My primary role was working on scripts – focused on maximizing visual opportunity within the constraints of an extremely aggressive production timeline. I wrote visual treatments for episodes’ graphic segements by looking at the arch of the story to ensure clarity and impact. Over the course of the show, I edited over 150 scripts by guiding re-writes, finding reference and mocking up thumbnails. As the first link between graphics and story, I pushed journalists to think like designers and desigers to think like journalists. This process ensured consistent, if not rising quality, from episode to episode.
The show went from proposal to reality in a matter of weeks. After a few fernetic months, we stepped back and looked for opportunities to sharpen and systemize design. That meant bringing a critical eye to type, color, and overall visual language. By providing clearer guard rails and flexible constraints, we aimed to evolve the look of the show and free the team up for ambitious storytelling.
A personal highlight was getting to produce an episode. This meant seeing the story through from initial pitch to scripting, and finally a five day production schedule. The episode, which aired shortly before the 2020 election, focused on how political campaigns use color to influence your vote.