(Est. 2005, originally PBS Kids Sprout and later Sprout) “Universal Kids represents the world of NBCUniversal family brands. As a kid-focused ecosystem with great TV content at the center, Universal Kids is programmed for the 2-12 year old audience, with a fresh mix of animated content, unscripted entertainment, and proven international hits. Launched in September 2017 and available in over 59 million homes, Universal Kids is available for kids and families across all platforms, including on air, online, On Demand and via mobile with the Universal Kids app.”
Kill 2 Birds (El Segundo, CA)
Anchored by the new logo, the distinct visual language elevates the presentation of the network and increases its brand awareness and attribution across all communication channels. With inspiration, imagination, and adventure as its core DNA, this all new identity comes ready to play.
The package is driven by a strong, narrow color palette designed to set Universal kids apart from the competition. all patterns, shapes and graphic devices are derived directly from the logo.
The animation theory — “burst and bounce” — reflects the kinetic energy of kids while expressing the playful personality of the brand.
Images (opinion after)
The old logo was too heavy on the Universal aspect, too light on kids, and trying to fit the two words in the swoosh across the globe yielded a very small footprint. The new logo reverses the balance, putting the emphasis on kids with a chunky rounded sans serif that works instantly to scream KIDS! Or, well, KiDS! because I guess that’s more fun. Breaking the name into two lines was a no-brainer and “KiDS” fits nicely within the new abstracted globe in the vector-sausage style. I don’t loooove the logo but it’s such a huge, appropriate improvement that really makes you wonder what they were thinking when they did the previous logo. The applications, static and motion, are happy and explosive, catering to the young audience. The color palette is simple and consistent with all the different illustrations adapting to it and creating a cohesive system. All the motion is enjoyable and approachable without trying to be overly cool. The one thing that sends shivers down my spine is the use of Helvetica Rounded as the primary typeface, which is a really lame choice in contrast to how considerate everything else is. Overall, though, this hits the target audience in a straightforward way.
Thanks to Hunter Marroquin Lai for the tip.