GRADUATION PROJECT DOCUMENT-2019, 360 DEGREE DESIGN CAMPAIGN FOR A NEW NICKELODEON KIDS CHANNEL

GRADUATION PROJECT VISUAL COMMUNICATION (MASTER OF DESIGN)

Vol. 1 of 1

ProjectTitle:

360 Degree Design Campaign For A New Nickelodeon Channel Name:

Anadi Dwivedi (UA1618040) Project Mentor:

Sambit Kumar Pradhan

2018

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

The Graduation Project Evaluation Jury recommends ANADI DWIVEDI from Visual Communication for the Master’s Graduation Degree of Unitedworld Institute of Design, Karnavati University, Gandhinagar, India herewith, for the project titled 360 Degree Design Campaign For A New Nickelodeon Channel.

The project is complete in every aspect in accordance to the guidelines set by the institution.

Chairperson Signature

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∗Subsequent remarks regarding ful lling the requirements

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

COPYRIGHT Š 2018

Student document publication, meant for private circulation only.

All rights reserved.

No part of this document will be reproduced or transmitted in any form or by any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Anadi Dwivedi and Unitedworld Institute of Design. All Illustrations and photographs in this document are Copyright Š 2018 by respective people and organizations.

Written and designed by Anadi Dwivedi, Under the guidance of Sambit Kumar Pradhan.

Printed digitally in Chaap Digital, Ahmedabad March, 2018.

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

ORIGINALITY STATEMENT

COPYRIGHT STATEMENT

I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgment is made in this degree project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this degree project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged.

This degree project (or part of it) was not and will not be submitted as assessed work in any other academic course.

I hereby grant the Unitedworld Institute of Design the right to archive and to make available my degree project/thesis/dissertation in whole or in part in the Institutes’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have neither used any substantial portions of copyright material in any document nor have I obtained permission to use copyright material.

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Signature:

Date: Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

ACKNOWLEDGEMENT This document is a consolidation of my

of the team at Scarecrow M and C Saatchi. Not

learning of the two years of education I have

to forget the role of Mr. Manish Bhatt, Founder

received at Unitedworld Institute of Design,

Director Scarecrow M and C Saatchi, in

Ahmedabad, India.

shaping my thoughts and molding my ideas into reality meanwhile investing his faith in me

The past few months have been overwhelming

with a project this big and important.

just as they have been intensive. I would like to take a moment to express my gratitude to my

I would want to be appreciative of all members

parents who have forever been my pillar of

who have ever been a part of my journey in

strength. They made me whatever I am today

this Institution and my batch mates; for

and what I will be.

imparting skill sets I would have never imagined to possess.

I would like to convey my sincere gratitude to my guide Mr. Sambit Kumar Pradhan for his

I extend my sincere thanks to Ms. Lolita Dutta,

trust in me and my project and offering me a

Head of the Department, Visual

sense of clarity and direction whenever I was

Communication, Unitedworld Institute of

lost or was in some trouble. For the co-

Design and all my mentors at UID for an

operation he has extended during this period

enriching educational experience during the

cannot be expressed in words.

years.

I would like to thank Mr. Yuvraj Gorule, creative

My heartfelt thanks, everyone.

head Scarecrow M and C Saatchi and the rest

I

Anadi AnadiDwivedi Dwivedi Semester SemesterVV M. M.Des. Des. Visual VisualCommunication Communication UID UID KU KUGandhinagar Gandhinagar2018-19 2018-19

PREFACE As a part of UID curriculum, all ďŹ nal year

degree project helps students to realize their

students are required to undertake a

strengths and weaknesses before entering into

Graduation Project which is a full-scale design

the professional world.

project in the industry.

I completed my degree project for the time The degree project, which is expected to be of

duration of 3 months, from 01 September to 30

3-4 months duration, is a complete

November 2018 at Scarecrow M and C Saatchi,

demonstration of independent client service

Mumbai, India.

by the student and is expected to generate a professional design assignment with application and implementation capabilities. It exposes the student to a real-life situation of working in the industry and helps one to understand the constraints and limitations of an organization. It involves understanding the strength, infrastructure of the organization, analyze it and give an appropriate solution within the given extent and time constraint. It also helps to understand the role of a designer in a multidisciplinary team; which includes communicating one's ideas and pitching the concept to the principal stakeholders. The

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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SYNOPSIS This degree project is about the creation of a

Nickelodeon Channel to be aired across all

that, I also went through surveys and reports

new channel by Viacom TV 10 under the

South Asian digital Television services.

filed by Broadcast Audience Research Council

umbrella of their brand Nickelodeon.

(BARC) which helped me build a firm

Nickelodeon India is a paid Indian children's

The project started with understanding the

understanding of overall scenario about the

television network based in Mumbai. It is the

requirements of Viacom TV18 and their points

project.

Indian equivalent to the original American

of view. This included their philosophy, choices

network and is owned by Viacom 18, a joint

and how they usually do business in terms of

To understand the user i.e. primary and

venture between Viacom and TV18.

the project. The project involved qualitative

secondary viewers, I conducted a survey with

Nickelodeon wants to launch a new cartoon

research of Nickelodeon in which our main

families and individuals included from all

channel for kids for which it needs complete

concerns were to define project scope, review

around India. This not only gave me fresh ideas

branding and marketing solutions from

and analyze users and their viewing trends

but also enlightened me with the end users’

naming to brand placement.

and what the competitors are providing to

wants.

keep up.

The company believes in celebrating creativity

On the basis of the above data, I analyzed and

combined with new age thinking and

The research included an understanding of

formulated the end strategy. I kept the

innovative entertainment. Viacom TV 18 has

Nickelodeon as a brand and its current and

Nickelodeon color palette untouched and

always found the connect to the Indian way of

previous branding with its guidelines. A quick

created a brand language suitable for the

life and has successfully translated it into

search on the internet gave me access to

audience of 11-18 years of age. The final stage

something iconic.

various case studies on kids entertainment

was about creating a visual language for the

from which I came to understand the target

desired experience from naming to the

The objective of the project is to create an

audience and how branding the channel and

channel identity and some graphics

identity and brand campaign for a new

its content affects their psychology. Following

applicable marketing tools.

AnadiDwivedi Dwivedi Semester SemesterVV M. M.Des. Des. Visual VisualCommunication Communication UID UID KU KUGandhinagar Gandhinagar2018-19 2018-19 III Anadi

“ Design for people not for the brands.

-Unknown

�

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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PROLOGUE

1

UNITEDWORLD INSTITUTE OF DESIGN VISUAL COMMUNICATION AT UID PROJECT GUIDE ABOUT ME SCARECROW M AND C SAATCHI DESIGN BRIEF THE PROJECT TEAM VIACOM 18

CONTENTS

FOREWORD PROJECT TIME-LINE

2

RESEARCH BRANDING PAY CHANNELS NICKELODEON NICK INDIA’S CHANNEL CONTENT NICKELODEON’S BRAND CHARACTERISTICS BARC VIEWERSHIP DATA

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USER RESEARCH COMPETITOR RESEARCH

DELIVERABLES

111

BRAND ESSENTIALS BRAND GUIDEBOOK

3

CORPORATE IDENTITY

INFERENCE

55

TV BRAND IDENTITY

ANALYSIS

MARKETING

CONCLUSION

MERCHANDISING

4 CONCEPTULIZATION

61

6

CONCLUSION

163

LEARNING

WHAT’S IN THE NAME LOGO IDEATION DESIGN DIRECTIONS COLOR PALETTE

7

REFERENCES

167

BIBLIOGRAPHY

TYPOGRAPHY

WEBLIOGRAPHY

FINAL CONCEPT

MOCKUPS

FINAL LOGO WITH CATCHPHRASE

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

PROLOGUE PROLOGUE

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

UNITEDWORLD INSTITUTE OF DESIGN Unitedworld Institute of Design (UID) is one of

under tight deadlines and gives them a taste

the premier Design institutes of India. It is a

of actual situations.

constituent arm of Karnavati University, Gandhinagar. Karnavati University is a State

UID offers a diverse range of UG and PG

Private University dedicated to excellence in

courses in the area of art & design. These

teaching and focused on interdisciplinary

programs are designed with strong

learning.

professional emphasis and in close partnership with the industry. Every course has

The institute aims to create globally sought

been structured to deliver insights into the

after professionals who can exhibit their

importance of individual and collective

creativity and trigger novel trends. UID’S pursuit

creativity, be it a theoretical assessment,

for excellence has made its name shine with

design practice, curatorial evaluations or

an extraordinary record of success in a short

artistic considerations.

span.

Since it’s inception, the institution has made it a point to lay emphasis on earning and to pursue innovation led designs through the development of mind and skills of designers.

The institute facilitates students in getting involved with real-life situations and problem facing which in turn tests their ability to work

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

VISUAL COMMUNICATION AT UID Visual Communication plays a powerful role in

evaluate the process. It involves imparting skills

the majority of our buying choices. In a world

on typography, creating visual structures, color

mediated by images and graphics, Visual

design and composition and image

Communication comes across as a wonderful

generation. UID has a focus on problem-

career option. UID's course on Visual

solving for existing designs that help build the

Communication educates students to produce

experience design skills.

creative solutions to meet the visual communication needs of the society. It helps

Visual Communication is seen as a major tool

students to become problem solvers and

to educate people and promote sales of

develop effective visual products.

various products in the competing industrial scenario today. Graphics play a key role to

Nowadays the design process has shifted

catch consumer attention and enhance the

drastically towards traditional skills with more

visual appeal to make the product reach the

focus on quality than quantity. Creative

consumer. A visual communication student

solutions contextual to the user's needs are still

has a thorough grounding in design abilities

a basic human need. The aesthetic judgment

along with theoretical aspects of cultures,

through forms, proportions colors and images

history, society, and individuals.

always have fundamental importance in design education and to tackle that students are equipped with technical and conceptual skills to articulate and express ideas, think conceptually, conduct research and critically

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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PROJECT GUIDE Sambit is an architect who studied Lifestyle

one day publish at least one book pertaining to

Accessory Design for his masters from the

design education in India and another of

National Institute of Design, Ahmedabad.

poetry.

Even though his formal education is largely in the industrial and spatial design domain, he has always had a keen interest in communication design and over the past 7 years he has worked as a communications content writer and editor, screen and stage actor, has written and co-written lyrics, dialogues and scripts for short films and has worked as a voice artist.

As a design educator, he covers a diverse range of subjects - space, forms, structures, design process, lateral thinking, storytelling, experiential design, prints, culture studies, MR. SAMBIT KUMAR PRADHAN

theatre, films etc. He believes that the key to

ASSISTANT PROFESSOR

good design is empathy and the ability to

SCHOOL OF VISUAL COMMUNICATION

simultaneously cater to the specifics as well as

KARNAVATI UNIVERSITY

their larger enveloping context(s). He hopes to

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Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

ABOUT ME I am a postgraduate design student of Visual

it. When I came to know that a whole pay-TV

Communication from Unitedworld Institute Of

channel has to be created from scratch for a

Design, Ahmedabad. Initially self-taught, I am a

well known reputed client as Viacom Tv18, I

mechanical engineer turned graphic designer.

became anxious and curious at the same time

For me, design is all about simplicity, utility, and

as this was the first time I was working on a

usability with a dash of creativity.

project like this one. The scope of learning was similar to that of a child who has just learned

I am ardent in different areas of design

put the first step to walk. The genre and target

including calligraphy and motion graphics and

audience being unspecified gave us the scope

have successfully designed solutions for digital

of delving more into research and bring out

media, print media and websites.

something for the range still untouched. The overall experience of this project has been

Electronic mass media and entertainment

great with immeasurable learning and fun.

industry have always fascinated me and advertising and branding had always been my preference as a career choice in design. I had never worked for an advertising agency before and when I was offered this project at ANADI DWIVEDI

Scarecrow, I had no reason to say no. The

M.DES.

project not only opened doors for learning but

SCHOOL OF VISUAL COMMUNICATION

also enhancing my creativity. The project was

KARNAVATI UNIVERSITY

intuitive and so was the team associated with

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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SCARECROW M C SAATCHI Scarecrow M & C Saatchi is an independent design agency specializing in advertising and branding. It was the only Indian agency featured amongst top 16 in the World's Leading Independent Agencies in 2015 and is one of the top 30 advertising agencies worldwide.

Eight years old, Scarecrow is one of India's largest independent agencies and one of India's fastest growing ad agencies which has ofďŹ ces in Mumbai and Delhi and has handled communications of the brands from various prestigious corporates like ITC, Reliance ADAG, Reliance Industries, Emami, Zee, Danone, Nestle, Henkel, Generali, Barclays, DBS, housing.com, Panasonic, Viacom 18, Dharampal Satyapal, Bacardi, Rupa, Wagh Bakri, Religare, Capital First, Shriram Insurance, SBI, Bharat Petroleum etc. Scarecrow has also been voted as India's 2nd happiest agency workplace through a nationwide survey conducted by monster.com and afaqs!

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Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

DESIGN BRIEF CLIENT

TARGET AUDIENCE

Nickelodeon (Viacom18)

Kids and trade

CAMPAIGN

INSIGHT DRIVING THE BRIEF

New channel launch

Nickelodeon wants to launch a new channel.

MARKETING OBJECTIVE

CAMPAIGN DELIVERABLES

Nickelodeon India is an Indian children’s pay

a. Brand Name

television network based in Mumbai. It is the

b. Brand identity

Indian equivalent to the original American

C. 360 degree launch campaign

network and is owned by Viacom 18, a joint venture between Viacom and Tv18.

Nickelodeon wants to launch a new cartoon channel for kids. The client wants the agency to name the channel and design the logo. The name can be cartoon centric and should be appealing to kids. The shows are not yet decided so the client couldn’t share the genre of shows. Channel is also looking for a 360degree launch campaign of the brand name we suggest.

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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THE PROJECT TEAM

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Yuvraj Gorule Creative Head

Vaishakh Jhunjhunwala Copy Head

Riddhima Sherekar Jr. Art Director

Yash Rane Jr. Art Director

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

VIACOM 18 Viacom 18 Media Pvt. Limited founded in

Viacom TV18 has always been dedicated to

November 2007 is a joint venture operation in

developing and distributing the best in

India between Viacom and TV18 based in

branded entertainment for Indian consumers

Mumbai. It is one of India's fastest growing

of all age groups.

entertainment networks and a house of iconic brands that offers multi-platform, multi-

The representative team from Viacom was

generational and multi-cultural brand

smart and open to ideas with their idea of

experiences. A joint venture of TV18, which owns

communication being stated clearly. They

51%, and Viacom Inc., with a 49% stake,

were responsive and believed in feedbacks

Viacom18 deďŹ nes entertainment in India by

and suggestions.

touching the lives of people through its properties on air, online, on the ground, in the shop, and through cinema.

Viacom 18 owns and operates various channels of the Viacom group for the Indian viewers, as well as various consumer products in India. With market leaders like MTV in music and Entertainment category, Colors in GEC category & Nickelodeon in the kids' entertainment category, Viacom TV18 has set benchmarks within a very short span of time.

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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FOREWORD Viacom TV18 has been entertaining kids,

palette, corporate image, brand extensions,

experience. I have been delving into a new

youngsters, and cartoon lovers through pay tv

and collaterals. They also want toon

work area and creating a unique name along

channel Nickelodeon. Under the Nickelodeon

ambassadors to represent their new channel.

with its brand value and channel identity for a

umbrella there are three cartoon channels;

The channel identity should embrace the

genre completely unknown to me.

Nickelodeon (primarily into comedy), Nick

vividness and peppiness of Nickelodeon and

Sonic (action cartoons) and Nick Junior (for

should also encompass the elements of the

The process includes user research,

kids up to 6yrs).

new generation. The launch platform is

stakeholder research, competitive analysis,

unspecified and hence the content of the

trends analysis, viewership data, naming and

For them, kids also have individuality and a

channel could be exclusive and structured

conceptualization of identity, formulation of

range of choices and hence their approach is

according to it.

color palette and the final identity and then the

kids first, let them the way they are. Since the

collaterals and brand strategy establishment.

launch of its first channel, Nickelodeon has fast

OBJECTIVE

made a place on top and with the current

To create an identity and brand campaign for

THE PROCESS

range of content; it plans to hold that place for

a new Nickelodeon Channel to be aired across

The project started with understanding the

a long time.

all South Asian digital Television services.

requirements of Viacom TV18 and their points of view. This included their philosophy, choices

They wish to launch a new channel for kids of

SCOPE OF WORK

and how they usually do business in terms of

yet unspecified age group in an unspecified

The scope of work in the project includes

the project. The project involved qualitative

genre for which they are also looking for a 360-

understanding the working of the channel and

research of Nickelodeon in which our main

degree launch campaign of the brand name

its creation from scratch. The clients involved

concerns were to define project scope, review

as suggested. The project includes name

are one of the biggest TV conglomerates in

and analyze users and their viewing trends

suggestions, a logo of the finalized name, color

India and working with them has been a new

and how the competitors are keeping up.

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Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

PROJECT TIME-LINE 03 SEPTEMBER 2018

The research started with understanding

families and individuals included from all

nickelodeon as a brand and its current and

around India and on the basis of that survey, I

previous branding with its guidelines. This

shortlisted fifteen individuals whom I sent out a

STAGE 1 Domain Study

includes the study of the content and genres

task sheet to find the answer of ‘What the user

where Nick has performed extraordinarily well.

wants?’ by giving them the power to choose

Two Weeks

After that, a quick search on the internet gave

their color palette and also a dummy name

me access to various case studies on kids

and logo made by them. This not only gave me

entertainment from which I came to

fresh ideas but also enlightened me with the

understand the target audience and how

end users’ wants.

branding the channel and its content affects their psychology. It included details of design-

On the basis of the above data, I analyzed and

the visual language, typography, color palette,

formulated the end strategy, according to

and presentation. Following that, I also went

which the overall visual language was created.

through surveys conducted and reports filed

Keeping the Nickelodeon color palette

by Broadcast Audience Research Council

untouched, I created a brand language

(BARC) the axis agency for rating and

suitable for the audience of 11-25 years of age.

regulation of content on Indian Television

Rigorous efforts have been put in designing the

which helped me build the firm understanding

logo and defining the color palette based on

of overall scenario about the project.

which the brand language is formulated.

To understand the user i.e. primary and secondary viewers, I conducted a survey with

STAGE 2 Qualitative & Quantitative Analysis Two Weeks STAGE 3 Brand Concept & Evaluation Three Weeks STAGE 4 Design Execution Three Weeks STAGE 5 Documentation Two Weeks 30 NOVEMBER 2018

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02 02

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Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

RE RESEARCH SEARCH

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BRANDING PAY CHANNELS Brand, one kind of intangible asset that can produce premium and accretion for owners, is often denoted by some carriers like brand names, terminologies, symbols, marks, designs portfolios etc. to be distinguishable from other competitive products and labor services.

Besides, brand appreciation is often derived from consumers’ impression on the brand carriers.

Brand means the fundamental for the company and the name card for products.

Moreover, for consumers it is a simpliďŹ cation for long-term dependable use value, making it possible for products and services distinguishable from others. It also stands for popularity, persuasion, competitiveness, and in a way, the reputation that leads to brand loyalty.

Just like holding a trump card for a company, strong brands can be helpful for the company

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Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

to enjoy higher market shares, brand loyalty,

enhance the brand loyalty and obtain more

brand premium certain lower cost in a sense.

capital to win broader space for improvement.

Moreover, for consumers, brands can be useful in making choices.

society.

Brand Loyalty

To evaluate the brand of Pay TV Channels,

Pay TV Channels should have a certain scale of

some aspects should be considered as follows:

viewer group. They not only subscribe Pay TV Channels but also watch them regularly and

With the information explosion, information content tends to be homogenous. And as the

Brand Popularity

understand the positioning and development

appearance of Digital Pay TV Channels, the

A successful brand of Pay TV Channels should

situation. Besides, they are concerned about

number of TV channels increased rapidly. For

have certain amounts of subscribers or

changes of the channels and, even more, often

example, a sports fan may have to face more

potential subscribers who have seen it.

point out the problems and put forward suggestions.

than 5 sub-focus Pay-Sport Channels. Most of them are of similar product positioning, similar

Brand Satisfaction

price. So brand may become the main base for

A successful brand of Pay TV channel must be

Unique Character

choice for the audiences who never tire of

more capable to meet its target audiences’

Pay TV Channels should highlight the features.

seeing the same channels and programs. This

need; Audiences are satisfied with the fit-to-

When choosing brands, consumers will be

is mainly because of the brand effect of such

purpose situation between the program

subject to the emotional factors which play

TV products that are often attractive for

position of Pay TV Channels and their own

more roles than product’s functions. And when

audiences even with higher price. Thus, the

demand.

being able to be defined the self-image in

brand is the key rule for enterprises to win in

consumers’ mind, the core value of brands can

the complicated competitive situation. This is

Brand Reputation

also true for media, only with creating and

Successful Pay TV Channels’ operation modes

expanding the brand value, can the media

and programs should be widely agreed in the

be defined.

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Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

NICKELODEON Nickelodeon, India’s leading kids brand and a

number-one entertainment brand dedicated

part of Viacom18 network, is available in over

to kids and is viewed in more than 202.3 million

100 million households in the country. It is a 24-

households in 170 territories across the world

hour pay channel in Hindi, with the option of

including countries in Africa, Asia and the

English, Tamil and Telugu audio feed on DTH.

Pacific Rim, Latin America, Europe, CIS/Baltic Republics and the US, making it the most

With an approach that puts ‘kids first’,

widely distributed television channel in the

Nickelodeon takes pride in encouraging kids to

world.

be themselves – funny, messy and freespirited. Being true to its philosophy of

At Nickelodeon kids rule. They take pride in

connecting with kids wherever they are,

bringing our audience the best content

Nickelodeon gives kids a complete multi-

possible by listening, connecting and

platform brand experience. The touchpoints

innovating to entertain kids across India.

range from on-ground interactions, digital innovation, and consumer products to name a

Passionate about their work, the Nickelodeon

few. Nickelodeon has today become the

teams are dedicated to being kid experts:

preferred entertainment destination for kids in

knowing what kids care about, what they

India, with shows like Ninja Hattori, Motu Patlu,

watch and, most importantly, what keeps them

Pakdam Pakdai, Keymon Ache and SpongeBob

entertained. Kids’ entertainment is a unique job

SquarePants amongst many others.

and Nickelodeon a unique company with an atmosphere unlike anywhere else.

Outside India, Nickelodeon, is one of the world’s

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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NICK INDIA CHANNELS’ CONTENT NICKELODEON INDIAN CONTENT Motu Patlu Gattu Battu Rudra Boom Chick Chick Boom Daduji Shorts Keymon Ache Shiva-Indian Superhero Pakdam Pakdai NICKELODEON OUTSOURCED CONTENT Spongebob Squarepants Ninja Hattori Shawn The Sheep Power Rangers Ninja Turtles Zig and Sharko Wonder Pets!

Team Umizoomi Go, Diego, Go! Dora The Explorer Bubble Guppies Blue’s Clues

20 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

NICKELODEON’S BRAND CHARACTERISTICS CHANNEL’S JOURNEY

cartoon series which were more apt for the

B. Digital Innovations like games etc.

Nickelodeon started as a program block on

Indian audience. This not only pushed

c. Consumer Products

Zee TV in 1999 which was replaced by cartoon

Nickelodeon to the number one spot but also

network in 2002. After Viacom revamped it as a

increased its loyal customer base to almost

UNIQUE SELLING PROPOSITION

full-fledged cartoon channel in 2005 there is

one million households.

a. Innovation

no looking back. By 2011, Nickelodeon expanded

b. Indigenization

itself and added two new channels dedicated

CHANNEL’S APPROACH

c. Directly connect with the target audience.

to a specific audience, Nick Jr. and Nick Sonic.

Nickelodeon has always believed in ‘Kids First’.

d. Availability in local and regional languages.

The channel has always encouraged the

e. Tie-ups with Indian channels of other genres.

Initially, Nick aired content completely

audience to be themselves; Funny - Messy -

outsourced from the US and was action-

Free Spirited.

oriented. Cartoons like Ninja Turtles, Cat-Dog,

CHANNEL’S GREY AREAS The real concern is the ever-growing

Jimmy Neutron, and Spongebob Squarepants

CHANNEL’S MOOD

competition not just from the fellow channels

ruled the hearts of the audience until 2011 when

Positive, vibrant, fearless, fun, free-spirited, self-

but also from alternate media like youtube and

Nickelodeon separated it’s action-oriented

assured, energetic and confident.

kids apps. Nickelodeon has failed to reach out

content onto Nick Sonic and focused itself on

through the internet which is a real cause of

comedy. During this period, the local animation

BRAND PERSONALITY

industry also began to bud and this helped

Young, fresh, friendly, vivid, active, dynamic,

Nick shift its content from foreign toons to the

informal and funny

localized ones.

By 2014, Nickelodeon had seven locally created

concern.

CHANNEL’S COMPETITORS Cartoon Network, Disney XD, Disney Channel,

TOUCHPOINTS

Sony Yay!, Hungama, Pogo, Zee Q, Discovery

a. Ground Interactions

Kids, Chutti TV

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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BROADCAST AUDIENCE RESEARCH COUNCIL (BARC) INTRODUCTION

CALCULATING TRP (AUDIO WATERMARKING)

Broadcast Audience Research Council (BARC)

Audio Watermarking embeds audio

India is a Joint Industry Company founded by

watermarks in video content prior to upload

stakeholder bodies that represent Media

and broadcasts along with the content. These

Agencies, Broadcasters, and Advertisers.

watermarks are not audible to the human ear, but can easily be detected and decoded using

Built upon a robust and future-ready

dedicated systems.

technology backbone, BARC India owns and manages a transparent, accurate, and

As viewing details are recorded by the Bar-O

inclusive TV audience measurement system.

meters, so are the watermarks. The raw data is

Apart from the currency products to the TV

cleaned, merged with the channel, program,

industry, BARC India also provides a suite of

language, and broadcast schedule details.

Insight products designed for Broadcasters,

Universal Estimates are applied to get

Advertisers and Agencies.

viewership data. This gives content owners unprecedented visibility into the real-time

The Big Data and Insights generated by BARC

data and information.

India powers efďŹ cient media spends and content decisions in a highly dynamic and

As the watermark is part of the content, any

growing television sector. With a panel that is

attempt to destroy or remove it will also ruin

being scaled up to 180,000 individuals, BARC

the quality of the material in which it is

India is also the largest measurement

embedded. This increases the integrity of the

company of its kind in the world.

data generated by BARC India’s ratings.

22 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

PLAYOUT & BROADCAST

WATERMARKING CONTENT CH ID + TIMESTAMP

VIEWING AT HOME

RAW DATA GENERATION

ESTABLISHMENT DATA

TIME SLOT VIEWING DATA

APPLY PROGRAM DATA

FINAL VIEWERSHIP DATA

AUDIO WATERMARKING TECHNIQUE FOR TRP CALCULATION

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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BARC TV VIEWERSHIP TRENDS INTRODUCTION Broadcast Audience Research Council conducts various surveys and collects data directly from the end user and publishes it on its website via newsletters and research papers. Every survey is targeted for a particular audience group or entertainment genre across all the states and areas be it rural or urban.

I have read their various surveys and sorted the data according to the requirements of the project.

The kids and youth segment is one of the most talked about and most sought-after demographic groups in the country. In a fragmented and increasingly competitive scenario, it is important to understand them not only from a TV content point of view but also how to target and reach this segment more effectively.

24 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

BARC TV VIEWING POPULATION SURVEY 2017

36%

64%

NON - TV VIEWING

TV VIEWING

HOUSEHOLDS

HOUSEHOLDS

TV PENETRATION IN INDIAN HOUSEHOLDS

47%

53%

31-80 YEARS

02-30 YEARS

MIDDLE AND OLD

KIDS AND YOUNG

AGED POPULATION

AGED POPULATION

TV VIEWING POPULATION SHARE OF KIDS AND YOUTH

TOTAL TV VIEWERSHIP AND YOUTH

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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BARC TV VIEWING POPULATION SURVEY 2017

80% URBAN TV VIEWING HOUSEHOLDS

44%

56%

YOUNG RURAL

YOUNG URBAN

POPULATION

POPULATION

20% RURAL TV VIEWING HOUSEHOLDS

DISTRIBUTION OF TV VIEWING INDIAN HOUSEHOLDS

TV VIEWING POPULATION SHARE OF KIDS AND YOUTH

TV VIEWING POPULATION DISTRIBUTION

26 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

BARC TV VIEWING POPULATION SURVEY 2017

26% MEGACITIES

35.7% MEGACITIES POPULATION ABOVE 75 LACS

POPULATION ABOVE

44%

75 LACS

53%

TIER 3

TIER 3

POPULATION BELOW

POPULATION BELOW

20 LACS

24%

20 LACS

TIER 2 POPULATION BETWEEN 20-75 LACS

20.3% TIER 2 POPULATION BETWEEN 20-75 LACS

SHARE OF YOUNG POPULATION IN URBAN AREAS

SHARE OF YOUNG VIEWERSHIP IN URBAN AREAS

URBAN TV VIEWERSHIP

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BARC TV VIEWERSHIP QUARTERS

OCTOBER-DECEMBER

APRIL-JUNE

HIGHEST TV VIEWERSHIP QUARTER

HIGHEST KIDS VIEWERSHIP QUARTER

APRIL-JUNE

JANUARY-MARCH

LOWEST TV VIEWERSHIP QUARTER

LOWEST KIDS VIEWERSHIP QUARTER

OPTIMUM TV VIEWERSHIP DURING THE YEAR

OPTIMUM KIDS VIEWERSHIP DURING THE YEAR

28 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

BARC KIDS VIEWERSHIP DATA 2017-18

80%

Non-Kids Viewership

20%

Kids Viewership

1%

87%

Non-Kids Channels

89%

13%

Kids Channels

Animations

Games & Quiz

2%

Serials

8%

Movies

TOTAL VIEWERSHIP*

TOTAL KIDS VIEWERSHIP**

KIDS CHANNELS GENRE SHARE

*Across all genders **Contributive Viewing/Co-viewing

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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BARC KIDS VIEWERSHIP DATA 2017-18

Movies Channels

Music Channels

Infotainment Channels

General Entertainment

Sports Channels

Youth Channels

Action Channels

Lifestyle Channels

Comedy Channels

Devotional Channels

VIEWERSHIP BY GENRE - GENDER BASED ANALYSIS*

*Across all available channels Survey on kids between 8-18 yrs age

30 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

BARC KIDS VIEWERSHIP DATA 2017

59% Hindi

11% Telugu 9% Tamil 7% Regional 6% Kannada 5% English 3% Malayalam

VIEWERSHIP BY LANGUAGE - KIDS GENRE

155930 Nickelodeon

116368 Disney Channel

101411 Hungama TV

74668 Pogo

72824 CN

TOP 5 KIDS CHANNEL TRP(S)

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

31

USER RESEARCH - CARTOON CHANNELS AND YOU TV viewership is dynamic and changing every

of value in anticipating and formulating the

day, yet it seems to be cyclical in nature. It’s a

brand tonality and voice.

well-established fact that however hard work you put in if the end user is not happy, it all

This user research survey has been designed

goes in vain. The mood of the viewer is quite

to keep ‘User First’ and gives him the power to

volatile and is well known and often talked

choose what and how the new channel is

about in the television business especially in

supposed to be. It will also uncover some of the

the beginning of a financial year when annual

following aspects in television viewership and

plans are laid out by various stakeholders in

cartoon viewership:

the media ecosystem. a. Personal attributes like gender, age etc.

Through this user research survey, I explored

b. Family viewing and kids viewership.

the nature of television viewing by questioning

c. Status of cartoon viewership.

the user itself and analyzing the data

d. Preferred medium of viewership.

collected. The survey has been done with the

E. Kids channels popular in their households.

help of Typeform Survey Tool. The

f. Their aspirations as the channel owner.

questionnaire has been created by me and contains insightful questions in the form of

The following inference has been taken from a

MCQs and openly ended blanks.

sample space of 83 unique personas who have clicked on the survey form of which 25

Through this data, I have attempted to

individuals have completely filled the form and

uncover some trends & insights which may be

rest have partially submitted it.

32 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

USER RESEARCH - CARTOON CHANNELS AND YOU

Females: 43% Males: 57% Others: 0%

GENDER

0-18: 0% 18-24: 19% 25-34: 57% 35-54: 10% 55-74: 10%

Viewer: 62% Parent: 19% Guardian: 14% Sibling:5%

AGE GROUP (in Years)

PARTICIPATION AS

PERSONA OF SAMPLE SPACE INVOLVED

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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USER RESEARCH - CARTOON CHANNELS AND YOU

Yes: 90%

No: 5%

I don't get the remote: 5%

Yes, they love it: 52% Nope: 48% They are remote friendly so sometimes: 0%

CARTOON VIEWING BY THE PARTICIPANTS

CARTOON VIEWING BY THEIR FAMILY (KIDS IN PARTICULAR)

VIEWERSHIP OF CARTOON CHANNELS

34 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

USER RESEARCH - CARTOON CHANNELS AND YOU

TV: 43% Mobile: 38% Ipad/Tablet: 14% Others: 5%

1-2 Hours: 71% 2-5 Hours: 29% Virtually all day: 0%

PREFERRED MEDIUM OF ENTERTAINMENT

NUMBER OF HOURS SPENT BY THE VIEWER ON THE MEDIUM

MEDIUM OF ENTERTAINMENT

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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USER RESEARCH - CARTOON CHANNELS AND YOU

Cartoon Network: 40%

Pogo: 20%

Disney XD: 15%

Nickelodeon: 10%

Hungama TV: 5%

FAVOURITE CARTOON CHANNEL

36 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

Baby TV: 5%

Others:5%

USER RESEARCH - CARTOON CHANNELS AND YOU

Yes: 71% No: 29% Can’t say: 0%

Yea, they are good: 19% Nope, it’s all garbage: 5% Can’t say: 76%

CONTENT MONITORING REQUIRED

HAPPY WITH THE CURRENT CONTENT

CONTENT OF CARTOON CHANNELS

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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USER RESEARCH - CARTOON CHANNELS AND YOU

TV: 48%

Video Platforms (Youtube etc.): 42%

Online via Web/App: 10%

Comedy: 52% Quiz/Reality: 24% Youth/Teen: 24% Other: 0%

PREFERRED MEDIUM OF BROADCASTING

GENRE OF THE CHANNEL

VIEWER AS THE CHANNEL OWNER

38 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

USER RESEARCH - CARTOON CHANNELS AND YOU QUESTIONNAIRE

VIEWER AS THE CHANNEL OWNER

Apart from the questions which could be

The questionnaire also included a section

represented graphically, there were others

which gave the power to the viewer as to what

which had to be answered subjectively. The

he/she wants to show as a channel owner. It

answers were quite insightful and interesting.

allowed the viewer to choose the genre, name

Some of them worked as feedback and some

and medium of broadcast for the channel.

were fun to read. Here is the remaining

Following are the questions included in the

questionnaire with some of the better answers:

section:

Q. The city you reside in

Q. Suggest a name to your channel

A. Ahmedabad, Bhopal, Delhi, Gandhinagar,

A. Younick, Viapad, Bang Bang, Dhamaka, Gulo,

Gwalior, Jaipur, Kolkata, Mumbai, Nathdwara,

Boozos, Yuvaa, Nick One

Raipur, Surat, Udaipur, Vadodara.

Q. Suggest a color palette for your channel Q. Most viewed channel at your home

A. Blue, orange and black

A. Colors, Star Plus, Star Bharat, MTV, Cartoon

Black, white, blue and yellow

Network, Sab TV.

Green and yellow Blue, red, orange and yellow

Q. Favourite cartoon show A. Motu Patlu, Tom and Jerry, Looney Toons, Shinchan, Mickey Mouse, Chota Bheem, Kiteretsu.

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

39

COMPETITOR RESEARCH Through researching and analyzing the

BENCHMARKING PARAMETERS

competition, I gained insights from the data

Brand Concept

collected and made required decisions. The

Color

analysis also allowed me to find and fix the

Typography

loops in the brand management of other

Brand Tonality

channels across the genre.

Brand Innovation Cultural Image

Although the visual language of every kids’

Brand Positioning

channel is different, the color palette and typography remains almost similar. Use of

BRAND LANGUAGE PARAMETERS

bright vivid colors along with kiddish fonts

Active/Aggressive or Quiet

makes most of the brands. Nickelodeon just like

Childish/Immature or Mature

it’s competitor Cartoon Network has a

Recent/Trendy or Old/Traditional

differentiated color palette and different brand

Funny or Serious

tone. Another element of differentiation is an

Imaginative or Direct

element of connecting, cultural context and

Energetic or Slow

weave in the narrative of the content and

Vivid/Bright or Dark/Dim

audience.

Unique Honest

In the following, I have tried to put down the

Realistic or Abstract

visual comparison of top five competitor

Polite or Harsh

channels in the kids and youth genre.

Refined or Clumsy

40 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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CHANNEL NAME

PRIMARY COLOR PALETTE

Cartoon Network PARENT COMPANY

SECONDARY COLOR PALETTE

Turner Broadcasting System YEAR OF LAUNCH

BRAND LANGUAGE

01 October 1992

Fast, energetic, modern, minimal

CATCHPHRASE

BRAND CONCEPT

It's a Fun Thing

Rather than focusing on traditional character animation, Cartoon Network treated each

FLAGSHIP CONTENT

situation like a kinetic sculpture or animatronic,

Ben10, Teen Titans

focusing on funny but mechanical movements and clever situations. The design style is

USP

decidedly modern and minimalist, but also

One of the early launched cartoon channel.

features bright CMYK colors and tactile

Wide variety of cartoons for all age groups

materials, effectively ďŹ nding a balance

Strong market base.

between fun and high design.

Nostalgia related to 90's kids.

42 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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CHANNEL NAME

PRIMARY COLOR PALETTE

Disney Channel PARENT COMPANY

SECONDARY COLOR PALETTE

The Walt Disney Company YEAR OF LAUNCH

BRAND LANGUAGE

17 December 2004

Traditional, kiddish, active, optimistic

CATCHPHRASE

BRAND CONCEPT

Made Just for You

Disney rebranded itself and defined it’s priorities by the new logo. The Mickey head

FLAGSHIP CONTENT

shrinks to the size of the tittle of the "I", making it

Mickey Mouse, Other Disney originals

less about Mickey and more about Disney, with the main Disney wordmark becoming the

USP

primary element of the logo. The "CHANNEL"

All the Disney cartoon characters at one place.

typography is a hilarious cross of Comic Sans

Diversity of viewership, typically teenagers.

and Tekton which reflects the Disney Channel

Considered appropriate for family viewing.

audience with its new branding, also continues

Individuality of content.

to leverage Disney's rich history.

44 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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CHANNEL NAME

PRIMARY COLOR PALETTE

Hungama TV PARENT COMPANY

SECONDARY COLOR PALETTE

Disney India Media Networks YEAR OF LAUNCH

BRAND LANGUAGE

26 September 2004

Fun, bliss, freshness, joy and vibrancy

CATCHPHRASE

BRAND CONCEPT

Hungama Machaya Kya?

The intent of Hungama TV is to create a space owned completely by kids and the brand

FLAGSHIP CONTENT

capsulates exacting the same with its joyful

Chacha Bhatija

colour scheme and an eye catching visual appeal. The H of the Hungama TV logo is in a

USP

human form moving in freestyle, just like kids

Primarily airs localised content.

conveying the key brand attributes of youth,

Started as an Indian owned channel

vigor, zest and enthusiasm. The logo is created

Management owned by Team Disney.

out of deft brush strokes and is designed to be

Selective content and less shows.

a fun ďŹ lled identity that appeals to the kids.

46 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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CHANNEL NAME

PRIMARY COLOR PALETTE

Pogo PARENT COMPANY

SECONDARY COLOR PALETTE

Turner International India Pvt Ltd YEAR OF LAUNCH

BRAND LANGUAGE

17 December 2004

Minimal, bouncy, moderately active, playful

CATCHPHRASE

BRAND CONCEPT

The Best Place For Kids

Pogo has always been a brand with a different taste. It focuses less on animation and more o

FLAGSHIP CONTENT

reality. Based on that the branding contains

Chota Bheem, Little Krishna

less active and bright persona. The identity encapsulates an elegant, grid-like structure

USP

that could house characters and type in a

Focus on non animation shows.

sophisticated yet playful environment. Being

Teaching programs like DIY for enhancing

an out of the league Indian brand, it lacks the

children skills.

vividness and Indianess in its language. It is still

Out of the box content.

playful and bouncy in its character.

48 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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CHANNEL NAME

PRIMARY COLOR PALETTE

Discovery Kids PARENT COMPANY

SECONDARY COLOR PALETTE

Discovery Networks Asia Pacific YEAR OF LAUNCH

BRAND LANGUAGE

7 August 2012

Colorful, energetic, fresh, joyful and vibrant

CATCHPHRASE

BRAND CONCEPT The channel as a brand has been for the viewer and so has the brand tone, giving it

FLAGSHIP CONTENT

character and allowing for it to interact with a

Bandbudh Aur Budbak, Little Singham

‘world of endless possibilities’ as it reinforced the core Discovery Kids message that the

USP

channel was to be a portal for smart children’s

Airs a mix of animation and quiz reality shows.

programming. The package is colourful,

Better reach to target audience.

energetic and aesthetically references craft

Strong market base.

based mediums, further stylized and

Associations with latest Bollywood movies.

developed in 3D and 2D.

50 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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CHANNEL NAME

COLOR PALETTE

Sony Yay! PARENT COMPANY

BRAND LANGUAGE

Sony Pictures Networks

Fun, bliss, freshness, joy and vibrancy

YEAR OF LAUNCH

BRAND CONCEPT

18 April 2017

The brand idea aims towards developing a physical and figurative proposal, which were

CATCHPHRASE

each of the channels founding elements acts

Non stop masti, non stop mazzaYAY!

and reacts to various types of mechanisms.

The idea is to give the YAY brand a child's scale,

FLAGSHIP CONTENT

as if each lever or knob was activated by the

Guru Aur Bhole

kids in their homes. This branding is something children are allowed to play with and feel the

USP

energy with the neon pallette and active 3D

First kids channel to have a non animated

elements. They have also used the first ever

brand ambassador as Tiger Shroff.

non animated brand ambassador as Tiger

Branding apt for it’s target audience.

Shroff to impress kids.

Primarily airs localised Indian content.

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03 03

54 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

INFERENCE INFERENCE

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ANALYSIS Kids centric branding focuses on eye catching graphics for the end consumer i.e. kids and youth. Data, be it qualitative or quantitative, informs decision making for design directions.

Proper understanding of the information has a positive impact on the design process.

The new channel needs an identity which represents itself as a prominent brand and can communicate Nickelodeon's spirit of irreverence, playfulness and unpredictability.

The most important brand element; the logo should provide a strong, clear, proprietary voice to command attention, not by being shrill, sensational or predictable, but by being powerful, bold, hard hitting and original. The proposed identity not just creates an impact but inspires creativity with exibility, shows excellence and vitality in all communication and self expression.

56 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

STAKEHOLDER ANALYSIS We are living in a time when there is an

Comprise kids’ channels, are less culturally

d. Maximum young population resides in tier III

overwhelming supply of information. It is hard

distinct than live action programs, so children

cities which also has the highest viewership

to memorize information and advertisements

more easily accept foreign culture.

share.

Industry has the same issue. It therefore

The user research and BARC data collected by

e. The most favourite genre for kids is

becomes to very important to ďŹ lter and pin

me is analysed and the following are the key

animation with a little share of knowledge and

point the data of relevance which directly

takeaways from the data collected:

reality shows too.

a. Recent decade has seen a sharp peak in TV

f. General TV viewership has a peak in view in

In the recent years, there has a boom in the

viewership penetration in Indian households

the last quarter, from October to December

animation industry and hence in the number

with majority share of young population.

when the kids viewership has a downfall while

distributed by everyday media. The broadcast

affects the stakeholders.

of channels. Therefore, viewers have

the kids viewership reaches its maximum

accustomed to a large number of channels

b. Most of the TV viewing population resides in

during April to June quarter while the general

and have been changed to choose a channel

urban areas with majority of them as young TV

viewership is least in the same quarter.

by its brand image rather than a simple

viewing population.

comparison of contents.

g. Although kids viewership is very low in Indian c. The overall kids viewership is very low as

households, individual cartoon viewership is

Consequently, many studies have been

compared to the total viewership, which is

high, usually where kids are at home.

conducted on channel brand. However, the

coupled with co-viewing i.e. Majority time the

study of kids’ channel brands have so far

kids watch television along with their parents

H. When medium of viewing is considered, TV

researched only a couple of channels.

or guardians and watch non kids or GEC

still continues to be most preferred with

Animation programs, which mainly

channels.

comedy as most preferred cartoon genre.

Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

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COMPETITOR ANALYSIS After going through all the competitor

traditional character/brand voice.

channels, I determined their tone and brand

k. The content on the channel might be majorly Indian but the channel brand elements have

language within kids entertainment section,

f. Not much focus on characters. Instead the

little or no Indian influence on them. Except for

their color palette and their brand placement

identities are created with almost no character

the special festive themes, these channels

which might provide Nickelodeon a distinct

interference.

have little essence of the local palette.

existing brand strategies which are keeping

g. Heavy use of 3D shapes and elements with

L. The young viewer might judge a channel by

the old players alive and going. Following are

most of the channels relying on high quality 3D

its content but to create a lasting first impact

the key takeaways from the competitive

renders of complex objects and animations.

on the viewer’s mind, effective branding is not

advantage along with exploiting the options of

analysis of top six rivals in the kids entertainment section:

just necessary but an inevitable asset to h. Overall brand tonality is kiddish with modern graphic elements easily remembered by the

a. Use of bright vivid colors.

kids and young minds.

b. Highly energetic on screen graphics.

i. Impactful color palette with mostly neon colors.

c. Minimal yet understandable graphics. j. The older players have tried to shed their d. Most of the identities are created using

established image but are usually keeping the

simplified vector based shapes.

previous color pallette a part of the newer identity.

e. The older players are trying to get out of their

58 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

survive in today’s tough competition.

CONCLUSION-DEFINING THE BRAND According to Alexander and Schmitt (1997),

BRAND PERSONALITY

BRAND COLOR PALETTE

customers do not have direct access to an

Active and aggressive with unique, fun

Bright and vivid color palette with animated

organization's culture, mission, strategies,

content. It can be realistic yet imaginative, but

active shape(s).

values, to the 'private self' of the organization

with a little childish and abstract brand image.

Of the brand. However, customers do see the public face of the organization or brand expression. This public face is projected through multiple identity elements with various aesthetic styles and themes. In other words, ‘brand expressions create customer impressions’.

Based on the analysis of the stakeholder research and competitors, the new channel’s brand traits will have the following characteristics: TARGET AUDIENCE Age group from 11 years to 18 years old.

BRAND POSITIONING

TYPOGRAPHY

CULTURE Viewers between 11 and 18 still like slapstick comedy. However, they begin to seek out more grown-up activities like clubbing and dance

Combination of bold and thin fonts from the same family. Can be serif or sans serif depending on the final output and visibility.

music. In addition, they get a vicarious satisfaction from seeing on TV about what they should not do.

PHYSICAL FACTORS The light, color, character and title animation helps promote the vibrant and powerful images. Through character, theme, subject matter and synopsis, the childish image can be altered to become current and trendy. The graphics, font, and layout maintains the fun triggering interesting and imaginative aura.

For the fast trendy new generation.

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04 04

60 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

CONCEPTUALIZATION CONCEPTUALIZATION

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WHAT’S IN THE NAME Parallel to research, I thought of various naming options for the channel and wrote them down with all possible words, feelings and objects related to today's kids and youth.

The names were also derived from the characteristics written. As Viacom 18 had not defined the genre and target audience range, the naming process was quite open-ended and depended upon the inference drawn from the research.

Based on the theme and process underlined by the client at the first client meeting with team Viacom18, I brainstormed and jotted down the following names along with the catchphrases which suited them.

62 Anadi Dwivedi Semester V M. Des. Visual Communication UID KU Gandhinagar 2018-19

SUGGESTED NAMES WITH CATCHPHRASE NICK DHAMAAL

Time for the best

Fultoo dhamachaukadi

One place, too much fun The One for the best

Total masti

NICK DHINCHAK

Funlimited

Go dhinchak

Fultoo kamaal

Chote ustado ki badi dhoom

Your One fun stop

Massti ka pitaara NICK 2-OONS NICK DHAMAKA

Desi jhoom

Fun ka blast

Funtoonstic

Raho bindass

This is where your friends live

It's time for a blast

Har roz vacation

NICK HALLA GULLA

NICK MASTI

Halla Bol

Panga mat lena

Fun ka mohalla

Fultu masti

Massti ka download

Go mastoing Shararat se bhara

NICK NXT

Apna masti ka adda

For the nxt gen kids The nxt generation kids

NICKELODEON ONE

For the nxt gen champs

It's the one for you

Unleash the joy

One channel, unlimited fun

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FINALISING THE NAME Based on the inference, I suggested the names

DEFINING THE NEXT GENERATION MODERNISM

listed in the previous page. After a thorough

Today's young buds are vibrant, honest, bold,

thought process and multiple client meetings,

aggressive, direct and irreverent and live

Viacom18 shortlisted seven names of which

larger than life.

two were proposed by me.

THE CATCHPHRASE The two names which were selected by team

The final slogan or the catchphrase most

Viacom18 were:

suited for the proposed name NICK NXT is

Nick NXT

“For The NXT Gen Champs!”

Nick Dhamaal THE NEXT STEP Post deciding the names, it was my call to

Moving ahead with the name and the

continue the project outside the agency as

catchphrase, I started working on the logo

graduation document. I chose to go ahead

ideation by putting my ideas roughly on paper

with Nick NXT as the final name as it went with

using various mediums like pencil, crayons and

today’s fast pace generation also known as

transparent ink.

gen-Z. The name also justified the values and ideas of Nickelodeon as a brand as well as an ideology. Along with the name I went ahead with fnalising the catchphrase which suited the overall idea.

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LOGO IDEATION

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LOGO IDEATION

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LOGO IDEATION

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LOGO IDEATION

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LOGO IDEATION

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LOGO IDEATION

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LOGO IDEATION

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DESIGN DIRECTION 1

PLAYFUL AND FUNKY This logo direction incorporates sharp angles which are inherently playful, applied them in varying degrees. This logo direction directly targets children or people who are young and playful at heart.

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DESIGN VARIATIONS

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DESIGN DIRECTION 2

PIXEL What deďŹ nes pixel design direction is its unique visual style, where individual pixels serve as the building blocks that make up the image. The effect is a visual style very similar to that of mosaic art, cross-stitch and other types of embroidery techniques. This logo direction deďŹ nes genZ which has been living in the internet era and are techno freaks.

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DESIGN VARIATIONS

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DESIGN DIRECTION 3

SPEARING AHEAD Today’s generation is fast, creative and full of energy. They are racing against time to gain the most and live larger than life. And just like your young guns, Nick’s new entertainment channel is full of energy and freshness. This logo direction defines that energy and symbolizes the will to stay ahead and to win over the obstacles of life.

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DESIGN VARIATIONS

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DESIGN DIRECTION 4

Boxy Nickelodeon has always been a pioneer in providing ‘hatke’ entertainment; something out of the box. But this logo direction has been derived from the box. This solid looking logo is coupled with artistic mediums like pencil colors, crayons and transparent ink to give the raw feel. This logo direction and its idea is out of the league and hasn’t been used by any channel so far.

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DESIGN VARIATIONS

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COMPARING DESIGN DIRECTIONS

DESIGN DIRECTION 1

DESIGN DIRECTION 2

Pros: Distinct, Impactful, Relevant

Pros: Simple, Scalable, Easy To Connect, Versatile

Cons: Complex, Stiff, Not Scalable

Cons: Less Impactful, Indistinct, Less Relevant

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DESIGN DIRECTION 3

DESIGN DIRECTION 4

Pros: Relevant, Impactful, Funky, Memorable, Distinct

Pros: Simple, Thoughtful, Raw, Impactful, Scalable, Memorable

Cons: Complex, Stiff, Less Scalable

Cons: Less Relevant, Less Connect, Indistinct

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FINAL LOGO DESIGN DIRECTION

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REFINING FINAL LOGO

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FINAL LOGO

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FINAL LOGO ORIENTATION

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COLOR PALETTE Everyone loves colors, specailly when we are

Contrast and Clarity

Trend, Culture and Preferences

considering our young audience. A good color

Contrast is probably the most important thing

People often project themselves in their

palette can make all the difference and create

to consider regarding the choice of colors for

preference of colors and the reason why some

the desired effect. An effective color palette

the 2 groups of age at the extremes; very

colors are preferred more than others at

not just makes the brand distinctive but also

young and very old!

different ages and gender is probably more

memorable. Every brand has a particular

cultural than anything. For instance, pink and

combination of colors to represent itself

The choice of color itself should be based on

peach colors were not always considered as a

according to it’s work area and genre. For

clarity first for these 2 groups for age for simple

feminine color. In some countries, bright colors

instance, using bright peppy colors in a dark or

reasons; it needs to be easy to read for the

may look "cheap" to some adults but are

subjective theme might not really work and

younger ones who are still learning the

greatly appreciated in other parts of the world

same goes the other way round.

"symbols" that are letters and words, but also

where chemical dyes are not as popular as

the older ones who might suffer more from

natural ones or where the culture associate

vision problems.

these colors with positive projections. Knowing

It has been a herculean task for me to decide

what my target market wants to "project" and

the right color palette for the channel as the genre and audience has been undefined. So,

Comfort

identify with, and what is the history of colors

are colors and color combinations at all

As for what kind of green, red or blue to choose

for that cultural group gave me good clues on

dictated by the age of the target demography

then it's more a question of trends and culture

what colors to use.

and audience? Since I think most would say

once the clarity part has been fixed. What's

yes than how do might I go about selecting

important about the choice of color is to

appropriate colors for that audience? The

consider what is the purpose. As the channel

answer lies in the following criterion which I

aims to target youngsters, a color palette

considered while choosing the palette.

according to their eye has to be decided.

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NICKELODEON’S BRAND TONALITY

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COLOR PALETTE 1

HEX #5CA595

HEX #FFF383

HEX #61A375

HEX #E5097F

HEX #834E98

HEX #F7AA47

HEX #2B2A29

MOODBOARD: Youthful, Trendy, Vivid, Bright, Soothing, Balancing, Citrus, Warm, Comforting, Positive

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COLOR PALETTE 2

HEX #87D4DA

HEX #FF0066

HEX #33CC99

HEX #E31E24

HEX #6666CC

HEX #993366

HEX #2B2A29

MOODBOARD: Contrasting, Complimentary, Neon, Energetic, Intense, Passionate, Impulsive, Stimulating

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COLOR PALETTE 3

HEX #87D4DA

HEX #F2AF47

HEX #90CD8A

HEX #FCEB5F

HEX #47EAFB

HEX #FE893C

HEX #E486B8

MOODBOARD: Bright, Vivid, Lively, Comforting, Youthful, Citrus, Enthusiastic, Creative, Clumsy, Contrasting

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COLOR PALETTE 4

HEX #87D4DA

HEX #F2AF47

HEX #C50917

HEX #FFFF49

HEX #D5106A

HEX #32BFB7

HEX #0C1E50

MOODBOARD: Modern, Contrasting, Trendy, Fast Moving, Ambitious, Creative, Youthful, Impulsive

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EXPERIMENTING DIFFERENT COLOR COMBINATIONS FROM THE PALETTES

HEX #FFF383

HEX #61A375

HEX #5CA595

HEX #F7AA47

HEX #834E98

HEX #E5097F

HEX #B1FBFE

HEX #FFFF49

HEX #90CD8A

HEX #E486B8

HEX #47EAFB

HEX #F2AF47

HEX #491278

HEX #7E0090

HEX #2C4742

HEX #F57C14

HEX #C3F532

HEX #F32490

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FINAL COLOR PALETTE Brands and colors are indistinguishably linked.

Colors create a vibrant visual experience. They make things more attractive, affect our mood and can even subconsciously shape action. As a result, I have put a lot of thought into the colors to be used on the final face.

Choosing the right palette for the brand was a herculean task and deciding the current palette took a lot of thoughts and ideas to filter through.

The current palette of bright energetic shades of cool and warm colors has been chosen due to its sync with the idea behind the channel and its targeted viewership. This combination of neon colors defines today’s youth - modern, impulsive, passionate and trendy. The colour palette has a combination of four neon hues, one from red, green, blue and orange each.

HEX #C3F532

HEX #F32490

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HEX #00DAFE

HEX #F57C14

FINAL LOGO

60%

20%

20%

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TYPOGRAPHY Typography plays a key role in a brand's

As per the nickelodeon's brand book and also

overall message I want to convey - For the next

identity. The brand's typography is crucial

the requirement of the brand identity thought

generation people. It is also a part of my brand

because it establishes a specific tone, conveys

of required playful yet elegant sans serif fonts.

voice.

a meaning, and creates a perception. It is the

For that purpose, I toyed and experimented

visual voice of the written word. Selecting

with different fonts to choose the one primary

Typography can have many different voices

appropriate fonts for your branding and

typeface suitable for the identity. I also kept in

depending on scale, shape, color, and weight. It

marketing collateral is 'a vital aspect of your

mind the following qualities while choosing the

evokes a sort of imagery that suggests the

brands long-term success.

one:

meaning of the brand identity through letterforms. In short, ‘Type Matters!’

Every font has a unique personality and

Tone

characteristic. While choosing a font for the

Every type has its own personality and so does

Perception

channel, it is imperative for me to choose the

Nick NXT as a brand. The tone has to set the

Type choices can ultimately make or break

one which best reflects the personality of Nick

mood for how the audience will respond. It

how individuals perceive the brand. It has been

and the tone of the upcoming brand.

must run parallel within the branding to

carefully decided the way the typography is to

successfully portray the channels idea and

be presented and the impression it leaves on

thought.

the young audience that has to be treated

Just like the color palette different fonts evoke different emotions and portray tradition,

with close attention and research.

reliability and integrity. For the brand identity I

Meaning

thought of, using sans serif fonts was

The fonts I am suppose to choose from have a

appropriate as they give a modern, stylish and

creative meaning, reasoning, and purpose. A

contemporary feel as opposed to serif fonts

brand with a creative purpose brings on

which are elegant and classic.

stronger branding. It all comes down to the

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CHOOSING THE RIGHT TYPEFACE FROM THE LOT Fontin Sans Rg, 11pt.

Folio Std, 11pt.

Trade Gothic, 11pt.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

Myriad Pro, 11pt.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

Bell Gothic Std, 11pt.

Montara Gothic, 11pt.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

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CHOOSING THE RIGHT TYPEFACE FROM THE LOT Century Gothic, 11pt.

Franklin Gothic, 11pt.

Square 721 BT, 11pt.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

DK Codswallop, 11pt.

Quicksand, 11pt.

Ocean Sans Std, 11pt.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

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THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

Banana Chip MufямБns, 11pt.

THE QUICK BROWN FOX JUMPED OVER A LAZY DOG. the quick brown fox jumped over a lazy dog.

FINAL TYPOGRAPHY Primary Typeface Folio Std Designed by Konrad Bauer and Walter Baum in 1956, Folio was the first popular Swiss Sanserif; the positive black shapes of the letters appear to be locked inevitably into the correct position by the firm and positive white shapes that

FOLIO STD Light, Medium, Bold

surround them.

Body Typeface Century Gothic A spacious, modern version of a classic midcentury font, the Century Gothic® design embodies the digital age with its sleek sans serif style, but still retains the graceful geometric look common to early 20th-century

CENTURY GOTHIC Normal, Bold, Italics

typefaces. The Century Gothic design is strongly influenced by the geometric sans serif styles of the 1920s and 30s, which themselves were part of a post-Victorian design evolution.

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FINAL CONCEPT The branding concept for the channel is derived from the main element of the identity i.e. the logo. While the logo is only a small simple mark, a brand includes every single touch-point the viewers will have with the company. While deciding the elements I kept in mind the difference of creating a brand i.e how the young viewers would perceive the channel and the actions to be taken to build the desired image of the channel. After which I created the brand identity i.e. the collection of tangible brand elements that together create one brand image.

Isolating the element

THE SPEARHEAD - SYMBOLIZING THE IDENTITY The main element of the logo is the forward moving spearhead made by manipulating the letter X of NXT. Taking it as the main identity element for the branding not just made the branding homogenous with the logo but it also created a bold and impactful image of the overall brand.

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ReďŹ ning

USING THE ELEMENT

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PERMISSIBLE COLOR COMBINATIONS

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FINAL LOGO WITH CATCHPHRASE

For The NXT Gen Champs!

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05 05

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DELIVERABLE DELIVERABLES S

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BRAND ESSENTIALS NAME

STATION CAPTION

Nick NXT CATCHPHRASE For The NXT Gen Champs!

TYPEFACE Folio Std Light Folio Std Medium Folio Std Bold Folio Std Bold Condensed COLOR PALETTE HEX #00DAFE HEX #F32490 HEX #F57C14 HEX #C3F532

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BRAND GUIDEBOOK When it comes to building a memorable brand, it's all about consistency. The best brands stick in our brains because their presence is deďŹ ned by the repetition of the same logo, fonts, colors, and images. Once we see them enough, they become instantly recognizable, bringing us a clear sense of reliability and security.

Developing a consistent brand starts with creating a brand style guide. The branding rule book helps graphic designers, marketers, web developers, community managers and even product packaging departments all stay on the same page, and present a uniďŹ ed vision of the brand to the public.

Here is a glimpse of the guidebook I designed as an attempt to unify all the branding done for the channel worldwide.

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CORPORATE IDENTITY Consistency is absolutely essential in branding as it projects the external image of the company. The brand reflects the persona that a company projects and often has significant influence regarding the way people view the company.

The corporate logo is usually forms the cornerstone of a corporate identity kit and everything in the kit is designed around that logo. Similar to that the theme followed here is the one shown in the final concept previously.

The corporate identity kit for this project includes the following: Business Card Letterhead Logo Seal Envelope Employee ID

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Two Sided Business Card

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Letterhead

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Logo Seal

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Envelope

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Employee ID Card

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TV BRAND IDENTITY It’s important for a new Pay TV Channel to be specialized, individualized and branded which becomes the purpose of specialization and individualization. Only with strong brand effect, can a new Pay TV Channel succeed in competing with established channels and other media. A brand ident also stands for popularity, persuasion, competitiveness, and in a way, reputation that leads to brand loyalty.

Just like holding a trump card for a company, strong brands can be helpful for the company to enjoy higher brand loyalty and market shares.

The TV brand identity kit for this project includes the following: Display On Graphics (DOG) Next Display On Graphics Channel Ident Next ID Rate ClassiďŹ cation Bumper Ident

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Display On Graphics

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Channel Ident

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Next ID

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Rate ClassiďŹ cation

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Bumper Ident

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MARKETING Enhancing the brand awareness is important for enterprises to survive and develop, and to expand the market shares. When consumers show bias rather than randomness repeatedly in making purchasing decisions, there comes the brand awareness, which is a behavioural process involving decision and evaluation. It is not only depended on the brand quality, brand popularity, brand association and transmission of products which form the brand awareness, but also related closely to the characters of consumers and their experiences.

The marketing kit for this project includes the following: Van Ticket Kiosk Hoarding

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Van Advertising

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MASTI KI SAWARI

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Ticket Kiosk

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Hoarding/Banner

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MERCHANDISING Any new Pay TV Channel should highlight the USP and should increase the connect with the audience. When choosing brands, consumers will be subject to the emotional factors which play more roles than product’s functions. When being able to define the self-image in consumers’ mind, the core value of brands can be defined and merchandising has always been one popular option among the TV channels. It aims to enhance the brand popularity, brand reputation of enterprise or products, and can help to build a good brand image and eventually boost the promotion of products and services.

The merchandising kit for this project includes the following: T-shirt Mugs Shopping Bag

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T-Shirt

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Coffee Mugs

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Shopping Bag

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CONCLU CONCLUSION SION

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LEARNINGS It was an incredible journey working with

see a designer iterate with around 20 options

Scarecrow M and C Saatchi, as it was my first

just to decide on the color palette that you

experience working in an advertising agency.

realise it is no cake walk.

From academic point of view, it was the biggest learning experience for me. The most

Having senior designers and conceptualizers

engaging factor of working on this project was

around not only boosts ones morale but also

working with a client like Viacom18 along with

helped me understand the finer details of the

working with an experienced team. From

design process which I as a college student

taking responsibilities to handling clients, the

would have had a tendency to overlook. I have

whole experience was full of ups and downs

also realised that user study is extremely

but was worth every effort. Working on a live

humbling and a good designer should be able

project involved meeting client demands in

to trash even his/her personal favourites if they

stressful deadlines and late night working.

do not seem to work for the target audience.

This project was a huge opportunity for

I can spot a lot of things that could have been

learning in the field of branding and channel

better and could be improved a lot on which I

creation. I had toyed with my creativity and

would improvise sometime in near future.

pushed myself to the limits while working on

Nevertheless it has been a wonderful learning

this project delving deeper into the branding

experience for me and I have enjoyed every

concepts during this project. Many aspects of

moment of this wonderful journey.

this field like digital on screen graphics are not understood at first glance, it is only when you

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REFERENCE REFERENCES S

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REFERENCES BIBLIOGRAPHY Nickelodeon brand book Brand-Building of Pay TV Channel by Fanbin Zeng Success of kids entertainment in India Viacom-Wikipedia Nickelodeon-Wikipedia Broadcast India Research Council-India Ratings 2017 Broadcast India Research Council-The changing face of TV in India 2018 Broadcast India Research Council-A peek into kids viewership in india 2017-18 Broadcast India Research Council-Seasonality and TV trends 2018 Broadcast India Research Council-What Young India Watches International Journal of Asia Digital Art and Design-The effects of channel brand identity design on channel brand image MTVN BALA Nickelodeon Standards Practices Asia WEBLIOGRAPHY www.viacom18.com www.nickindia.com www.sonicgang.com www.sciedu.ca/journal/index.php/bmr/article/viewFile/1547/815 www.graphicdesign.stackexchange.com/questions/60330/how-to-select-colors-for-target-audience-based-on-age www.designmantic.com/bls og/infographics/age-and-gender-based-color-preferences/ www.indiantelevision.com/television/tv-channels/gecs/four-original-indian-animated-shows-to-start-with-local-to-be-sony-yay-usp-170413

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www.underconsideration.com/brandnew/archives/cartoon_network_enters_the_grid.php www.afaqs.com/news/story/36769_Calling-Kids www.barcindia.co.in www.artandgraft.com/project/pogo-rebrand www.adada.info www.canava.com www.digitalsuccess.com

MOCKUP SOURCES www.grapictwister.com www.mockupworld.com www.graphicburger.com www.99designs.com

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DOCUMENT SPECIFICATIONS This document has been written and designed

by Anadi Dwivedi.

This document has been set in Space Comics in page breakers Poppins Bold in page headings Poppins in text body Briem Akdemi Std Semibold in quotes This document has been printed at Chaap Digital Print Studio, Ahmedabad using a Ricoh Pro C7110 digital printer.

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“ Keep Your Dreams Alive!

”

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