(The Design of) Broadcast Identity
Iain J McCallum
Permission to copy:
Abstract: (WRITE THIS LAST)
1. Review and evaluate literature on graphic design and design theories
Motion graphics has it's roots in graphic design. Understanding these theories is a necessity for the coming analysis stages. It also stands in for the lack of design theory based on motion graphics, being a newer medium there is not the same depth of knowledge available.
This is initially covered in the research proposal. The literature review section serves as an introduction to graphic design and the various types of thinking, some example guidelines developed from theory, and styles over the past hundred or so years. In the dissertation further research focuses on motion graphics and broadcast design completing an introductory journey from primary symbols to the case studies in the next section.
2. Investigate and analyse examples of motion graphics in channel idents
Up to this point there is only an explanation of the theories and historical context for motion graphics. This section will ground the theoretical discussion in reality with examples showing how design is applied in a practical scenario.
Seven channels have been selected, two generic national ones, two aimed at youth culture - one US and the other EU, a children's channel, and two specialist focus channels. The study of these examples provides insight into various approaches to channel design. The knowledge gained in developing this section is invaluable in it's application to the final practice stage of the honours project, both in developing bespoke idents and in creating fictional channel identities within which to place the idents.
3. Conduct practice based research in the techniques used to create motion graphics.
Both the preceding sections concentrate on conceptual design, from theories to practical development. The final requirement for a designer is technical knowledge. This is essential in realising a design concept, without this knowledge there would be not physical product.
A designer with a larger toolset will not be forced to compromise as much as the man with a smaller set. As a result, this section will explore a large range of techniques through a number of media tests. Each test will contribute a new skill and technique which may be used in the final section. Typography, stop motion, photography, particle effects, motion tracking and illustration are some of the areas covered.
4. Create and critically evaluate a broadcast ident using motion graphics and its associated techniques
This is the focus point for each of the three preceding sections. The theory informs the concept, the case studies inform it's development and the media tests inform it's realisation. The results will stand as an exhibition of the combined knowledge and understanding gained from this project.
Three broadcast identities have been developed to allow a variation in approaches, this should also provide evidence to the versatility of the studies conclusions. With these three identities in place idents will be produced for each, driven by the three sections. These idents are the showcase pieces, the final conclusions.
Key design issues and approaches from existing channels are discussed and compared with the theories found in literature. Finally the practical application of motion graphic design is presented through the illustrated development of three fictional channels; 'Arisen', 'Pulse' and 'Momentum'.
This study reinforces the value of understanding design theory but also shows that it's rules are not a requirement. A strength of concept is shown to have more direct influence on the success of channel design, specifically the idents but also applying to design in general.
Motion graphics has it's roots in graphic design. Understanding these theories is a necessity for the coming analysis stages. It also stands in for the lack of design theory based on motion graphics, being a newer medium there is not the same depth of knowledge available.
This is initially covered in the research proposal. The literature review section serves as an introduction to graphic design and the various types of thinking, some example guidelines developed from theory, and styles over the past hundred or so years. In the dissertation further research focuses on motion graphics and broadcast design completing an introductory journey from primary symbols to the case studies in the next section.
2. Investigate and analyse examples of motion graphics in channel idents
Up to this point there is only an explanation of the theories and historical context for motion graphics. This section will ground the theoretical discussion in reality with examples showing how design is applied in a practical scenario.
Seven channels have been selected, two generic national ones, two aimed at youth culture - one US and the other EU, a children's channel, and two specialist focus channels. The study of these examples provides insight into various approaches to channel design. The knowledge gained in developing this section is invaluable in it's application to the final practice stage of the honours project, both in developing bespoke idents and in creating fictional channel identities within which to place the idents.
3. Conduct practice based research in the techniques used to create motion graphics.
Both the preceding sections concentrate on conceptual design, from theories to practical development. The final requirement for a designer is technical knowledge. This is essential in realising a design concept, without this knowledge there would be not physical product.
A designer with a larger toolset will not be forced to compromise as much as the man with a smaller set. As a result, this section will explore a large range of techniques through a number of media tests. Each test will contribute a new skill and technique which may be used in the final section. Typography, stop motion, photography, particle effects, motion tracking and illustration are some of the areas covered.
4. Create and critically evaluate a broadcast ident using motion graphics and its associated techniques
This is the focus point for each of the three preceding sections. The theory informs the concept, the case studies inform it's development and the media tests inform it's realisation. The results will stand as an exhibition of the combined knowledge and understanding gained from this project.
Three broadcast identities have been developed to allow a variation in approaches, this should also provide evidence to the versatility of the studies conclusions. With these three identities in place idents will be produced for each, driven by the three sections. These idents are the showcase pieces, the final conclusions.
Key design issues and approaches from existing channels are discussed and compared with the theories found in literature. Finally the practical application of motion graphic design is presented through the illustrated development of three fictional channels; 'Arisen', 'Pulse' and 'Momentum'.
This study reinforces the value of understanding design theory but also shows that it's rules are not a requirement. A strength of concept is shown to have more direct influence on the success of channel design, specifically the idents but also applying to design in general.
Forward:
Contents:
List of tables
List of figures
Introduction:
There are more than 7200 television channels broadcast in europe alone, and a further 1400 available. World wide the estimated number of existing channels ranges from 15000 into the 'millions'. This drives a need for each station or network to step out from the crowd and draw in an audience already buried under a deluge of media. Creative brilliance is therefore a requirement of channel design, program packaging, promotion clips, and advertising concepts.
In comparison to the disciplines of "classic" design the area between contemporary film and television design occupies a gap in the publishing market. Few literary resources are dedicated to the subject and those that are tend towards specific individuals who are of great influence but do not represent a fair cross section of the industry. Of the various disciplines within this publishing gap - TV design requires some of the fastest development of the highest quality work. In this age of networking, trends flare with unbelievable speed giving rise to constantly fresh and new concepts where anything goes and nothing is taboo. Specialised channels are targeting increasingly defined markets generating an abundance of artistic directions, even the most mundane subjects are presented in an engaging and entertaining manner. "TV Design is creation at the highest level" - Bjorn Bartholdy, Showreel 01
In comparison to the disciplines of "classic" design the area between contemporary film and television design occupies a gap in the publishing market. Few literary resources are dedicated to the subject and those that are tend towards specific individuals who are of great influence but do not represent a fair cross section of the industry. Of the various disciplines within this publishing gap - TV design requires some of the fastest development of the highest quality work. In this age of networking, trends flare with unbelievable speed giving rise to constantly fresh and new concepts where anything goes and nothing is taboo. Specialised channels are targeting increasingly defined markets generating an abundance of artistic directions, even the most mundane subjects are presented in an engaging and entertaining manner. "TV Design is creation at the highest level" - Bjorn Bartholdy, Showreel 01
This dissertation aims to facilitate a partial understanding of the industry. At it's core lies motion graphics and channel design. The research will predominantly focus on the use of motion graphics in network idents. Graphic design theory will form an academic context. Critical analysis of existing network identities will form a practical context. The final intent is the application of this studies conclusions in the production of 3 channel idents for fictional networks. It is hoped that these productions will provide an appropriate showcase of the dissertations subject.
PAST - A short introduction to graphic design:
Condense proposal lit review
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This research, being focused on a visual development of identity in motion design, is effectively based on the principles and theories of graphic design. As motion design can be visualised as graphic design with the added dimension of time, the literature of graphic deign forms a significant portion of the resources.
'Graphic design', the broadly reaching term currently used to describe a vast array of work was first coined in 1922 by 'William Addison Dwiggins'. His view of the role played by the graphic designer was somewhat constricted in comparison to our modern understanding. 'Super-printing' was an alternative term he occasionally used. "The printing designers whole duty is to make clear presentation of the message - to get the important statements forward and the minor parts placed so that they will not be overlooked." (Quentin Newark (2002)) He is describing the specific discipline of layout. The main aim of this, in his view, was to get the message across in the most efficient and effective way.
His approach, developed through a career of commercial messages, contrasted that of Francis Meynell, a poet and printer who dealt with literature including Shakespeare. In a piece entitled 'With twenty-six soldiers of lead I have conquered the world' Meynells aesthetic leaning is reflected.
"All the heights and depths and breadths of tangible and natural things - landscapes, sunsets, the scent of hay, the hum of bees, the beauty of which belongs to eyelids (and is falsely ascribed to eyes); all the immeasurable emotions and motions of the human mind, to which there seems no bound; ugly and terrible and mysterious thoughts and things, as well as beautiful - are all compassed, restrained, ordered in a trifling jumble of letters. Twenty-six signs!" (Quentin Newark (2002))
The opinions of these two men represent "the poles between which the graphic designer must choose a position." (Quentin Newark (2002)). Function versus Aesthetic, an opposition of design philosophies which applies universally to any kind of creative endeavour. This conflict has generated the more recognisable phrase, now an overused cliché; 'form follows function', derived from Louis Sullivans statement in 1896 of "form ever follows function".
This effectively became a motto of modernist architecture in the 20th century alongside 'less is more' as decorative design saw its demise in the face of Bauhaus philosophy. After a time modernism gave way to postmodernism, a reaction against impersonal blandness in favour of personal expression and variety. Now, in the wake of globalisation, the tide is turning again with a 'modern' take on 'modernism'. Currently the most visible and influential force is Apple with a design philosophy being driven by Jonathan Ives and his aim to refine until there can be no more refinements.
This ebb and flow of trends between form and function is felt across everything touched by design but does not dictate the choices made by every designer. If these movements could dictate choice they would have no opposition and therefore no development. In design there is always a choice and therefore an issue to be dealt with, assuming the creative is aware of, and considering, his or her design philosophies.
In attempting to understand and apply the philosophies and theories of design, much of the literature and lines of thought can be off-putting in their complexity. This is especially true of aesthetics in the writing of Immanuel Kant. Without a basic understanding of his philosophical project and its aims it would not be possible to understand his aesthetic theories. His project can be summed up as "trying to establish a transcendental critique of the nature and possibilities of mental life in general". Mental life here is 'thinking' and the transcendental critique is an analysis of the necessary elements and principles of how 'thinking' works or how it plays out in life through such things as our will or desires, aspirations or reasoning. Kant is a heavily methodological philosopher and addresses the subject of aesthetics in a deeply technical way. This produces results so abstract and obscure as to be imposingly difficult to follow or relate to. His theory of beauty comprises of 'four moments'; quality, quantity, relation and modality.
The 'quality' of beauty is a question of how it is held in the mind, how is the thought of beauty what it is. Kant describes it as a subjective experience that is also universal. When we find an object beautiful, it is our own experience in which we find this beauty. But when we think of this object we think of it being beautiful in a general sense. The quantity of beauty is how the thought is distinguished from other thoughts in the mind. This relates to the way in which it is universally subjective. Beauty is not the thought of an object, it is a sense that purveys through objects. An object is not beauty but it can be beautiful. The relation of beauty is the question of which part of the mind is this feeling related to. Most 'things' in the mind are what they are because they can be conceptually linked to other 'things', for example: movement is the orientation or position of one object changing relative to another. Beauty is different in that the existence of beauty is generated by something being beautiful. In Kants words it has a 'purposive purposelessness'. Finally the modality of beauty describes the way in which it is a reflection of our senses upon themselves creating new set of possibilities, meanings and desires. To truly understand Kants aesthetic theories and philosophical aims would require an in depth study and analysis for which this project does not have enough scope although it is wise to take note of the impact Kant has had on design theory.
In the early 20th century the Gestalt school of thought sought to deconstruct the perception of objects into its elemental parts. The work of Kurt Kuffka, Max Wertheimer and Wolfgang Kohler was a step towards the practical application of aesthetic philosophy. The findings of the 'Gestaltists' were organised into five laws for use in design by John W Cataldo who sought to "provide the graphic designer with a reliable psychological basis for the spatial organisation of graphic information." These laws set out clear definitions of the elements in design and the effects of their application, an attractive alternative to working through aesthetic philosophies. They are, briefly, as follows.
The first law: equilibrium. It describes the tendency of cognitive processes to simplify the perception of an object. Moving its constituent parts towards an equilibrium. It is similar to the second law of thermodynamics with objects tending towards a state of higher entropy.
The second law: closure. If a graphic figure is left incomplete, there is a desire to close it. This stems from closed areas as having a higher perceived stability. Incomplete or broken graphics portray instability, even hostility.
The third law: continuation. A straight line can appear to extend past its physical constraints and a curve can form the image of a circle where one is not drawn. A common employment of this concept is the dotted line. It is also related to the stroboscopic effect of animation.
The fourth law: similarity. What is perceived by the eye is constantly organised into patterns. Objects of similar size, shape, colour and direction will be grouped as one entity. This law is closely related to the fifth.
The fifth law: proximity. When objects are arranged in close proximity they will, again, be grouped as one entity. This law draws from a general gestalt principle that the character of an object is partially dependant on its surrounding field or context.
One modern philosopher of aesthetics, Denis Dutton, presented a view of aesthetics that is simplified yet further in a talk entitled 'A Darwinian Theory of Beauty'. He gives a very compelling reasoning behind why some things are more visually desirable than others, summing up with the statement: "we find beauty in something done well" (Dutton (2010)).
Today there appears a misconception that the mastery of software is in its self a mastery of graphic design. Technical advances have overtaken and are leaving behind the basics of design; shape, line, colour and typography. "The computer has revolutionised the design process. It has made the act of designing easier, and in many ways it has improved the way we design things. Yet in other respects it has made design more formulaic, and it has standardised the act of designing" (Adrian Shaughnessy(2005)) The seemingly limitless potential of technology and the problems which accompany it increase the need for an understanding of design fundamentals. "The availability of technology and the advances in imaging and production techniques will not cover up what is essentially a bad design" (Alan Hashimoto(2007))
Every subject mentioned in this proposal, and more, make up a landscape through which a creative must make his way. A designer must also, considering the convergence of technology and design tools, "command a baffling array of professional abilities that include, among others, the typographic chops of a print designer, the motion and timing smarts of an animator, the stylistic rendering talents of an illustrator, the narrative skills of a writer or editor, the music sensibilities of a composer and the cinematic and live action directing abilities of a film maker." (Kyle Cooper (2006)) A second implication of this convergence is in the format of the design product. It must possess a flexibility that will allow cross platform application. These challenges constantly test a studios ability and are becoming an increasingly crucial factor in its success.
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Motion graphics and Broadcast design:
Showreel. 01 research
applying graphic design theory to motion graphics...?
Framework for analysis (Results for each case study in appendix)
PRESENT - STUDIOS TODAY
Case Studies:
With an understanding of design principles and the roots of motion graphics now in place, the next step is to explore several examples of broadcast design. There are multiple aims to this specific stage of research. The first aim is to identify if and where the application of design theory in practice changes through the process of realisation. Second is the exploration of the influence a target audience has on the design. For this reason the selection of channels to study covered a range of audience profiles. This aim also takes into consideration the effect of the programming content as it is deeply linked to the target audience. The final aim is to inform the development of three fictional channels and their visual design. As a result of this aim the channel selection also covered a range of content from diverse programming aimed at everyone to specialised subjects with a specific audience in mind.
Fuel TV Analysis
"Fuel tv is about risk and opportunity, providing a testing ground for rising young talent, whether in front of the camera or behind. It discovers new riders, filmmakers, musicians and artists who bring total commitment and endless passion to their endeavours. As such it is an active force in action sports, leading and defining innovation, evolution and expression of youth culture." - Jake Munsey (Vice president of marketing and On-Air promotions). Aimed predominantly at a young male audience Fuel TV is the broadcast equivalent (or extension) of a teenage boys bedroom wall "girls, skateboards, posters of bands, cartoons, art, girls, etc." - Todd Dever (Senior producer, On-Air promotions).
One of the main concerns of the team behind the channel is retaining a 'trendy' image, a big pitfall they must avoid would be the perception that the channel has become a 'sell-out'. To avoid this pit fall and achieve their aim the programming and design must embody the specific culture they are broadcasting without giving the appearance of a marketing-plan driven by profit and viewing figures. "we are passionate about the culture and are dedicated to being an authentic 'expression of it' rather than 'about it'. You only get one shot to prove you're cool with them. If you blow it, they label you 'lame' and banish you into oblivion. They are tuned in and turned on in ways their parents never imagined." - Jake Munsey (Vice president of marketing and On-Air promotions).
As a result, there are no set rules by which the graphics are brought together, instead there is more of an intellectual aesthetic that is followed. At times tough, 'official fonts' are used but these only seem to appear when part of a graphic element that also contains the FuelTV logo. Rather than a strict rule set by the channel, this is most likely a result of what might be considered 'good design' (it creates a visual unity within the specific element).
The graphics are influenced largely by street art and generally have a raw appearance giving rise to the thought that these visuals could have been produced by fellow 'free-thinking' viewers. This is intended to reflect a DIY attitude prevalent through many of the sub-cultures covered by the content of their shows. Not all the viewers will aspire to the same visual aesthetic, but they will mostly share a desire for 'freedom of expression'. FuelTV places itself as an environment in which this expression can take place, it's rough and whacky approach contrasts the slick and sophisticated graphics of many other stations.
"When it comes to fuel tv's on air look for promos and internally produced shows, my philosophy is keep it "fucked up" - Todd Dever (Senior producer, On-Air promotions).
The visual aesthetic of FuelTV is the most diverse of the case studies. A brilliant example of this is there 'Signature Series, of 100'. 100 collaborators, artists, athletes and anyone willing to be creative, designed and produced (with the help of the broadcasters in-house team if necessary) an ident for the channel. The only rule to be followed: 'there are no rules'. As a result there are opposite extremes of every graphic element, an approach that appears to be working well.
KI.KA analysis.
KI.KA is a German public service children's channel with an aim to inform, educate and entertain. Thanks to the combined input of ARD (a joint organisation of germany's public service broadcasters) and ZDF (an independent public broadcaster) the channel boasts some very high quality and varied programming.
The visual aesthetic is built on a very simple idea - collage. Objects from daily life are used but not the stereotypical things associated with children. The creatives try to be surprising in their choice with an aim to inspire the imagination of viewers. Alongside this the channel "encourages self-confidence, not brand awareness, and promotes positive values, not products" it also "supports social, emotion and cognitive development of its young audience."
"The starting point for the channels look was the idea that children grow up with the channel and are kind of accompanied on an evolutionary process through different stages of childhood." - Ellen Karcher (Head of promotions and design)
The programming is aimed at an audience of rapidly developing youngsters. To deal with the speed at which kids 'grow up' the target audience has been divided into three categories: pre-school, school age and pre-teen. Each has it's own variation of the KI.KA aesthetic broadcast at specific times. As a viewer matures they will progress from one section to another allowing the channel to be a part of their lives for longer.
The youngest 'pre-school' programmes have a very simple and paced mode of address mainly presented in a light yellow and sunny colour scheme. School age graphics are based on a blue pallet. Pre-teen idents and presentation move into bright pink and also play with more action and humor.
"The most important thing for us is to get the 'what and when' across - the children have to receive clear information." Ellen Karcher (Head of promotions and design)
The channel works closely with several research institutions studying children's psychology and perception, "studies have shown that even pre-reading age children are able to identify our brand by its logo." Ellen Karcher (Head of promotions and design)
The colour scheme appears typical of design aimed at children - bright and vivid. Although the use collage brings together much variation through the graphics there is always one clearly dominant colour. This is not necessarily one of the colours specified for each of the three age groups, further variation seems to be acceptable within the design remit.
The typography reflects the collage aesthetic with a ransom not effect that tends to restrict variation within soft sans-serif fonts. Clarity is achieved by keeping a large font size and in a highly contrasting colour to the background.
The design is clearly taken seriously with the involvement of research institutions and studies to inform and back up the choices made. As a result the design philosophy is a successful one, and has been proven so. Taking heed from scientific research is evidently a logical thing to do.
Plug TV Analysis
Plug TV is a channel aimed at predominantly male 15 to 34 year olds, and aims to be a generic, slightly crazy, alternative to other channels. "The tone is simultaneously fun, Zen, with no taboos, on the edge of provocation, trash or irrelevance. The station look is hyper trendy, representative of young people of today." It is also "daring, fun, controversial, diverse and most importantly, slightly deranged." This is achieved within a collection of "cult films and series, reality TV, crazy entertaining broadcasts and music programmes (concerts, music videos, etc.)" - Sven Mastbooms (Creative director of seven)
The design philosophy is loud and fun, a result of confidence in the founding team by the owners, the RTL group. RTL is one of the worlds largest broadcast production companies through ownership of a great number of smaller organisations, some of the more recognisable shows they are responsible for are 'The X Factor, Pop idol and The bill'. The whacky design aesthetic of Plug TV is surprising when considering that the RTL group is an organisation driven by profit.
The visual design of the station forms a universe with a diverse range of characters and graphic environments which interact in small humorous scenarios. As the content evolves so does this surreal world. In a similar way to Fuel TV the visual style is defined by an abstract concept, rather than a set of graphic rules, which allows for an incredible variety and constant innovation. The similarities do not end there, each have an almost identical target audience and cultural awareness although separated by the Atlantic. This provides an interesting comparison of approaches between a US and EU broadcaster. Fuel has opted for an aesthetic based on 'freedom of expression' that comes across as taking itself slightly more seriously than Plug which characterises itself as 'deranged', 'cuckoo' and 'nuts'. Interestingly the baseline "Complement PLUG" translates as 'Completely PLUG' and aims at creating a phrase that effectively means 'Completely nuts'. The design studios sense of fun comes through strongly in their designs making it hard not to love what they produce, "After all, everybody has a twisted side."
REELZ channel Analysis
ReelzChannel is a specialist broadcast about movies but does not show any movies. Instead it's content is made up from the world surrounding film production; behind the scenes, reviews, interviews etc. Their target audience are adults, 18 to 49 year olds, who enjoy films and are interested in further knowledge on the subject.
"Everyone's a movie fan. We may not all like and appreciate the same ones but that's what makes it interesting. People connect with each other through movies - debating their merits, sharing the experience, recounting favourite scenes, quoting popular lines and even identifying with characters and stories. Movies are an integral part of our lives and our pop-culture." - Jakob Trollback (Creative director of Trollback + company)
The design aesthetic is a fairly simple and clean one. "Our work never has superfluous elements; anything that doesn't add emotion or information is eliminated." - Jakob Trollback (Creative director of Trollback + company) There are no 3D graphics and very little in the way of textures of patterns. The shapes are simple and the colours are bold. Sharp, highly contrasting sans-serif fonts are used throughout the graphics in keeping with the main logo. Although, as with any rule, there are exceptions. The result is simple, clean and fairly loud. "The simplicity only relates to the shape of the language; the thinking behind it is everything but. Limiting your language ultimately forces you to be a lot more creative." - Jakob Trollback (Creative director of Trollback + company). The content of the idents tend to take film clichés and give them a ironic twists or play with them in a visually entertaining way.
Being a specialist channel there is more of a defined message or identity that much be conveyed. Films and 'the movie business' form a clear focus throughout the graphics broadcast by ReelzChannel. For general channels with a larger target audience there is less definition, they "want to be everything to everybody, so you're left with some pretty abstract life-style oriented stuff". - Jakob Trollback (Creative director of Trollback + company)
Sundance Channel Analysis
The Sundance Channel is a spin off from the Sundance films festival and holds the same values although a separate organisation. Entries to the festival are usually included in the programming of the channel alongside a diverse collection of films, documentaries and original shows. Sundance provides a platform for independent creative voices and looks to show the challenging and the unconventional. The tagline running through many of the idents is "For a change". The audience is less defined than other channels but are described as sophisticated: "We think that they are open to arresting, innovative communication on all levels, including design." - Sarah Barnett (SVP Branding, On-Air & Creative Services, Sundance Channel).
"Sometimes the most simple form of expression, well executed, is the smartest rout and most well received solution."
The channels design is very clean, free from clutter, predominantly 2D with occasional 3D manipulations giving further depth. The design team, in looking for an authentic way for design to work, has a very minimal use of shapes. Plain blocks of colour form strings across the screen, occasionally one of these blocks frames a key image or piece of footage. There is a sub section within the overall graphics package dedicated to environmental programs. This uses, unsurprisingly, green as its key colour with illustrations of plant life growing out from footage of built objects. Interestingly, although most other channels seek ways of standing out, this is the only channel, of these case studies, that uses a serif font in its logo. A very small detail that does set it apart.
Most of the design and production is undertaken by the small in-house creative agency with larger outside studios pitching for the bigger projects. "It's exciting because you don't have to be all things to all people. It;s about knowing your audience and delivering the content and the personality that's right for them." - Sarah Barnett (SVP Branding, On-Air & Creative Services, Sundance Channel).
BBC One Analysis
BBC One is the flagship channel of the BBC, it "aims to be the UK's most valued television channel, with the broadest range of quality programmes of any UK mainstream network. We are committed to widening the appeal of all genres by offering the greatest breadth and depth within them. We will cover national and international sports events and issues, showcase landmark programmes and explore new ways to present specialist subjects." The channel provides individual services for Scotland, Wales, Northern Ireland and England - the visual identity is virtually identical through each service save the name of the country below the main BBC logo.
Since the first broadcast motion graphics began appearing in the 50s BBC One has been using the circle as it's central emblem. This has an almost endless list of connotations being the most prominent of the primary shapes. An appropriate choice for the oldest channel within Britain.
"The circle as an emblem of togetherness; a moment of magic and creativity that leads to the circle; everything stems from BBC ONE - the logo is literally the heart of the channel with the new onscreen presentation system - and everything comes together as one around it. The concept of the circle suggests the closed nature of the singular as well as the unity of a group - it celebrates the beauty of collaboration as well as the beauty of a simple snap!" - Charlie Mawer (Creative Director of Red Bee Media)
In 2006 BBC One had its own font developed by 'Fontsmith'. This gives an almost subliminal recognition of BBC One graphics even without specific branding. The most notable point about the typeface is the circular nature of the 'o' exterior which reflects the circle theme running through almost every ident design. A very powerful effect is achieved when this is combined with the red signature colour of BBC One. Add a circle in any guise and the three block BBC logo and the elements making up the visual language are complete. This is one of the most simple and effective graphic strategies employed by any broadcaster.
"From Saturday night entertainment and broad comedy, through to dramatic action and natural history. From daytime to late night, from major sporting events to music and dance. We need idents that can also play into challenging news and current affairs stories. Ones that have an air of neutrality to balance very intrusive and comical ideas."
Channel 4 Analysis
Channel 4 is a publicly owned UK broadcaster but does not receive a share of the licence fee's like the BBC. It's primary purpose is the fulfilment of it's public service remit: "The provision of a broad range of high quality and diverse programming which, in particular: a) demonstrates innovation, experiment and creativity in the form of content and programmes; b) appeals to the tastes and interests of a culturally diverse society; c) makes a significant contribution to meeting the need for the licensed public channels to include programmes of an educational nature and other programmes of educative value; and d) exhibits a distinctive character." Over 300 production companies receive commissions from the channel, a far greater number than any other british broadcaster including the whole of the BBC. There are several channels broadcast alongside the flagship service, E4, More4, FilmFour, and 4Music all of which are now free to air.
In a similar way to the programming, the graphic packaging for the channel is produced by a great number of different studios. "If I were to summarise our creative processes, I'd say this: keep the idea simple, hire the best person for the job, let them get on with it." - Brett Foraker (Creative Director) This creates a diverse range of styles and ideas to satisfy the huge scope of the target audience. The remit, several design guidelines and history of the channel play important roles in keeping a unified appearance to the range of idents. Like BBC One, Channel 4 has has it's own font created and tends to stick with a limited range of colours. The most recognisable feature is the 9 block '4' icon designed by lambie-nairn in 1982. This has become a design icon that has stood the test of time with its core concept left intact even through 30 years of the channels development.
"Channel 4's content changes constantly, but its remit - which stresses creativity, innovation and challenging accepted thinking - does not. We work primarily to the remit and attempt to evolve as the needs of the channel change. This way, we can proceed organically rather than undergo a massive re-branding exercise every time somebody in a suit sneezes." - Brett Foraker (Creative Director)
Case studies conclusion:
Throughout these studies several examples of approaches to broadcast design have been explored. BBC One, Channel 4 and Sundance are all tending towards an abstract and fairly clean look while Plug, Fuel and KI.KA have opted for a busy, loud and colourful approach. Additionally Fuel has grounded itself with a raw, handmade aesthetic. Finally ReelzChannel has taken a more literal approach made possible by its specialist nature.
The common factor across all seven channels and their design philosophies is the concept lying at the core of their visual identity. They have chosen not to use a strict set of rules to govern or restrict inappropriate use of colour, line, shape, texture, narrative or other purely visual elements. Instead, the guidelines followed by creatives to ensure a unity are based on what is best described as the personality of the channel. This may seem an abstract concept without much baring on the physical process of design and development but has been clearly applied to each of these seven channels.
Of course, there are examples of practical graphic rules employed through some of the visual languages. The circle is almost always part of the BBC One idents, Channel 4 uses its bespoke typeface almost exclusively and KI.KA does tend to stick with it's colour system. These rules certainly play a big role in achieving a recognisable language but they are not the defining structure, each rule can be broken so long as the result holds true to the personality of the channel.
FUTURE - CROWD SOURCING
With the combined availability and capability of software, hardware, and computing power, there is virtually no limit on what a designer can create for on-screen presentation. This removes any practical limitations for the creation of a design leaving only the brief as a set of conceptual guidelines. Additionally, and perhaps more importantly, the number of people with access to high level tools has now increased dramatically. Anyone with artistic ability, even those who somewhat lack it, can create virtual products and designs comparable to a longstanding professional. Finally the global network connecting these individuals allows a new effect, or movement, to begin taking hold. The term 'crowdsourcing' was coined in June 2006 by Jeff Howe with his article "The Rise of Crowdsourcing" for Wired magazine.
Crowdsourcing is an online, and occasionally offline, distribution of problem solving and production to an undefined public. Outsourcing, although similar, differs in that it distributes to a specific entity. A website like iStockphoto may be considered a form of crowdsourcing. Users may upload photos, videos or audio files which may be bought for an incredibly small fee to be used almost anywhere without royalties. This type of organisation was the next logical step from user-generated content sites and is responsible for diminishing the success of professional stock media. The next step has an even greater potential of affecting creative professionals and the way studios work.
InnoCentive is described as 'the research world's version of iStockphoto'. Corporate R&D departments may post a problem that needs to be solved. This makes it available to any individual of the general public. Anyone with an interest is invited to find a solution. With this particular example fairly substantial rewards, usually between $10,000 and $100,000, are offered for the most successful entries. R&D costs are driven down and the number of researchers increases by several orders of magnitude. This example should make clear the possibilities of crowdsourcing for a broadcaster or motion graphic studio.
With the example set by InnoCentive a crowdsourcing broadcast design studio does not seem such a far flung idea. Fore runners of it's existence have been design competitions held by the likes of e4 or SkyArts. These events result in a pool of completed entries only as adventurous or complex as each competitor. To harness the latent talent throughout the 'crowd' for a single purpose as opposed to playing the crowd against it's self would generate results far greater then any individual could achieve. Enter 'The New Kind' a sci-fi web series airing in August 2012, in production at the time of writing this dissertation. Peter Hyoguchi, the creator, has gathered some of the formidable talent behind films such as Star Wars, Avater and Hugo. These pros supervise the work created by a 'crowd' of anime enthusiasts. Since the project entered production a year ago, the spring of 2011, roughly $1 million of assets have been created free of charge. Being a web series the show is also planned to be free to air. Money will be made by charging $1 to watch an episode a week ahead of schedule.
Given the enormous savings offered by such a production model it is hard to see any other ways in which not only the broadcast design industry will proceed but many other industries able to utilise 'the crowd'. Were this to be pursued by a studio the first hurdle, other than drawing in a large enough public awareness, will be the quality of work received. As a rule, proposed by Jeff Howe, "Any open call for submissions - whether for scientific solutions, new product designs, or funny home videos - will elicit mostly junk". Peter Hyoguchi has solved this issue by sourcing the individuals of his crowd personally. Another solution being implemented by one of the first purely crowdsourcing production companies, 'Sophies games', is a ranked profile built by the users commitment and quality of work.
It is a result of these events that I propose this, and not the development of design theories or pushing conceptual boundaries, is the future that motion graphic and broadcast designers must look toward. If such a thing takes hold, a studio may no longer play the role of producing content. Instead it may become a form a quality control and source of conceptual guidance.
Development and design for three fictional channels (Implementation of the research findings):
3 Channels intro:
Three fictional channels have been developed for which motion graphic idents will be produced. Each has a defined identity and target audience. These two elements will be used to drive the separate designs using techniques and conceptual practices identified through the project's research. The introduction to graphic design layer out the ground rules. The exploration of motion graphics and broadcast design takes these rules into focus regarding the studies focus. The case studies inform the development of the fictional identities and their target markets. They also portray the ground rules of graphic design being broken and warped. Finally the media tests provide the technical means with which to finally realise the fictional idents. Every element comes together in a manner reminiscent to the development of a designer or studios lifespan. Learning, specialisation, career development, confidence inspiring innovation, technical mastery. This may not be the description on one lifespan but more a process that repeats.
MONDO ident development description, justification
PULSE ident development description, justification
ARISEN ident development description, justification
3 channels conclusion:
Conclusion:
Appendix:
Framework for analysis:
7 case studies results:
3 Channels full descriptions:
MONDO is a channel dedicated to the 'epic'. Action / adventure, science fiction, fantasy, extreme sports - be it a series, film or live event: Mondo will showcase anything that has 'huge' effects, story or achievement. Drawing together a surreal mix from blockbusters to viral independent 'web film', behind the scenes stories, and ground breaking events Mondo provides a constant 'wow' to it's target audience of 20 to 30 year olds, predominantly men.
PULSE is an entertainment channel focusing on the playful side of life with a streak of daring. Shorter programming tending towards 10 and 20 minute shows invigorate the channels schedule and fit the culture of todays fast moving youth. Series, reality, game, and award shows are mixed in with entertainment news and reviews. It's lighthearted and silly nature stands in contrast to an increasingly busy and stressful world. The target audience is primarily the younger generation: 15 to 24 year olds. The name was chosen for it's strong visual and metaphorical connotations.
PULSE is an entertainment channel focusing on the playful side of life with a streak of daring. Shorter programming tending towards 10 and 20 minute shows invigorate the channels schedule and fit the culture of todays fast moving youth. Series, reality, game, and award shows are mixed in with entertainment news and reviews. It's lighthearted and silly nature stands in contrast to an increasingly busy and stressful world. The target audience is primarily the younger generation: 15 to 24 year olds. The name was chosen for it's strong visual and metaphorical connotations.
ARISEN is a channel dedicated to unveiling truth behind controversial issues, activities and events throughout the world. It creates a platform from which the voices of ordinary and independant people can be herd, specifically those directly affected by the subject under discussion. ARISEN aims to remain un-influenced by differing viewpoints and to present a non-biased outlet of information so that viewers may form their own opinions free from pre-conceptions. It is comparable to a news channel but delves deeper through a programming slate of documentaries, short (factual) films, educational and discussion shows. The audience is primarily made up by well educated, open minded individuals between the ages of 20 and 49 although suitable for anyone with an interest in the current and controversial who is willing to hear more than one side to a story. Reason for the name: 'Arisen' was chosen as a name to represent the hope that a sometimes blurred truth will always become apparent.
Bibliography:
Matta - Release The Freq from Kim Holm on Vimeo.