visual identity for a story that feels both starkly beautiful and quietly unsettling.
CREDITS
Project · TCTS Studio
Role · Concept, Direction & Visual Development
THE FISHERMAN
OVERVIEW
Commissioned by the BBC as an early-stage development project, The Fisherman explored an original animated short-film concept centred on themes of isolation, memory, endurance, and belonging.
Working across story development, visual language, and title-sequence exploration, the project investigated how atmosphere, symbolism, and landscape could shape the emotional identity of the film before production.
Set within a stark monochromatic world of sea, shoreline, and silence, the work used visual restraint, scale, and negative space to express the psychological and emotional conditions of the story.
Through narrative development, character exploration, environmental studies, and cinematic worldbuilding, the project established a coherent visual framework designed to guide both the story and its visual direction from the earliest stages of development.
ANIMATED SHORT FILM
Collaboration with BBC & Easy Animal
CONCEPT
The story centred on a solitary fisherman living at the edge of the sea, a figure suspended between the physical world and an interior landscape shaped by memory, longing, and imagination. Rather than functioning purely as a character, the fisherman became a symbolic presence through which larger themes of isolation, resilience, and hope could be examined.
Visual development focused on creating a world that felt both intimate and mythic. Stark monochromatic imagery, simplified forms, and expansive negative space were used to emphasise emotional atmosphere over literal realism. The coastline, sea, weather, and surrounding environment were conceived as extensions of the protagonist’s internal state, allowing landscape and character to become inseparable.
The project explored how visual language could carry narrative meaning through mood, symbolism, and composition. Character design, environment studies, and title-sequence concepts were developed in parallel to establish a coherent emotional identity for the film from its earliest stages.
The resulting work formed a visual framework built around absence, scale, and quiet observation, investigating how an animated film might communicate complex emotional experiences through atmosphere as much as story.
VISUAL DEVELOPMENT
Character — Visual Development
Explorations of form, silhouette, expression, and emotional presence for The Fisherman.
Environment & ATMOSPHERE — Visual Development
Early studies investigating mood, isolation, and environmental presence, aswell as landscape, setting, and narrative world-building.
Title Sequence — Concept Frames
Studies in atmosphere, symbolism, and emotional tone.
RESULT
The project established a coherent narrative and visual framework for an original animated short-film concept, defining its emotional tone, symbolic language, and cinematic identity during early development.
Through story creation, character exploration, environmental studies, and title-sequence concepts, The Fisherman investigated how atmosphere, landscape, and visual restraint could function as primary storytelling tools. Rather than relying on exposition, the work explored how silence, scale, and imagery might communicate themes of isolation, memory, endurance, and belonging.
The resulting body of work demonstrated how narrative development and visual development can evolve together, using atmosphere and symbolism to shape a story world from its earliest stages.
Commissioned by the BBC as a development project, The Fisherman remains a strong example of concept-led storytelling, where visual language was used not simply to illustrate a narrative, but to help discover and define it.
CREDITS
Project · The Fisherman
Studio · BBC / Easy Animal
Role · Story Development, Visual Development & Title Design
A GOOD AMERICAN
OVERVIEW
For the feature documentary A Good American, I helped develop a visual language for the film’s central narrative: the existence of a global surveillance and data-analysis system.
The challenge was to translate invisible information flows, networks, and patterns of observation into a coherent cinematic framework that could support the documentary’s storytelling without overwhelming it.
Working closely with the wider creative team, the visual development process explored how abstract systems could be represented through form, motion, scale, and spatial relationships, creating imagery that felt analytical, atmospheric, and emotionally resonant.
The aim was not to illustrate technology directly, but to make complex ideas visible, allowing audiences to intuitively understand the hidden structures operating beneath the story.
FEATURE DOCUMENTARY
Collaboration with Up Creatives
CONCEPT
The approach treated data not as graphics, but as a living environment, an immense, interconnected network shifting between clarity and overload.
The visual system needed to:
communicate complexity
suggest surveillance at scale
reveal patterns without over-explaining
carry emotional weight
integrate seamlessly with real-world interviews and archival footage
The design drew on principles of signal behaviour, rhythmic patterning, and computational architecture.
VISUAL LANGUAGE
TONE STUDIES
A deeper exploration of global data structure, scale, and systemic tension.
These studies examine how a global intelligence network might behave when visualised not as a flat information layer, but as a three-dimensional, planet-scale system.
Each exploration focuses on a different relationship between structure, density, fragility, and collapse, using spherical topology as a metaphor for global interconnectedness.
The imagery tests how data gathers, disperses, fractures, and binds, forming the backbone of the project’s visual logic.
Early explorations focused on:
node-based lattice structures
cascading signal pathways
light pulses travelling through unknown architectures
transitions between micro and macro data scales
density and overload moments reflecting narrative tension
SPHERICAL STUDY 01 — GLOBAL NODE DISTRIBUTION
A structural look at how information points distribute across a spherical surface, forming early logic for node density and network mapping.
SPHERICAL STUDY 02 — SIGNAL WEB TOPOLOGY
Examines how signal paths interconnect across a curved surface, creating a complex web of global communication.
This study informed the system’s behaviour under stable conditions.
System Motion Study — Global Network
TONE STUDY — SPHERICAL TOPOLOGY TESTS
These studies examine circular and spherical forms as structural metaphors for the global network.
Lines and point clusters behave like signal paths, interference patterns, or collapsed data structures.
Each experiment explores a different relationship between order and noise, forming an early vocabulary for how the system could look when stable, stressed, or breaking down.
TONE STUDY — LIGHT & FLOW. STRUCTURAL CURVATURE
These explorations focus on how light behaves across curved surfaces, using shadow, falloff, and gradient transitions to evoke the idea of information flowing around invisible architectures.
Rather than depicting literal data, these studies translate the feeling of movement, signal strength, and network curvature into abstract cinematic shapes.
They later informed the project’s decisions around transitions, reveal mechanisms, and spatial rhythm.
TONE STUDY — MICRO-NETWORK HORIZON
This study explores how information could behave at a macro scale, not as technical nodes or vectors, but as a particulate field stretching toward an unseen horizon.
The low-angle perspective creates a sense of scale and physical presence, suggesting a network that behaves more like weather than graphics.
This became foundational for defining depth, density transitions, and the project’s overall atmospheric tone.
TONE STUDY — SYSTEM FRAGMENTATION & DATA BREAKDOWN
These studies examine how the network behaves under tension: distortion, overload, or structural decay.
The experiments explore breakage patterns, loss of resolution, duplicated structures, and interference noise, all emerging as motifs for moments of narrative stress within the film.
These tests also helped define the visual logic for transitions into “collapse states” within the motion system.
FINAL SYSTEM FRAMES — DOCUMENTARY APPLICATION
The final system was designed to integrate seamlessly into the documentary, supporting the narrative without overwhelming it.
The goal was clarity, restraint, and a sense of structural intelligence, allowing viewers to understand the presence and scale of the data network while maintaining emotional tension.
These frames represent the applied version of the visual language:
a refined network of nodes, particles, and geometric pathways designed to communicate information flow at both micro and macro scales.
The system emphasises:
readability over spectacle
structural rhythm over density
motion rooting the viewer in scale
transitions between stability and tension
By the time these frames appear in the film, the audience should feel the weight and fragility of the network, even without explicit explanation.
The conceptual groundwork shapes the emotional resonance, the final frames deliver the narrative clarity.
RESULT
The visual system became a central narrative device within A Good American, translating vast, invisible data flows into a coherent cinematic language that audiences could intuitively grasp. Abstract network forms, spatial compositions, and motion principles helped transform complex intelligence concepts into something legible, tense, and humanly comprehensible.
The work supported the film’s investigative structure without overwhelming it, remaining restrained, analytical, and atmospheric. Visuals were designed to feel embedded in the story world rather than illustrative overlays, reinforcing themes of surveillance, scale, and systemic consequence.
The project was well received for its clarity and seriousness of tone, with the visual language extending beyond the film itself. Design elements were adapted for the official poster and promotional materials, ensuring a consistent identity across screen and print.
The result was a visual framework that strengthened the film’s impact, quietly amplifying its questions rather than answering them, contributing to the lasting resonance of A Good American.
CREDITS
Project · A Good America
Studio · UP Creatives
Role · Conceptual Direction & Visual Development
IMDB · https://www.imdb.com/title/tt4065414/
Foals — Life Is Yours TOUR
LARGE-SCALE PERFORMANCE VISUALS
Collaboration with FRAY Studio
OVERVIEW
For Foals’ 2022 Life Is Yours tour, I developed a live visual concept designed to extend the emotional language of the record into physical space.
The aim was to create a visual environment that could move with the music, shaping atmosphere, rhythm, and scale in real time while giving the performance a stronger sense of coherence and emotional lift.
Built around fragmentation, light interference, and recurring forms, the work explored tension between release and containment, echoing the record’s movement between intimacy, euphoria, and pressure.
CONCEPT
The approach treated live visuals not as background content, but as an extension of the music itself, a shifting floral environment built from rhythm, tension, and release.
The design needed to:
amplify the emotional lift of the performance
create scale without losing intimacy
move fluidly between tension and release
respond to rhythm without becoming illustrative
support the live experience as a coherent visual world
The resulting visual language drew on fragmentation, light distortion, and spatial rhythm to create imagery that felt immersive, unstable, and alive.
VISUAL LANGUAGE
The visual language was built from a small set of recurring behaviours rather than fixed imagery.
Fragmentation disrupted stable forms, creating a sense of movement and instability, while circular structures acted as points of focus, release, and orientation within the system.
Light functioned as both atmosphere and structure, shifting between moments of clarity, interference, and distortion.
Through repetition and variation, these elements formed a flexible visual language capable of evolving across different songs, moods, and scales of performance.
VISUAL DEVELOPMENT
PERFORMANCE VISUALISATION
The visual language was explored through a series of performance visualisations, testing how the system might operate at architectural scale and within a live musical environment.
The focus was on creating an immersive visual framework capable of supporting different emotional states across the performance.
RESULT
The project established a visual language capable of operating across both intimate and large-scale moments of performance, translating the emotional character of Life Is Yours into a coherent visual environment.
Through fragmentation, light distortion, and recurring geometric forms, the system created a flexible framework that could evolve with the music while maintaining a consistent visual identity. The imagery balanced immersion and disruption, moving between moments of clarity, tension, release, and euphoria.
Rather than functioning as decorative accompaniment, the visuals were designed to become part of the performance itself, extending the atmosphere of the record into physical space and reinforcing the relationship between sound, light, movement, and audience experience.
The result was a visual framework that demonstrated how a focused design language could shape the emotional tone of a live environment, creating a stronger sense of coherence, scale, and collective experience.
CREDITS
Project · Foals — Life Is Yours Tour
Studio · FRAY Studio
Role · Conceptual Direction & Visual Development
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