GRAFX CO.'s founder Cagan Sean Yuksel was tasked with the initial designs for the eponymous Hannibal television show, depicting the great villain's work for the police, helping them to catch serial killers by diving into the mindset of these dangerous and disturbed individuals.
Although not eventually chosen for the show, they were an inspiration to the final design.

This sequence is disturbingly beautiful. With dreamlike poetry, we excavate old memories from inside the mind of a murder. Stunning images of decay suddenly blink to life in unexpected and startling ways. Through jump cuts, physical actions and time lapses we create an achingly beautiful mood of suspense.

This sequence is an introduction to the cast. Animated diagonal lines slice across the frame, transitioning us from one actor to the next with the sharp sounds of a knife. Elegant typography combines with evocative cast close-ups and live action moments from the show.

This sequence explores the contrasting (but similar) thought processes of Hannibal and Will. Will uses a mental pendulum to clear his mind of extraneous thought. Similarly, throughout the history of the Hannibal character, Hannibal is often shown playing the piano to calm his mind. The metronome, with its relentless swing, is a mirror image of the pendulum - similar, but opposite. It’s a perfect metaphor for their relationship to one another.

A cat and mouse game unfolds in the halls of an empty museum. Hannibal visits a gruesome art show that underscores his “murder as art” sensibilities. Will, just one step behind him, is so close he can nearly touch Hannibal… if only he knew he was there.

A claustrophobic, panic inducing sequence, showcasing the mental and physical horrors the victims of these serial killers endure. Featuring figures submerged in the depths of an unknown body of water, these visuals echo both the psychological despair of the victims mind, and the unfortunate fate of some.