Channel Identity - Living Network
Final Major Project while studying at The London College of Communications
Final Major Project while studying at The London College of Communications
For my final major project I chose to a brand identity brief. My initial intention was to create something for a television production company and to design a brochure showcasing their programmes, but after talking to my tutors they convinced me to change the brief to the redesign of an existing television channel. I chose Living TV as it was a channel I had no particular experience of and therefore no preconceived ideas about.
My ideas went down two distinct routes: one had a more three dimensional, physical form which worked well with lifestyle visuals while the other was a more type-based approach. Although I could only submit one for evaluation I continued with both until completion because they both interested me enough to not want to drop either.
My ideas went down two distinct routes: one had a more three dimensional, physical form which worked well with lifestyle visuals while the other was a more type-based approach. Although I could only submit one for evaluation I continued with both until completion because they both interested me enough to not want to drop either.
My initial thoughts centred around the way that the channel is just as much a part of its viewers' lives as anything - whether that be where they live, what they do, who they know, etc.
That lead to experimenting with forming the word 'living' from scenes that would resonate with viewers, from the mundane to the aspirational (groupings of commuters at the station as they wait for their train, the contents of a table during a great night out/dinner party, the lights on in an apartment block).
This lead to the idea of a more modular design: in the same way that the Living Channel clicks neatly into place in the life and lifestyle of its viewer, so the identity clicks together neatly.
Starting with isometric paper, I began sketching out letterforms, finding how they sat with each other, considering that I needed to create not one but two identities, to cover the two channels.
This lead to me creating a set of 3D models of my identities from card:
That lead to experimenting with forming the word 'living' from scenes that would resonate with viewers, from the mundane to the aspirational (groupings of commuters at the station as they wait for their train, the contents of a table during a great night out/dinner party, the lights on in an apartment block).
This lead to the idea of a more modular design: in the same way that the Living Channel clicks neatly into place in the life and lifestyle of its viewer, so the identity clicks together neatly.
Starting with isometric paper, I began sketching out letterforms, finding how they sat with each other, considering that I needed to create not one but two identities, to cover the two channels.
This lead to me creating a set of 3D models of my identities from card:
With these I began to create mockups of the channel idents - all against saturated backgrounds as above.
I tried using their different aspect within the design, so the back of the L would become a placeholder for the VT of the next programme, etc.
It worked, but lacked the sense of connection that I had been looking for in my original thinking, so I remade the objects as proper, sturdy objects that I could play with:
I tried using their different aspect within the design, so the back of the L would become a placeholder for the VT of the next programme, etc.
It worked, but lacked the sense of connection that I had been looking for in my original thinking, so I remade the objects as proper, sturdy objects that I could play with:
From there the ideas began to come more organically - I decided to use the objects in settings around the home and out and about that would resonate with the lifestyle that a target Living viewer would aspire to: beautiful walk-in wetrooms, professional quality kitchen, cosy cafes, etc...
The setups were shot to allow it to be video, while framing the image to allow text to be displayed:
The setups were shot to allow it to be video, while framing the image to allow text to be displayed:
Then followed the other elements of the identity.
Below you'll see the letterheads, complement slips and business cards:
Below you'll see the letterheads, complement slips and business cards:
The business cards were designed to give the new branding more of a push into the consciousness of the people who handled them.
By carefully laying out the elements on each side of the card it was possible to create a pop-up version of the logo from the card:
By carefully laying out the elements on each side of the card it was possible to create a pop-up version of the logo from the card:
The following is the alternative direction I pursued. In this case I picked a more typographically-focused treatment.
This was largely because of something I noticed early on in the project: the word 'Living' is not a very neatly balanced one: The gulf between the ascenders of the L and the i are in stark contrast to the tight kearning of the i and the v.
My goal was to overcome this without making it look forced, and from that I hoped to find a way of teasing out a coherent identity.
After research I decided not to go down the script route as it was a direction that Living had gone down before and looked dated quickly. Instead I investigated san serif fonts, but wanted to find something that had a personality.
I eventually found myself focusing on two Eric Spiekerman fonts: Officina and Meta. Specifically, Meta had the personality I was looking for - modern but with a personal twist, while Officina's i glyph had an arm sticking out that gave a nice offset to the blank space problem I mentioned above:
This was largely because of something I noticed early on in the project: the word 'Living' is not a very neatly balanced one: The gulf between the ascenders of the L and the i are in stark contrast to the tight kearning of the i and the v.
My goal was to overcome this without making it look forced, and from that I hoped to find a way of teasing out a coherent identity.
After research I decided not to go down the script route as it was a direction that Living had gone down before and looked dated quickly. Instead I investigated san serif fonts, but wanted to find something that had a personality.
I eventually found myself focusing on two Eric Spiekerman fonts: Officina and Meta. Specifically, Meta had the personality I was looking for - modern but with a personal twist, while Officina's i glyph had an arm sticking out that gave a nice offset to the blank space problem I mentioned above:
So I went to work re-fashioning the letterform to create the right feel with the following result:
Once the initial word was solved other elements began to suggest themselves: the frame created by the
and formed a motif that could be used as a natural frame for the channel number, but also as dynamic elements in any animated idents that were created:
and formed a motif that could be used as a natural frame for the channel number, but also as dynamic elements in any animated idents that were created:
The simplicity of the design allows for very clean, minimalist on-screen layout and a flexible approach to colour for the channel.
