On Churchy’s second season, Raghav Reddy’s graphic-design assignment ranged from church signs and fictional news-channel logos to newspapers, election materials and restaurant branding, helping a production shot in Los Angeles present a Texas setting. These were not decorative additions to a finished world. They were part of the visual evidence through which that world became legible to an audience: where the characters lived, which institutions surrounded them and what kind of community the story inhabited.
That attention to the information inside an image connects a wider professional record. Reddy’s credits include graphic design for Taylor Swift’s Eras Tour and Big Brother Season 28, alongside art direction for The Billionaire Female CEO from the Trailer Park. Across live entertainment, television and mobile drama, the work places an Indian design professional within productions reaching audiences far beyond a single national market.
The Eras Tour credit is notable for the scale of the production to which he contributed. According to figures from Taylor Swift Touring reported by ABC News, the tour drew more than 10.1 million attendees and generated approximately $2.077 billion in ticket sales. Reddy contributed as a graphic designer, bringing his practice into a large-scale touring production. Alongside his television assignments, the credit extends his professional experience beyond the screen and into live entertainment.
Big Brother Season 28 adds a substantial television credit to that international portfolio. In its September 30, 2026 season-to-date report, CBS said the programme averaged 5.1 million viewers in seven-day multiplatform viewing, with full episodes and live feeds accumulating 14.8 billion minutes watched across CBS, Paramount+ and Pluto TV. For Reddy, who worked as a graphic designer on the season, the assignment adds a major broadcast and streaming production to a portfolio already spanning other forms of entertainment.
His art-direction work on The Billionaire Female CEO from the Trailer Park extends the record into mobile-first entertainment. The production has reported 31.9 million views on the ReelShort app, providing another measure of the reach of a project in his portfolio. The move from graphic-design assignments to an art-direction credit also shows why his work cannot be reduced to a single type of screen asset. These are related disciplines, but they represent different responsibilities within a production.
Churchy offers the clearest published account of what those responsibilities can involve. In an interview with The Free Press Journal, Reddy described working as the season’s sole graphic artist under production designer Korey Washington, supplying materials for set decoration, wardrobe and vehicles while researching and designing the graphics needed to turn Los Angeles into Texas on screen. The breadth of that assignment gives substance to the credit: one graphic-design role had to respond to the needs of several departments, not merely produce a single logo or promotional image.
The same production background carries into commercial work. The Free Press Journal’s profile identified assignments involving brands including Zara, Dolce & Gabbana, McDonald’s, Google, NFL, Ray-Ban, Meta, AT&T, Chase Bank and Burger King. Such work sits alongside, rather than replaces, his narrative and entertainment credits. It adds another setting in which design must answer a specific brief and remain consistent with a larger visual identity.
An earlier DNA profile also reported his graphics support for the Grammys and The Late Show with Stephen Colbert, work on a global UNO commercial, and collaborations with production designers Dave Blass and Jamie Walker McCall. Together with his affiliation as a graphic artist with the Art Directors Guild, IATSE Local 800, these engagements place his practice within the working networks of the American entertainment industry. They describe an established professional record across multiple production teams and formats.
For Indian readers, the significance is not simply proximity to famous names. It is the specialised work behind them: graphic design that supports a fictional setting, production assignments within widely seen entertainment, and an art-direction credit in a different distribution format. Reddy’s career illustrates how visual-design expertise can travel between these environments without losing its practical purpose.
The details on Churchy make that purpose especially clear. A sign, a newspaper or a campaign graphic may occupy only part of a frame, yet it helps establish the place in which the action unfolds. Raghav Reddy’s international profile rests on that combination of specific craft and substantial production experience: work inside the image, supporting stories and spectacles seen around the world.
