Earlier print edition logos (left) utilizing Eurostile and Futura; and current digital edition logo (right) set in Proxima Nova.

The logo and the entire website for TVGuide.com has used Proxima Nova since 2019—fitting for a brand that’s something of an institution. The logo for the print magazine used various sans serif typefaces over the decades (notably Eurostile and Futura), set in white on a bright red TV screen shape (a design heavily borrowed by YouTube).

The digital edition, reflecting the modern streaming era, drops the antiquated TV screen shape in favor of a simple internet-friendly round-cornered square in the classic red.

Proxima Nova, released in 2005, blends the geometric structure of Futura with the proportions of Akzidenz Grotesk. Its plain, straightforward design fits perfectly into the classic TV Guide aesthetic while giving it a more contemporary style.

For a legacy media brand now living primarily as a website—TVGuide.com has operated separately from TV Guide Magazine since 2013—it’s a reasonable choice: contemporary without being trendy, familiar without being dated.

Current website design

Ludwig is a BBC detective dramedy series starring David Mitchell and Anna Maxwell Martin. Wikipedia:

John Taylor (David Mitchell) is a reclusive puzzle maker who publishes puzzle books under the pen name “Ludwig”. His identical twin brother, James Taylor, is a successful detective chief inspector in the Cambridge police force. James has gone missing, and his wife Lucy (Anna Maxwell Martin), a childhood friend of both brothers, enlists John’s help to solve the mystery. Pretending to be his brother, John infiltrates the local police station to investigate; inadvertently, he becomes embroiled in solving other cases.

John’s signature serves as both his pen name’s trademark and as the logo for the show. The font is Hummingbird Bold. The opening credits use various weights of Gravesend Sans.

Opening credits

Opening credits

A loose handwritten recreation of the signature in the first episode

Ludwig’s signature on one of his puzzle collections, as seen in episode 4, with an unidentified sans used for the cover title

Title card.

The National Lottery Winning Lines was a British game show that ran from 1999 to 2004, originally hosted by Simon Mayo; then by Phillip Schofield. The format was devised by the very same creators of Who Wants To Be a Millionaire; David Briggs, Steve Knight, and Mike Whitehill.

The real star of this show here is the slightly modified use of Terminal, designed by Damien Mair and released by T-26 in 1995. It’s paired together with Antique Olive Compact for “The National Lottery.” OCR-B and Helvetica were heavily used for the gameplay.

Question currently being asked in Round One

“You could be here looking forward to this…”

Contestant name tag

Wonderwall in progress

Contestant using the Pit Stop

The University of Ljubljana’s Academy of Theatre, Radio, Film and Television (AGRFT) organized a festival in the first week of October. Students of acting, theater and radio directing, film and television directing, editing, photography, dramaturgy and stage arts present themselves with numerous theater productions, fiction and documentary films, television dramas, performances, radio plays, works created in courses in dance composition, theater singing, and presentations of publications.

The festival is an opportunity for newly enrolled students, the broader university academic community, and the interested public – those who want to see what is bubbling and forming in future co-creators of Slovenian theater, film, television and radio arts – while also offering reflection on today’s world, society and humanity.

The festival’s visual identity was created by designer Črt Mate. The signature typeface, Wesna by Type Salon, draws inspiration from Slovenian posters of the interwar period, with a distinctive italic style that captures attention. The body text is set in Zeitung, designed by Underware.

Compel is a short-form horror television series set in Prince Edward Island, Canada. A distinct and compelling brand was developed to support and guide the pitch of the show’s proof of concept, narrative, and creative direction. The visual identity draws from biblical history, typography, and iconography, reinterpreted through a modern lens to reflect the show’s themes of faith, fear, and psychological unrest.

The identity system establishes a visual tension between the sacred and the contemporary, combining austere typography, ritualistic symbols, and stark compositions. Deliverables included a show bible, title graphics, and promotional materials designed to communicate the tone and potential of the series across multiple platforms, effectively establishing the visual foundation for Compel within its speculative world.

In October 2024, KRON-TV introduced its Circa rebrand, a visual update designed by jonberrydesign to reflect the Bay Area’s identity with a clean, modern visual system. The new look uses circular forms and a color palette drawn from the local environment, creating a system that feels contemporary while still nodding to KRON’s past.

The primary typeface, Inter, was chosen for its clarity, flexibility, and legibility across screen sizes and weights – well suited to the rebrand’s minimal, geometric approach. Roboto Condensed appears in the news ticker to clearly separate it from the other on-screen graphics. Meanwhile, Corporate S remains in the station’s logo, maintaining a visual link to KRON’s legacy.

Together, the type choices support a visual identity that’s modern, approachable, and locally grounded. More images and video compilation reel available here: KRON Circa broadcast design.

“Go Psycho with Elvira!” was a promotional campaign that ran from 1989 to 1990 to promote PepsiCo’s Mug Root Beer and Slice soft drink brands. The campaign involved a contest to “win a party with Elvira at the Bates Motel, Universal Studios Hollywood”, as well as Elvira cups sold by the fast food chain Wienerschnitzel.

The campaign’s slogan uses Bordonaro Vampire, which is also used in Wienerschnitzel’s television ads.

For more info, see Yester Year Retro’s article.

Screenshot from a Wienerschnitzel television ad

Glow-in-the-dark cups

Another style of cup, dated 1990

From Wikipedia:

Kevin Spencer is a Canadian adult animated comedy television series created by Greg Lawrence that aired on CTV and The Comedy Network from January 17, 1999 to November 4, 2005. It is based on the shorts of the same name that premiered on CTV in 1997–98. It also aired on Burly Bear Network and Spike TV in the United States. In April 2001, the original 1997–1998 shorts were remade and released on Mondo Media’s flash cartoon site in the United States.

The logo uses Ethan Paul Dunham’s unicase font Hot Coffee with condensed proportions.

Ostankino Television Technical Center (Телевизионный технический центр Оста́нкино) is a television studio and technical center in Moscow. The wide caps above the central entrance are from China (1975). The letter И is a mirrored N.

After 20 years, the elusive vanity card of T.A.T. Communications Company has been found in full. The multiline letters for “TAT” are most likely custom, although they maybe took inspiration from typefaces like Yagi Double or Stripes. The other text is set in Futura with faux small caps. Shortly after, there is also a CBS logo set in ITC Grizzly.

T.A.T. Communications Company was an American television production company started in 1974. It was renamed as Embassy Communications, Inc. in 1982 and later went by the name ELP Communications.

Stoppage Time was launched as a new television talk show dedicated to women's football, a collaboration between FIFA and ATA Football. Since there is hardly anything to be found about this project online, it appears to have been a short-lived project. The logo and visuals for the show use Orientation, and were esigned by Bolter Studio, who write:

The brand is textured, angular and layered, featuring darts and diagonals that recall the marking on the ball and an instantly recognisable typeface (Orientation released by Commercial Type). Colours are bold yet playful, empowering a positive femininity and celebrating the unstoppable rise of the game.

From 1958 to 1989, reporters from Swedish public service television (SVT) were constantly present in Israel and Palestine, documenting everything from everyday life to international crises. Göran Hugo Olsson’s new archive-based documentary, where footage of the rise of the Israeli state is interwoven with the Palestinian struggle for independence, tells the story of a changed media landscape and offers perspectives to a conflict that continues to affect our time like few others. Along with contemporary music and editing, graphic design by Malmsten Hellberg makes up the film’s framework.

The title is set in Zuzana Licko’s Lo-Res from 1985, which adds another level of current history. It’s complemented by Lyon from Commercial Type. The film had its world premiere at the 81st Venice Film Festival and the poster design was revealed at Cineropa.

From Wikipedia:

The fiftieth season of the American sketch comedy late night television program Saturday Night Live premiered on September 28, 2024 on NBC and Peacock, with host Jean Smart and musical guest Jelly Roll.

Acme Gothic, specifically Acme Gothic Wide, is used for the main logo, with ITC Avant Garde Gothic being used for the “50,” when it appears.

Pop & Pasta is an inclusive live show on Twitch. studiokwi worked on the project design, corporate identity, and Canva templates.

In the “Twitch-inklusiv” project, a young team of people with disabilities is developing a twelve-part Twitch live programme. The under-30s determine the format, topics and guests of the programme themselves in their regular meetings. The BAG Selbsthilfe team will accompany the process. In a first step, the participants receive an introduction to the portrayal of disability in film and television. They then learn about ways to produce programmes on Twitch themselves. After the media training, the programmes to be broadcast live from a film studio can be designed.

The briefing was characterised by the desire for a design that is reminiscent of the MTV of the 1990s and is 3-dimensional. It needed to be loud and trendy, yet calm and relaxed.

The project included strategy, conception and design of a corporate identity including various logo variants and graphics, a colour system, font selection and a barrier-free usage concept. The project design, including all colours, fonts and shapes, was implemented in Canva. In addition, studiokwi developed Canva templates for various social media channels and print media as well as a timer animation.

UKTV is a British multi-channel broadcaster, which, since 2019, has been wholly owned by BBC Studios. In July 2024, UKTV launched its new masterbrand U, which sees its free streaming service transition to U and its free-to-air channels become U&Dave, U&Drama, U&W and U&Yesterday.

From the press release:

UKTV’s Creative team worked in partnership with global brand consultancy Wolff Olins on the design system for the new U visual identity, leading to the creation of over 19,500 assets. The decision was made early on to move away from UKTV Play’s teal logo colour.

Peter Allinson, UKTV’s Head of Design said, “It’s always smart to check how well certain brand elements are performing and what value they bring. We found that the UKTV Play teal colour placed our streaming service among many competitors, while coral was a unique choice not used by other VOD brands. The new colour brings warmth and personality to U, making it the perfect fit for us."

"However, it was important for our free-to-air channels to keep their familiar qualities and beloved personalities. So, we distilled each channel’s identity to a core brand colour that felt familiar and was easy to incorporate into our design system. We also wanted a font that suited our diverse portfolio. We chose the ‘Right’ font family for its diverse range, from Grotesk to Serif to Slab variations, providing variety while maintaining a consistent look across our network of brands.”

The rationale behind the new branding is linked to UKTV’s ambitious growth strategy, which is focussed on supercharging streaming. A key driver of this is connecting and better leveraging the brands within UKTV’s estate. The launch of this new Masterbrand supports this strategy by making it easier for users to navigate both online and on-air. The simplicity of the new U brand architecture also retains the names and equity of the existing channel brands that are well-known and loved across the UK.

Right Grotesk, Right Serif and Right Slab are designed by Alex Slobzheninov and distributed by Pangram Pangram Foundry.

H2O: Just Add Water was popular Australian kids show about three teenage girls who happen to turn into mermaids when they touch water. The TV show received international recognition and ran for three seasons from 2006 to 2010.

The main logo of the show was custom made specifically for the show, it isn’t a typeface. The “Just Add Water” part was changed for merchandise and promotional purposes and it appears to be set in Wendy. Title sequences were designed with Skippy Sharp for the cast names and VAG Rounded for the production credits and also all end credits.

Promotional material set in Wendy

Title sequence from the third season, with credits set in Skippy Sharp

End credits from the third season set in VAG Rounded

HBO. License: All Rights Reserved.

Industry, season 1 (2020)

Mickey Down and Konrad Kay’s HBO series Industry makes use of a semibold style of Tusker Grotesk by the British graphic and type designer Lewis McGuffie. The title sequence of the drama series that premiered in 2020 has been created by Peter Anderson. Alternately, the title sequence is replaced during the opening or closing of the episodes by a “distorted” version of the title, which is either superimposed on sequences or plain black background.

The logo of the fictional London investment bank Pierpoint & Co. is set in Century Schoolbook (with a slightly titled e). A purple hoodie bearing the company name became so popular that HBO ended up marketing it, along with other fictive corporate merchandise.

HBO. License: All Rights Reserved.

HBO. License: All Rights Reserved.

Industry, season 2 (2022)

HBO. License: All Rights Reserved.

Industry, season 3 (2024)

Source: www.peterandersonstudio.co.uk HBO. License: All Rights Reserved.

Source: www.peterandersonstudio.co.uk HBO. License: All Rights Reserved.

Source: www.peterandersonstudio.co.uk HBO. License: All Rights Reserved.

1963 advert by Philco for the Cool Chassis TV set, a successor to their Predicta line. According to Philip I. Nelson, the “cool chassis” “tag was a bit of a misnomer. Yes, there are vent holes underneath and on the edges, but the entire perimeter of the main circuit board is crammed full of connecting leads, so there is less through-chassis ventilation than suggested in the dramatic magazine ad. […] Size alone means that these TVs inevitably run hot.”

Display type is set in Melior. The copy is added in Baskerville. Note the blank square used as paragraph marker.

From Wikipedia:

Philco (an acronym for Philadelphia Battery Company) is an American electronics manufacturer headquartered in Philadelphia. Philco was a pioneer in battery, radio, and television production. In 1961, the company was purchased by Ford and, from 1966, renamed “Philco-Ford”. Ford sold the company to GTE in 1974, and it was purchased by Philips in 1981. In North America, the Philco brand is owned by Philips. In other markets, the Philco International brand is owned by Electrolux.

From IMDb:

Unsold TV pilot about a hardboiled special police agent prejudiced towards robots and his beautiful new female android partner hunting his nemesis, an escaped female terrorist known as Black Widow, in the noir future of 1999.

Titles by Howard Anderson Company (credited as Howard A. Anderson Co.) for the 1985 television pilot of the unsold science fiction action crime series Condor. Later released as a TV movie in the United States in 1986.

The opening title and credits are set in True Gothic Bold, which is also used for the “Los Angeles 1999” title card. Some of the titles or credits feature custom alterations or possible alternates (B, E, M) not shown in the 1976 VGC Alphabet Library specimen. Additional on-screen and end credits are set in Eurostile.

Cast credits set in True Gothic Bold, with custom alterations or possible alternates (B, E, M) not shown in its 1976 VGC Alphabet Library specimen.

Title card for the distant future of "Los Angeles 1999" set in True Gothic Bold

End credits set in Eurostile

One of the most exciting uses of Purple Haze so far would be the French television show Netflix Club. It features Jennifer (Françoise) Aniston and Adam (Hervé) Sanders who are starring in the Netflix movie Murder Mystery 2 which is set in Paris.

For the motion graphics the designers Pierre Dixsaut and Nicolas Malinowsky are blowing up the variable typeface to its max. This probably also inspired the striped balloon tent that is hosting the cast and presentators.