The Angel of Darkness

TNT

Production design by Ruth Ammon
Directed by David Caffrey

WORK

Set dressing and prop graphic design

My key task was to help SetDec and the Props team with providing detailed graphic designs for the sets. For the design process I used lots of periodic references, pictures, books, newspapers. For the illustrations I used old source materials.

I created detailed graphic designs (signs, paper works, labels, stickers, carriage graphics) working closely with the production designer.

The Chalenge

Angel of Darkness, the second season of TNT’s The Alienist, takes viewers back to the late 1890s, this time exploring a livelier, more dynamic side of the city. From elevated railways to bustling markets and luxury storefronts, the season required an intricate and expansive visual world.

In just two months, the team had to establish the visual identity of the city, including Sarah Howard’s office, while fully dressing a massive backlot with New York street facades and a Bowery segment. Filming introduced additional demands, such as scene-specific graphics, from posters and investigative documents to ornate details on Sarah’s safe. The sheer volume of work and tight timeline called for precise organization and planning.

With the first season setting a high bar, historical accuracy was paramount. Every detail, from signs to labels, was based on original references from the era. This ensured a deeply immersive and authentic experience, elevating the illusion and captivating the audience.

Bringing the Vision to Life

Starting with script notes, I collaborated with the production designer to refine the visual vision, gathering period references and experimenting with designs to meet both planned and spontaneous graphic needs.

The graphic work spanned 10 months, during which our team not only designed but also assisted in printing and executing the graphics. As someone involved in the first season’s design, I brought continuity and positive energy to the team, ensuring we upheld and surpassed the high standards set previously.

Working closely with architects and scenic artists, I tackled complex projects like ghost signs and unconventional surfaces. A major challenge was Sarah’s office mosaic floor, which required multiple iterations and precise preparation for printing under tight deadlines. Serving as the right hand of the American lead designer, I played a key role in maintaining historical accuracy, using original references to create authentic labels, signs, and graphics. Despite challenges, meticulous planning and teamwork ensured all designs were delivered on time and to the highest standard, exceeding expectations.