The drawings

How an audience is drawn

The report is bound, but the argument happens on large plates. These are the pictures we keep returning to when a schedule or a buy has to change.

Every plate is drawn for a named study week. We do not keep a library of decorative charts to drop into a new brief. Colour follows the pearl, silver, and coastal light of this room so a sales meeting can look at the boards without the glare of a borrowed foreign template.

If you already know which picture you need, say so in the brief. If you only know the argument — breakfast reach, a late serial, a boulevard package — we will choose the plate that can settle it without theatre.

Layered water light, used as a calm field behind daypart colour bands

Daypart ribbons

A horizontal band for each part of the clock. Density shows how many people were in the room, not how loud the sales house was. Gaps stay pale on purpose.

Night city layers, a cousin of overlapping media routes

Title overlap plates

Two titles, or two media, drawn so the shared people are visible. Used when a second invoice is suspected of reprinting the first audience.

A lit cinema interior standing in for a living-room destination hour

Held versus borrowed hours

A programme that people sit down for, against an hour they only pass through. Controllers use this plate when a late film is defending a rate it has not earned.

A dense public crowd, the texture of a counted walk

Outdoor passage walks

A counted route along a booked circuit. Repeat walkers are marked so a hotel-strip package cannot claim two faces as two audiences.

Commission a set of maps