Corporate & Global Networks Web

The Problem

Discovery is dozens of networks inside one company, seen in more than 200 countries. The corporate web had to speak to investors, press, and partners at once, hold all of those brands together, and still read as a single, confident company rather than a directory of logos.

The Work

I designed across the enterprise surface.

• The Discovery Communications corporate homepage, the front door for investors, press, and recruiting, with the full network portfolio lined up in one masthead.
• The Discovery Worldwide interior, a world map that put the company's reach in plain numbers: 1.5 billion total subscribers, 400 million TV households, 130+ networks, 200 countries, and 40 languages. The map carried a story that a paragraph could not.
• Network and show properties for Discovery Networks International, including Gold Rush, Shark Week, and River Monsters, each styled to its own brand but built to a shared system.
• A gated Influencer Panel, a private research portal where invited viewers gave feedback that helped shape which programming stood out.

Under that same system, each series also got its own poster. I designed the show key art across the networks, tuning every piece to its program while holding the shared house style: Call of the Wildman and Hillbilly Handfishin' for Animal Planet, Punkin Chunkin for Science Channel, All-American Muslim and Sister Wives for TLC, Curiosity for Discovery Channel, and Stolen Voices, Buried Secrets for Investigation Discovery. Each one had to read as its own show and still belong to the same company.

Impact

This was the material a partner, an investor, or a journalist saw first, so it had to carry the company at full scale without getting loud. The Discovery Worldwide map became a clean, repeatable way to state the reach of the business, and the network properties proved that a shared system could hold twenty-odd brands together without flattening any single one of them.