Body-oriented television
TV 3 and SF DRS are focusing on freshness, warmth and humanity in their new visuals
TV 3 and SF DRS focus on freshness, warmth and humanity in their new visual identitiesBy Luca Aloisi The TV 3 and SF DRS channels had their visual identities refreshed at almost the same time. Both design packages originate from Zurich agencies: TBS was used for the public broadcaster and Regardez for the Tamedia broadcaster.
The visual profile of a channel plays a decisive role in successful viewer loyalty, as it gives the soul of the channel a face that can be modeled according to the various formats, but should also be recognizable. Around six years ago, TBS Identity, Zurich, created the new channel logo for SF DRS, which reflects the crystal and its
replaced an abstracted subsequent version, the "sphincter".
Because the corporate logo was initially only used in the print area of the Swiss stations, the later implementation of the program logo - at the launch of SF 2 in autumn 1997 - was branded as a plagiarism of the similar, equally versatile and simple ORF corporate design module. The English star designer Neville Brody had already created this for Austrian state TV in 1992.
Whoever came first, the SF DRS logo has since undergone considerable development, culminating in the recent computer-animated resolution of the logo itself, which beautifully and boldly visualizes the moving world of the medium. TBS Identity has thus created one of the most frequently seen, if not the most frequently seen logo in Switzerland.
It is obvious that a moving logo suitable for television screens should be designed. After all, this is the language of the medium and also its best business card. This is confirmed by the many animated logos of other broadcasters as well as the new station identity film realized with Screen Eleven, which expresses closeness and emotionality with a ballet sequence.
The station dynamics should also be visible in print
TBS also redesigned the screen interface in September. What is revolutionary about this is not so much the aforementioned self-dissolution of the logo, but rather the previously rare feedback of the screen aesthetics to the print. This is intended to establish the clear and differentiated recognizability of SF DRS more strongly.
The agency presents the decomposition of the six refreshed logos, like a flip book, in all of the station's corporate and marketing communication products. "Even in the print sector, strong visibility and recognition can be generated with a logo and design that remains the same in essence but changes in appearance," explains Creative Director Christian Tobler.
The fact that this dynamism can also be felt in the printed media is what is really new about the work of TBS. The aim is to demonstrate the dynamism of the TV company offline as well in order to position it permanently and credibly.
The wealth of facets is bundled in the kaleidoscope
After two years of broadcasting, TV 3 has also recently been given a modernized look. At the start of the important television season, the Tamedia channel had the entire design package, consisting of 15 subjects, renewed by the commercial and design agency Regardez in favor of a "fresh and human-warm look".
The key visual of the new look of TV 3 is the ornamental pattern of the kaleidoscope. The fascinating effect of surreal image staging has enjoyed great popularity not only since video art. Artists such as Philippe Halsmann have already demonstrated the magic of mirror effects in static photography.
A conical kaleidoscope was specially made for the shoot, into which a special lens could be inserted, reports Jürg Steudler, Executive Producer. With the various protagonists - from astronauts to flamenco dancers - the kaleidoscope concept is intended to stand for the multifaceted program, with this look suggesting entertainment and forming a content bracket. However, the fact that the station's self-image does not currently match its image is not so much due to the elaborate Station ID films, but rather to the content of the program, which, despite all efforts, is anything but multi-faceted.
The visual profile of a channel plays a decisive role in successful viewer loyalty, as it gives the soul of the channel a face that can be modeled according to the various formats, but should also be recognizable. Around six years ago, TBS Identity, Zurich, created the new channel logo for SF DRS, which reflects the crystal and its
replaced an abstracted subsequent version, the "sphincter".
Because the corporate logo was initially only used in the print area of the Swiss stations, the later implementation of the program logo - at the launch of SF 2 in autumn 1997 - was branded as a plagiarism of the similar, equally versatile and simple ORF corporate design module. The English star designer Neville Brody had already created this for Austrian state TV in 1992.
Whoever came first, the SF DRS logo has since undergone considerable development, culminating in the recent computer-animated resolution of the logo itself, which beautifully and boldly visualizes the moving world of the medium. TBS Identity has thus created one of the most frequently seen, if not the most frequently seen logo in Switzerland.
It is obvious that a moving logo suitable for television screens should be designed. After all, this is the language of the medium and also its best business card. This is confirmed by the many animated logos of other broadcasters as well as the new station identity film realized with Screen Eleven, which expresses closeness and emotionality with a ballet sequence.
The station dynamics should also be visible in print
TBS also redesigned the screen interface in September. What is revolutionary about this is not so much the aforementioned self-dissolution of the logo, but rather the previously rare feedback of the screen aesthetics to the print. This is intended to establish the clear and differentiated recognizability of SF DRS more strongly.
The agency presents the decomposition of the six refreshed logos, like a flip book, in all of the station's corporate and marketing communication products. "Even in the print sector, strong visibility and recognition can be generated with a logo and design that remains the same in essence but changes in appearance," explains Creative Director Christian Tobler.
The fact that this dynamism can also be felt in the printed media is what is really new about the work of TBS. The aim is to demonstrate the dynamism of the TV company offline as well in order to position it permanently and credibly.
The wealth of facets is bundled in the kaleidoscope
After two years of broadcasting, TV 3 has also recently been given a modernized look. At the start of the important television season, the Tamedia channel had the entire design package, consisting of 15 subjects, renewed by the commercial and design agency Regardez in favor of a "fresh and human-warm look".
The key visual of the new look of TV 3 is the ornamental pattern of the kaleidoscope. The fascinating effect of surreal image staging has enjoyed great popularity not only since video art. Artists such as Philippe Halsmann have already demonstrated the magic of mirror effects in static photography.
A conical kaleidoscope was specially made for the shoot, into which a special lens could be inserted, reports Jürg Steudler, Executive Producer. With the various protagonists - from astronauts to flamenco dancers - the kaleidoscope concept is intended to stand for the multifaceted program, with this look suggesting entertainment and forming a content bracket. However, the fact that the station's self-image does not currently match its image is not so much due to the elaborate Station ID films, but rather to the content of the program, which, despite all efforts, is anything but multi-faceted.
