Script, deck, director treatment, existing boards, reference, napkin sketch, frantic email. I don’t need the brief to be beautiful. I need to understand what we’re making and what the boards have to accomplish.
Loose drawings first. We solve composition, staging, camera, action and the joke before anybody spends time polishing the wrong idea. Roughs are where the useful thinking happens.
Move the camera. Change the expression. Lose the llama. Put the llama back. Notes are part of the job, and the drawings are built to survive them without the whole thing turning into archaeological reconstruction.
Clean enough to sell the idea. Specific enough to guide the shoot. Loose enough to stay alive. The final board should communicate instantly—even to the person who just joined the call thirty seconds ago.
The best part: seeing the finished commercial and recognizing the decisions that were already there in the boards. That’s the whole point—make the spot visible before the spot exists.
Finished commercials next to the drawings that helped get them there.
Board to SpotView the evidence ↗︎