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Emma Kenny

Design a Difference

VIC 312

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We begun our first meeting in our assigned groups by discussing several ideas which we each had which could act as potential topics for our brief. Promoting companies through murals, re-branding a bagel shop, giving Smithfield Market a refresh and re-designing UTV on-screen idents were the four main concepts considered. After careful deliberation, we decided to go with the latter, re-designing UTV on-screen idents, as we felt this could, as the brief asked, benefit from our professional and creative contribution the greatest.

Our initial ‘Design a Difference’ brief asked us to “discuss and identify a suitable subject that will benefit from your professional and creative contribution.” As a group, we would agree on a subject and prepare a written A4 Brief that articulates what the subject is, what the context is for our planned design response, what we are required to do and what the intended deliverables might be.

Initial Group Work 1

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Use images full bleed and in smaller sizes aligned to grid.

Brief Formation

UTV (formerly known as Ulster Television) is ITV’s licensee for Northern Ireland. It was founded in 1959 and since then, the logo has changed 5 times. In January 2011, UTV refreshed its on air look with new idents and a 3D glass effect logo. In June, they announced an open competition in which the public could send in their own films which could be chosen to be the latest ‘U-dents.’ These range from ‘U Study,’ with footage of Queens University shown in the background, to ‘U Climb’ with footage of a rock climber in the Mournes as the focus (Fig. 1.)

In general, we thought the overall visual identity of the television station is poor and we feel there is so much room for improvement. It seems as if UTV are playing it safe with their design choices, which consequently creates a boring and monotonous atmosphere.

This discussion led on to the decision that our creative challenge for this project would be to create a fresh, new series of on-screen idents for UTV, as well as a modification of the current logo (Fig. 2) and brand name. We understand that the channel has a majority of older viewers, and we do not wish to alienate this audience, but engage with it, as well as attracting a younger generation of viewers. We want to keep the regulars but also compete with other channel brand identities, whilst still maintaining a sense of individuality and uniqueness. Our aim is to create a fresh, simple and nostalgic tone, and be attentive to the audience we are appealing to.

Figure 1 - Current UTV ’U-dents’

Figure 2 - Current UTV logo

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Design a Difference 3Brief Formation

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Initial project brainstorming

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Design a Difference

Initial project brainstorming

Brainstorm / Demographics 5

Demographics

To determine the audience in which my re-design will be aimed at, I contacted UTV directly to find out if they have any channel statistics or demographics on who watches the channel with regard to age range, time of day, number of viewers etc. After many unsuccessful attempts and dead end phonecalls, I decided to take a step back and look at the channel of ITV, in which UTV is a licensee of. I was able to attain some statistics of weekly viewings across the main UK television channels from BARB (Broadcasters Audience Research Board.) As shown to the left, it is clear that BBC 1 and ITV are the most popular channels, closely followed by BBC 2 and Channel 4. What is it that makes a channel more popular than others? Is it the programming, or is it the promotion?

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Previous Identities I thought it would be beneficial to take a look back at all of UTV’s previous idents to get a greater feel of how I can approach the re-design brief. It seems as if they have maintained the colours of blue, yellow and red for many years, and there has been no real dramatic change to the logo.

The 2002 identities (shown top right) were part of an attempt to implement a generic ident package across all ITV regions, but on its own terms. UTV took the networks idents, but clung to their own name and logo. However, this was soon replaced by the long standing panoramic films of various locations and landmarks in the region, which are shown to this day.

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Design a Difference Previous Identities 7

Top to bottom row - 2001, 2002, 2004, 2006, 2009

Opposite Page - 1960, 1983, 1983, 1991, 1989, 1994

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Figure 3 - Dixon Baxi’s complete identity and design overhaul for terrestrial TV channel Five as part of a Network rebrand.

Researching Campaigns

To gain inspiration and design awareness, I looked at a several brand identities and advertisement campaigns which I believe have worked very successfully.

I considered Dixon Baxi’s expressive, creative identity for Channel Five, with the mantra of “It’s got its colour back.” They avoided typical logo driven idents and developed ‘brand bursts.’ Fun, eclectic and stimulating, they are a reflection of the brand tonally rather than using logo devices (Figure 3.) The logo itself is clean and crisp, carefully designed with bespoke type to present the word ‘FIVE’ as opposed to the number.

They expanded this identity to signage and a new website, tackling all areas of design overhaul.

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Design a Difference 9Researching Campaigns

Figure 4 - Sony Bravia TV Ad designed by The Fallon London in 2005

Sony took a unique stance in creating their television advertisements. They use colour to sell the quality of its televisions; they needed to justify its premium in the rapidly expanding flat screen TV market. In response to this, a spectacular commerical featuring 250,000 brightly colored rubber balls (real, not computer generated) bouncing down a San Francisco street was filmed (Figure 4) to reinforce the message that Sony Bravia televisions have the best colour, and hence, the best picture. It used the strapline ‘Colour Like No Other,” and indeed it was. Bravia sold out in the UK and the ad was downloaded 20,000 times in 8 weeks.

For my project, I didn’t necessarily need to have something literal in my idents, like people watching television, but instead chronicle and portray an attitude, a characteristic, a quality of the channel. Just like Sony simply wanted to portray colour, I wanted portray something like ‘quality’ or ‘class’ and create a visual interpretation of this.

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Working to the line ‘Give in to Gü,” the campaign for the company reclaims the uncomplicated joy of eating a chocolate pudding. This approach interested me as it steers from the conventional approach of the desserts category - positioning desserts as naughty secrets or transgressions that have to be justified with excuses. It encourages consumers to indulge and unapologetically revel in the pleasure of giving in.

Quirky and fun, the advert features a series of mischievous everyday scenarios which people find hard to resist, such as the tipping of a line of dominos, the lifting of a skirt on stairs or turning on sprinklers while a neighbour is sunbathing (Figure 5.) The end frame features a steaming hot chocolate souffle, and the tagline “Give in to Gü.”

We wanted an idea that wasn’t another typical dessert ad where you have to just watch people enjoying eating chocolate.

Figure 5 - Gü pudding ad campaign by DDB UK

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Just like the Gü advertisement steered away from the typical dessert campaigns at that time, I wanted to avoid the common TV channel ident of including clips of programmes etc and focus on something more abstract, yet keeping in character with its values and making sure it remains appropriate for the target audience.

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Figure 5 - Gü pudding ad campaign by DDB UK

ITV creative commisioned Lambie Nairn to create new branding and a refreshed look and feel for ITV 1’s longest running soap, Emmerdale.

We wanted to challenge perceptions of Emmerdale, but at the same time, ensure what we created was true to the programme’s heritage.

They created a completely new brand identity, new opening titles, updates logos and a refresh of the renowned theme music. To me, the new opening sequence and logo seems a lot cleaner, with a simple yet effective logo (Figure 6.) They are able to take a show that has a more mature, older audience and create something that is modern yet classy, and does not alienate the viewers. I felt this was applicable to my project, as the majority of UTV’s audience are older, so I knew it was possible to create something that satisfied the viewers that were already tuning in yet attract the younger generation.

Figure 6 (Above) - Stills from two of Emmerdale’s previous opening sequences(Right ) - The current opening sequence and logo, designed by Lambie Nairn

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Design a Difference Logo Development 13

Logo development

My logo development begun with quick, small sketches, experimenting with shape and positive and negative space. I then moved on to more refined designs created in Illustrator, taking inspiration from the sources I looked at. I wanted to keep it simple, with one colour being used on a flat vector.

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Design a Difference Type ConsiderationDesign a DifferenceDesign a Difference 15

My next stage in the logo development process was to consider what type to be used for the channel identity. I looked at the large family typeface Bookman, which I was drawn to due to its nostalgic, yet modern qualities. I felt that its lowercase ‘u’ could have been used for the logo, however, I wasn’t sure whether the type would be appropriate for the whole identity of UTV as it is quite busy and may not be legible for all audiences.

I considered both Telegrafico and Nevis as potential typefaces, due to their legibility and clarity. I felt both were very appropriate for the corporate TV channel identity but with a friendliness and hint of nostaglia, especially Nevis, with it’s uppercase ‘S’ and lowercase ‘e.’

I refined my logo design down to two concepts, shown above. I chose to use the shape of a circle because it is subconsciously percieved as friendly and approachable, as well as symbolising a continuity. The first concept uses the lowercase ‘u’ of the font Bookman Demi, part of the Bookman family typeface as mentioned before. The label ‘Ulster Television’ is written below to further explain where the letter ‘U’ comes from, and this is written in Telegrafico. The second concept eminates a more corporate ambience, again using the sans serif Telegrafico, adjusting the kerning and tweaking the letterforms so they are joined in a line at the top centre.

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Concept 1

My first concept focuses on the lifestyle of the people who watch UTV, the families, housewives and older audiences etc. The idents would show witty footage of the typical everyday occurences in the life of a viewer, almost as if UTV is saying “We are here with you through it all.” The idents would be shot from the angle of a television.

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Concept 2

Programming is a large part of what ultimately attracts people and maintains their interest to a television channel. Concept 2 addresses this and relates to the programming which is being shown on the channel and how we as a viewer are linked to it. It takes common meal or snack times and relates it to a show which might be aired at that time of day.

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UTV’s current idents shows footage of scenes from all over the region, so instead of discarding this idea altogether I decided to create a much more fresh and aesthetically pleasing concept by showing similiar scenes but from interesting angles and focus. I chose to include one of my proposed logos which would appear over the footage as it played. However, on reflection, I felt that this specific logo was too quirky and charming for a television channel identity, and would be more suited to a coffee shop or clothing brand.

Concept 3

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Concept 4

Playing on the circle shaped logo, I created a concept that would appeal to the older audience and could be shown at different times during the day. The language would be conversational, as if the television is talking to the viewer, telling them to ‘leave the dishes’ and come and watch UTV.

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Ident stillsI chose to develop concept 4 for my final UTV idents, as I believe it was a very effective way of appealing to the current audience, was interesting for new viewers and was also achievable to create within the time set.

Creating a unique backdrop for each, I filmed six different idents which could be played between programmes on the UTV channel. Fitting the brief, I created a fresh, simple and nostalgic tone which was appropriate for the current audience. I chose objects which would play on the theme of a circle, such as a basin of washing, a box of chocolates and a plate of an Ulster Fry. Each of the idents would appeal to an audience and be shown at specific times of the day.

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Good Morning - would be shown at the beginning of the day, appealing to all audiences.

Indulge - would be shown at the end of the day, appealing to all those who have maybe had a long day at work or been looking after the kids all day.

Relax - would be shown during the day, appealing to an older audience, using the imagery of sewing to emulate this.

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Time Out - would be shown during the day, appealing to the housewives who might be watching television during the day.

Tuck In - would be shown around lunchtime, appealing to all ages who may choose to watch UTV while eating their very ‘Ulster’ fry.

Wind Down - would be shown in the evening time, appealing to the older audience who, again, have had a long day at work and wish to chill out.

I chose to include my second logo concept for the final idents, as I feel it worked better and epitomised the corporate television channel identity that I wanted. However, due to the conversational language portrayed in my idents, I chose to use Bookman Demi as the type, as it is casual and free flowing, enticing the viewer to give in to its commands. I created a simple sound clip to be used as audio for the idents in Garageband, which I think has an uplifting, persuasive tone yet is appropriate for a television channel, and I think it works effectively. The idents were designed in Adobe After Effects, where they were exported to iMovie HD were the sound was added.

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Reference List

Figure 1: http://www.theidentgallery.com/utv-2011.phpFigure 2: http://tv-live.org.uk/wp/index.php/plusone/logos/Figure 3: http://dixonbaxi.com/14Figure 4: http://www.fallon.co.uk/Figure 5: http://www.ddbuk.com/ddbukFigure 6: http://www.lambie-nairn.com/

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