The area of this study is broadcast design. The use of motion graphics in portraying a visual identity. To gain a thorough understanding of this subject and its context one must examine the roots from which it has grown.
From the first basic symbols; circle, cross, triangle and square through the Roman empires "first nationalistic logo" and Procter & Gambles move to become "one of the first companies to capitalise on the use of trademarks" - Gregory Thomas, 2000. We have developed our obsession with visual symbology and graphics to the point where it is "the most universal of all the arts" - Quentin Newark, 2002. Its uses range from the first known forms of communication to decoration, explanation of practically anything and identification of almost everything.
"For centuries man has labelled himself, has created an identity within which he can live and be known as he would like to be known. It is not a new phenomenon, but rather an ancient ritual, designed to express the differences between one group of humans and another." - Edward Booth, 1980
The introduction of cinema, followed by television, brought with it the opportunity to add motion to graphics. It would be impossible not to mention Saul Bass at this point with his innovative, and legendary, title sequences for nearly 60 films from Otto Premingers Carmen Jones (1954) to Martin Scorseses Casino (1995). Other designers including Martin Lambie-Nairn and Harry Marks have made a name for themselves creating broadcast motion graphic design and playing key roles in the introduction of computers to the development process.
Today there is constant demand in packaging, branding, rebreeding and design for thousands, or tens of thousands, of shows, channels and networks worldwide. It is in the development of these identities, the journey from client to packaging, that this study will focus on.