PENTAGON OFFICE
This Pentagon Office set called for a collection of accolades for a highly decorated official, so I designed certificates and diplomas, wall plaques, and a dimensional military seal.
I always enjoy creating certificates — they offer a chance to explore a wide range of typefaces, from Gothic to Bâtarde to Copperplate, all while keeping a modern feel for the set.
Each certificate also includes a seal, which I create independently and integrate into the design. Additional details like gold stamps — either produced physically with an embosser and gold foil or applied digitally — and authentic-looking signatures add that final layer of realism and polish.
For this set, I was also asked to create a DEA badge as well as a few magazines covers within the same military world, helping to enrich the environment and provide additional storytelling elements.
Project: The Equalizer
Prod. Designer: Beth Rubino
Art Director: Lucas Ingram
CIA OFFICE
This CIA office set required a variety of graphics for both set dressing and props, helping to establish the environment and support the storytelling.
The main elements served as the backdrop for one of the scene’s lead actors. These included a dimensional CIA seal, a series of certificates, and several historical images sourced from the Library of Congress.
I’m always a fan of dimensional graphics, and official seals are particularly fun to design. The CIA seal was CNC-cut from high-density foam and then painted by our scenic team to achieve a realistic bronze finish.
Designing the redacted documents for props was also a highlight. Each needed fictitious seals inspired by international intelligence agencies and was completed with digital stamps to add texture, depth, and authenticity to the set.
Project: The Equalizer
Prod. Designer: Beth Rubino
Art Director: Lucas Ingram
IMPOUND OFFICE
This impound office set was simple, but a lot of fun to work on.
I designed a variety of graphics, including signage for the exterior gate and multilingual signs for the interior of the office.
As a graphic designer for film and TV, I get to use curiosity and creativity to turn the mundane into something visually engaging. On a set like this, the texture and small details are what make the environment feel real. Each sign needs to appear authentic, yet blend seamlessly into the background.
For the exterior signage, I created a mockup featuring my graphics so the production designer could see the overall look of the set and provide feedback. It also helped the team know exactly where and how to mount each piece, ensuring everything was placed perfectly on shooting day.
Project: The Equalizer
Prod. Designer: Beth Rubino
Art Director: Lucas Ingram
PRISONPrison sets can vary widely in terms of graphics, but the real challenge is making them look as simple — and, for lack of a better word, as boring — as possible to achieve a truly realistic feel.
One of my favorite parts of this process is adding digital aging to the graphics. This technique helps the set feel lived-in and authentic, especially when time is tight and the scenic team isn’t able to handle the aging manually.
It’s a subtle detail, but those small touches make all the difference in creating a believable environment on screen.
Project: The Equalizer
Prod. Designer: Beth Rubino
Art Director: Lucas Ingram
