#Eye candy television show series
Following the success of graphics-laden youth series like Network 7, design has even colonised the programmes themselves. For a start, there is so much more of it – not just titles and channel identities (idents), but previews, menus, alternative versions of the idents and all manner of ambient blips seem to have materialised to fill any dead air that might still lurk in TV’s twenty-four-hour stream of images.
Today’s designers talk with respect of the work of pioneers like Bernard Lodge, who produced the titles for the first Doctor Who series in the early 1960s and was one of the first to take TV graphics away from film and conventionally painted artwork to using video effects.īut in the last five years, something new has arrived on British screens: Design with a capital D. After all, for as long as there has been TV, there has been some form of TV design. He had a point, but it needed qualification. Design, it implied, had finally come to TV, but it was all so late in the day. York’s world-weary air revealed as much about what he thought about the subject as what he said. “Design comes to us all in the end,” he intoned rather dolefully as he pondered the latest big-budget high-tech corporate identity package put together by English Markell Pockett for the commercial ITV network. With its usual succinctness, the design commentator Peter York summed up what has happened to British television graphics when he appeared on the BBC2 arts programme The Late Show last year to talk about the history of station identities.
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