Treatment Design
Giving shape to an idea before it exists.
A director’s treatment lives somewhere between an idea and the film it could become. It brings together storytelling, references, cinematography, production design and tone into a visual narrative that allows agencies and clients to see the director’s vision before production begins.
While working with 1stAveMachine, I collaborated with directors to translate their ideas and references into cohesive treatment decks, combining image research, editorial design, typography and visual storytelling to give each project its own voice.
Different directors. Different stories. Different visual languages.
WONDER WATER : Building the personality
A playful visual approach built around color, personality and unexpected imagery. The treatment needed to establish the world of the film quickly, using image selection, composition and pacing to make its distinctive tone immediately recognizable.
KELLOGG’S : From visual language to timing
For D.A.D.D.Y + Alvarez’s Frosted Flakes treatment, we moved across multiple cinematic genres and pop-culture references while keeping everything inside one cohesive visual world. My role expanded beyond the deck into storyboards and animatics, helping translate the concept into framing, transitions and timing before production.
ECOLAB : Building a world around a drop
Here, the visual language became quieter, tactile and cinematic. The treatment explored how water itself could become a character, combining macro photography, high-speed cinematography, CG simulation, lighting and color to establish the film’s visual language.
META QUEST : Designing for another reality
A completely different visual territory, requiring the treatment itself to carry the energy and personality of the idea. The design became part of the pitch, establishing rhythm, scale and a visual language capable of supporting the director’s vision.
DRAMAMINE : Making the strange feel intentional
Some ideas need a world before they make sense. For Dramamine, the treatment helped establish the balance between character, absurdity and cinematic execution, giving the Drama Llama concept a visual language that made its unusual premise feel deliberate.
Treatment design taught me to move between graphic design and filmmaking without treating them as separate disciplines. Every project required a different solution, but the goal remained the same: understand the director’s vision and make it visible, clear and exciting before production begins.