I used AI as a creative tool, not a shortcut. There is a lot of fear around AI in the creative industry. As I see it, AI is a new tool. Like Photoshop was once a new tool. Like the printing press was once a new tool.
For each poster I used AI image generation to create a scene of people from a specific country, sitting in a typical living room of that country, watching television from behind. The perspective was intentional. You are watching them watch.
I brought those generated images into Photoshop and composited them onto real vintage television sets sourced from Unsplash. Real object. Generated scene. The line between authentic and constructed, intentionally blurred.
On each screen I added content, then built concentric circles radiating outward from the TV, representing the hypnotic pull of the broadcast. I designed an original TWD lettermark placed on screen to imitate a television channel logo. Even the brand becomes part of the signal.
The typography was built from existing fonts, then manipulated, repeated and distorted differently for each poster. Different weight, different scale, different energy. Each one its own visual language.
The final layer: you view these on a phone. On your phone is a poster. In the poster is a TV. On the TV is a family watching a TV. You are doing exactly what they are doing.
Nobody is outside the signal.
New tools open new doors. AI didn't replace the work, it changed where the work started. I still had to choose the country, build the scene, layer the signal, make the decisions that turn a render into a poster. The tool changed. The eye didn't.
This is what excites me about where creative work is heading. Not fewer decisions, different ones.
See the full nine-poster series, on our Instagram
