The CMG Graphics Hub, based out of WSB in Atlanta, led the package development, with it built on the Chyron Prime graphics platform.

Most shiny 3D elements are used in fullscreen animated elements, including opens, stingers, and wipes, with a focus on angular elements and diamond shapes, often with arrow elements inspired by those shapes.

Opens typically lean more toward a rather subdued color scheme with a series of arrow pointers entering the screen from opposite directions, while the station’s logo, rendered in separate 3D pieces, flutters into view. Only one station has launched a more complex open featuring additional station branding.

Some of the stations position the logo roughly in the left two-thirds of the screen, while others display it wider, stretching more into the openings created by the 3D glass and metallic elements to swap in local imagery to the right.

Opens also contain a line of marching text with various locales separated by pipes under the logo.

A similar look is used for various fullscreen animated elements, such as the “Right Now” stinger shown above. These tend to be more text-based and feature blue and silver shapes, with everything arranged inside a large central diamond, often sporting a silver arrow accent to the right. Some stations take these elements a step further by layering in photos. 

The text in these graphics is highly 3D and features what appears to be more of a matte face with more reflective sides.

Surrounding this are multiple angular elements, shown at various degrees of intensity and the option for a more subtle checkerboard-like pattern. There are several variations available and a thick silver arrow-like element often serves as a wipe.

For other portions of the package, including lower thirds, OTSs and fullscreen lists, a much flatter look is used, though there are some graphical tie-ins to elements found in the 3D design.

A ticker bar can be added to the bottom of the screen, capped with a thin yellow line on top with a white one below. Stations can insert branding or sponsor logos here as needed.

The far left of the screen is reserved for a bug and time and temperature that sits above the ticker, with layouts varying from station to station.

For example, WFTV in Orlando puts its red boxed logo to the left with a semi-transparent box next to it for a stacked time and temp.

Action News Jax (WFOX and WJAX, run by CMG via a JSA in Jacksonville, Florida) runs its logo along the top of the space, including having the option to add a “First Alert Weather Day” notation, and puts the current time and temperature below in a black bar.

WSOC in Charlotte, North Carolina, opts to run its circular “9” logo in a slightly narrower space with the time and temp part of the ticker bar below.

Meanwhile, the lower thirds themselves use a blue rectangle with a white line running up the left side and most of the way across the top, which does an effective job at framing out the space and the information displayed in it.

Story banners run wider than identifier insert graphics and the second tier typically includes a yellow pipe on both sides of the text displayed here, which ends up subtly drawing the eye to it while also building a connection to that scrolling list of cities in the opens. Inserts for double anchors run the full width with a triangular arrow accent to the left of each name.

The lower right of the lower thirds features a sort of reverse L-shaped accent, drawing on the arrow-like elements in the animated fullscreens.

Roughly half of the blue bar also features a twinkling matrix of dots.

There is the option for an additional tier above the blue bar, typically shown in white or red for breaking news. Some stations appear to allow a slight gap between the lower third insert and ticker, which can be used to add a red accent between the two. 

For teasers, a two-line blue box can be added in the lower left corner, accented by two yellow L-shaped elements, again inspired by the arrows and angles in the open.

Another layout includes adding a full-width blue background with dot accents behind the ticker and roughly half the of the bug with a white box with a yellow underline used to house the headline text.

The package also includes an OTS template that occupies slightly less than half of the screen width and features a sort of stepped layout combining white, gray, yellow and blue bars to create a sort of frame for the topical imagery with a blue box below for additional text.

There is also a list-style option with a white header element, yellow accent and multiple shades of blue used for each item of text shown.

Fullscreen lists use an ultra-clean look with a blue header with generous breathing room along the top with space for lines of text, capped with a colored vertical rule on the left below. There is also the option to make the current point larger and bolder.

CMG has been steadily rolling out the new look the week of Jan. 8, 2024, with nearly every station in the group seeing the design launch. WSB, WJAX, WFOX, WPXI, WHIO, WFTV, KIRO and WSOC have all debuted the new design in one form or another.

Action News Jax (WJAX and WFOX)

Motion Graphics

WJAX

View a gallery of this project…

WSOC

Motion Graphics

WSOC

View a gallery of this project…

WFTV 

Motion Graphics

WFTV

View a gallery of this project…

WPXI

Motion Graphics

WPXI

View a gallery of this project…

WHIO

Motion Graphics

WHIO

View a gallery of this project…

WFXT

Motion Graphics

WFXT

View a gallery of this project…

The post Cox stations debut new group graphics package with blend of flat design, 3D appeared first on NewscastStudio.

Hints of the new look first started appearing on Chicago airwaves in 2022 when WLS switched its weather graphics to a design that ditched its glassy, lens-flare heavy design in favor of a simplified, flatter look.

Almost a year later, WLS would introduce matching graphics across its newscasts. KTRK in Houston would follow in the following months.

Created by Vivid Zero, the creative services division of research firm SmithGeiger, the new look is said to be heavily research-focused. However, ABC, SmithGeiger nor Vivid Zero would discuss the new look or the research that guided the process with NewscastStudio after making repeated promises to the contrary. 

The redesign process was also intertwined with an extensive multi-million dollar upgrade of production control rooms at the stations, working alongside Ross Video and its creative services division, Rocket Surgery. 

Across the eight stations, Ross XPression is now standard for graphics with Rocket Surgery handling the implementation. This includes deep integration in Overdrive for automation. Other control room upgrades include Acuity and Graphite switchers and connections with Datalinq and DashBoard. 

Opens and stingers

Overall, it is easy to see how current design trends drove the new look, given its flatter yet still 3D-driven look that draws from isometric style with motion that feels influenced by the swiping and flicking that dominate our mobile-first world.

View on Giphy

A core part of the new design is based on a series of shifting views of the 3D elements.

Conceptually, this is realized as if the graphics are taking place inside an imaginary 3D space made of large, modular segments. Some feel like a giant wall of framed blocky pictures, while others conjure the feel of wandering by a large, curved video wall.

The 3D feel is most evident in the news opens, which showcase a strong vertical image taking up most of the screen before shifting sideways and wider as a 3D block with the newscast logo rotates into place.

This logo panel sits inside of what appears to be an alcove in the 3D wall of imagery as real-time tickers scroll by above and below the edge of a ledge-like space near the bottom and above the lip of the alcove’s imaginary ceiling just above.

Once the logo panel rotates into place, the viewport hangs out here briefly with only subtle movement before the far right of the logo block is revealed as an opening that is used to reveal live video, whether it be fullscreen footage or a camera shot — or even another animation.

When a station opts to put two animated elements back-to-back, they match up and feel like a continuous sequence.

View on Giphy

For example, a breaking news stinger can run immediately after the open, giving the feel that the viewport whipped around to view another part of a 3D space.

All of these stinger sequences, meanwhile, can fall under one of several distinct looks that both WLS and KTRK have used.

View on Giphy

The first is a blocky look with rectangular colored segments with a text field in the middle. This is typically used without any topical imagery for “now” and “next” stingers.

Another look boasts a more 3D feel and features another closer view of an imaginary alcove with multiple frames for imagery that varies based on use. 

Finally, there are also two versions with curved ribbon designs that conjure visual connections to the Times Square home of “Good Morning America.”

View on Giphy

Some of these are designed to accommodate multiple graphical elements, including the station logo and topical images that dominate the viewport before shifting to a franchise logo or text on what would be the far right of the space if it were a real environment.

The other variation features a shorter curved portion preceded by a fullscreen collage of imagery. 

Many of these fullscreen elements are a collection of other elements, including rotating column-like 3D blocks, colored vertical bands in solid or alternating color patterns with the option for arrow accents, accent text or circular elements.

Some stingers also include “live” elements such as the current time, which appears to be updated dynamically so it reflect the true time. 

The post ABC owned stations’ graphics package leverages purposeful motion, 3D appeared first on NewscastStudio.

Motion Graphics

KTRK

View a gallery of this project…

The look largely follows the design sister station WLS in Chicago debuted in June 2023, though with some tweaks, updates and new looks.

View on Giphy

The look was designed by Vivid Zero.

Thanks to KTRK’s red, white and blue logo, the base look of its iteration of the package uses those colors and forgoes the use of the gold used predominantly in Chicago, giving a glimpse on at least one way the look might be customized on a per-market basis. 

Chicago does use red for breaking news and other applications. 

KTRK’s opens and rejoins use a nearly identical layout but with Houston imagery swapped out in favor of Chicago landmarks in the various rectangular panes. 

The Houston outlet also uses the curved 3D spaces that were not part of the WLS launch, but have since worked their way into that station’s look as well.

View on Giphy

In Texas, the curved elements tend to show more of the curve, including the option for ribbon-like effect that serves as a sort of transitional element.

The post Houston station switches to ABC group graphics package appeared first on NewscastStudio.

“TV Avisen” airs on DR1, one of three of the public broadcaster’s channels, representing the “DR” initialism that the broadcaster is commonly known by.

“TVA” uses a red eye-shaped logo with some visual similarities to U.S. network CBS’s logo.

The new look was designed to be digital-first but also serve as a bridge between TV and the web, according to the network.

The network’s trademark red color and oversized versions of the shapes inspired by the broadcast’s logo are used across the design, including in fullscreens and on-set graphics. 

An anchor one-shot with a video pane in the lower corner above the lower third.

One hallmark of the design is an off-center anchor one-shot that appears to be meant to accommodate a “pop up” video pane that can appear in the lower left of the screen, typically above a lower third banner. 

This element runs footage that would typically run under a traditional VO, but keeps both the anchor and the footage on-screen the entire time.

View on Giphy

Other on-screen visuals include white lower-third banners tied to the screen’s lower left corner that never grow to full width. 

The white banner can be topped with a small red box featuring an animated loop of the eye icon that can drop into the corner of the screen when a white banner isn’t being inserted.

In that way, it serves as both a bug and branding element that smoothly animates between its positions.

Those white banners have a quick red-accented entrance animation that is a nod to “popping up” as well. Banners can feature multiple lines of text, with a label set in smaller, red all-caps. 

When the video pane is used, the headline shrinks down slightly and the clip element enters the screen using a similar entrance animation to the lower thirds.

While the package is heavily centered around the network’s trademark red and white, blue also plays a key role, including in the opening sequence where portions of the eye showcase a blue-tinted globe graphic, a change in the previous look that leaned more on a red-tinted world visual along with a lighter shade of blue.

Solid versions of the new blue are used for elements such as fullscreen maps and a blue box added to the lower left of the screen used to showcase top stories.

Variations also exist across dayparts that feature other muted shades, such as a light sage green. 

The look uses a suite of additional animations that include elements growing or shrinking in size to match the space needed for content, while leaning heavily on swipe-inspired transitions. 

Like the small logo in the corner of the screen, the open is also stocked with rotation effects, including solid and outline versions of what would be the “white part” of the eye. The iris or lens of the eye ends up morphing into the globe element, which then grows in size to sit alongside the “TVA” name and time of broadcast with the logo positioned dead center over the border of the white background and blue globe. 

Accenting the open are microtext elements featuring timestamps — though they are kept to a minimum. Also used are oversized typographic representations of the broadcast time and program name. 

The broadcaster did not switch to a new set, but did update its default video wall graphics to feature a blurred version of the network’s newsroom.

The ultra-modern set’s video wall is so wide — it wraps around two entire walls — that a single representation of the newsroom doesn’t fit. Instead, there are several repeating visuals centered on the newsroom’s suspended LED ring that peek through simulated frosted shapes inspired by the logo.

In a wide bump shot at the top of select broadcasts, the “TVA” logotype appears along with a countdown on the video wall with a subtle “flick”-style animation. 

As the countdown hits zero, the newsroom disappears from view with a left-to-right red and white transition effect.

The element appears to be carefully timed to when the when the open animation enters from the far right of the screen, moving from right to left and completing an imaginary ring in the 3D space that exists between the video wall and outer auspices of the studio shown in the bump. 

The video wall backgrounds are subtly animated to include flickering screens and people moving around, with the various layers of simulated frosted elements overlaid. 

Other video wall options include topical graphics, mostly devoted to imagery from the story in question. The broadcast can also added colored boxes for key points alongside the images.

The post Danish newscast ‘TV Avisen’ gets bold on-air update appeared first on NewscastStudio.

9&10 News switches to awkward and odd new logo

The new graphics follow the color palette the logo uses of blue and gold with a flat angular look. 

The exact angles used vary from application to application but do appear to be at least partially inspired by the sharp diagonal line on the right side of the station’s new logo.

The angles are used heavily in the open to showcase a montage of regional footage that use side-to-side animation to reveal the newscast title card.

The diagonal motif continues in the updated lower thirds, which feature side-by-side white and yellow elements that are divided with an angle. 

Angles are also found in other fullscreen backgrounds, with multiple lines of different shades and colors used to create triangular elements.

The package also makes use of dotted and other small icon accents, including some that are similar to the ones used by CBS News and its new owned station graphics package that is rolling out. Opens also include a small clock icon with the hands set to the corresponding start time of the newscast.

The station also updated its bug to a simple semi-transparent version of its logo with the time in a similar shape above. When displayed on top of lighter shades, the bug and time appear to have a slightly darker outline applied to them.

Like its new logo, the station is using Futura throughout its graphics package. The Web version of foundry Paratype is used on the stations’ website via Adobe’s Font service, formerly known as Typekit, according to an analysis of the underlying CSS and HTML.

Another common element in the new look is the use of outlined typography, including, most prominently in the time of the newscast spelled out in word form.

The same typographic style is also used in other parts of the new look as well as on social media graphics.

WWTV appears to be using a technique of applying an outline effect to an existing font, which results in slightly misshaped and odd angles in the strokes, such as the off-kilter “points” found in the “N.”

From a strict typographic standpoint, creating outlined type this way is essentially a “faux outline” version of the the font because it’s simply using the computer’s “best judgment” to draw an best approximation of what the letters would look like outlined.

The result is that the traced outline has to sit either inside, outside or along the middle of the original letters’ edges, so the result, especially at thicker widths like WWTV is using, is a look that can create some of the odd effects.

WWTV is hardly unique in using this approach, though it’s considered a big no-no by typography purists. 

The Paratype (abbreviated as “PT”) version of Futura used on the station site does not include an official outlined version. URW Type Foundry, meanwhile, does offer an outline version of Futura, but it has significant differences from the letters shown in WWTV’s graphics.

Outlined typography has become popular in recent years, with one each being NBC’s Peacock streamer. In this case, NBC commissioned a custom font, known as Peacock Sans, that also has a separately-drawn outline version rather than relying on a faux outline effect. 

A true outline font, such as Peacock’s, is drawn separately but typically based on the same letterforms its parent font has.

The station is using the same set as it did before the updates, though on-set video panels sport mostly new graphics. The station did not immediately updated its weather graphics from the previous look.

The post 9&10 News switches to new graphics that emphasize accents, outlined type appeared first on NewscastStudio.

That station thankfully opted to keep its iconic “5” logotype at the core of its new look— instead of dropping it for a rather straightforward but unimaginative TV station logo, as has been the case with many recent station redesigns.

Changes did include dropping the “swooshes” from either side and moving it into a bold red square with rounded corners with the ABC globe tucked in a similar location as before and peeking out a bit from the red box.

Those elements aren’t a particular loss since they seem like a bit of an afterthought and didn’t quite match the “attitude” of the curves in the “5” and also created some awkward trapped white space. 

This is the old look. The blue shape is mostly gone from the new look.

Here’s the new title card with new logo.

The station’s new graphics, meanwhile, rely on a blend of diagonal line elements and red, white and black elements, many with rounded corners.

There are also think outline elements that help frame and connect on-screen elements. 

Insert banners span the entire width of the screen, with a time and temp bug on the far left separated with a version of the logo between it and the story and identifier banners. The far-right includes a small area that can be used for topical or franchise imagery or text designs.

It can also revert to a generic, ghosted “Eyewitness News” graphic. 

The station still uses the branded “5 Eyewitness News” with the tagline “Minnesota’s News Leader” and there’s also an updated lockup with the “EW” moniker — as well as a version that includes both that name and the station’s website address.

KSTP also operates satellite stations KSAX, licensed to Alexandria, Minnesota, and KRWF, Redwood Falls, but these stations also carry the station’s newscasts and call letters are included in most opens for the purpose of serving as IDs.

The post Twin Cities station bucks trend of ‘generic’ logos, keeps its iconic look in redesign appeared first on NewscastStudio.

The team started by looking at the network’s logo and quickly spotted the strong straight lines and five dots, which led to Morse Code and its ability to “turn text into a dynamic design language and waveforms.”

Although Morse Code was developed for the English language (and, therefore, the Latin alphabet) in the 1800s, it has since been adapted for multiple character sets, languages and even specific uses.

The International Telecommunication Union also publishes a standard that has key differences from the original — and it’s that that Asharq appears to use.

Morse Code was developed around the idea of transmitting combinations of short and long electrical pulses, each of which represent a letter, numeral or punctuation, which become visual in the form of dots and dashes, respectively. 

Myreze took those dots and imagined them as both spheres or short cylindric segments — while the dashes became longer, tube like modules, often with rounded ends to match the dots.

Asharq News takes viewers on fighter flight with virtual explainer

Visually, Morse appears on screen in a variety of applications, including vertical and more blocky interpretations as a circular arrangement — as well as working its way into on set graphics and the virtual studio Myreze also developed.

Idents

Internally known as “Patterns,” this ident features a “mix and match” of design elements, including an emphasis on circles. “It starts with one of these circles rolling along and bumping into another part of Asharq’s logo before all separated parts seem to be magnetically activated, and join together by floating slowly falling into place for a satisfying finish. The result is a clean and memorable image for Asharq,” explained Myreze. 

The name for the “Blocks” ident is pretty clear — it’s name for the “wall” the network’s logo sits on in the scene. “It is also the ident that takes most inspiration from our (Morse Code) design concept, evidently shown in streams of them flowing into a surface completely made of white blocks, almost as if to collect all the information and sealing it within its logo, ready for the viewers to see,” said Myreze. 

This ident leverages what Myreze calls “Morse tubs” that glide up and down, revealing the logo hiding in plain view. There are also translucent bubble like spheres standing in for the dots.

Opens

Myreze’s open for Asharq’s news coverage is based on the idea that information is fragmented.

“A bird’s eye view of a city reveals the chaotic nature of life that we’ve all come to adapt and get used to. When viewing civilization from above, it becomes clear that it’s almost a miracle that anything functions at all. It’s organized chaos,” the studio says. 

“We began our concept of the Asharq news opener by envisioning those people in their cars, jetting about, as informational fragments, rushing to get to the next destination to further share that information,” it continues. 

The Morse Code concept is used heavily in the news opener, both in the dashes and dots zipping around the view like people hurrying to their next designation but also in a more abstract way with the cityscape.

For the more lighthearted “Colours of the East,” Myreze created a distinct look that still channeled the primary brand elements.

The opener starts with “islands” and begins with a globe shooting toward a horizon that’s interpreted as the ocean’s surface.

“Upon impact, a huge shockwave sends tides of scattered particles across the surface that combine to create the structure of Asharq’s island studio in a spectacular display of colour. The view then turns to the interior of the virtual studio, showing off intense details reflecting off the floor before giving a near 180-degree turn of the set before shooting towards the center of the room and zooming out to reveal the lively ‘Colours of the East’ logo,” the studio explains.

Asharq’s “What Happened” revolves around the concept of time — and using that time efficiently, so Myreze opted to illustrate that concept with the Morse Code concept.

“The opener starts above the circular center of the What Happened studio as its outer layer unfolds and disperses morse codes into the air, representing information being released into the world in an unorganized manner,” Myreze says.

The Morse elements then circulate around the interior of the studio signifying the process of Asharq gathering nformation and organizing it for viewers.

At this point, the view changes to the exterior of the studio and viewers are treated to a view of “Morse Codes being sent out into circulation after being categorized in the studio, before zooming upwards and showing the greater picture of the information being dispersed back into the world.”

The open pauses for a view of the aerial view of the island formations and the bursts of information with the show logo finally entering via a blur effect.

The post Asharq graphics transform pulses of communication into dynamic visuals appeared first on NewscastStudio.

The changes can be seen across BBC’s channels such as BBC World News, BBC News Channel and its national and regional news bulletins in the United Kingdom.

Driven by Type

At the center of the change is BBC Reith, the network’s bespoke typeface commissioned from London firm Dalton Maag, which replaced Gill Sans.

BBC develops its own font

The contemporary humanist typeface is designed with legibility in mind while still having a unique visual tonality that immediately associates it with the BBC.

Named after the BBC’s founder John Reith, the typeface includes serif, sans serif and condensed versions across a variety of weights and is digitally optimized for use online and on-air.

BBC Reith first rolled out to BBC Sport, BBC Weather and BBC News Online.

Bringing Clarity to the News

BBC has had the same insert graphics for its news channels and bulletins since 2012, launching alongside the network’s move to Broadcasting House and HD.

The new design, which first appeared on-air Monday, July 15, 2019, limits the overall color palette and uses a simplified design in an attempt to be accessible to a wider audience.

BBC notes that the new look was focus-grouped and the respondents found the new design clearer and easier to read.

“Helping our audiences understand the news, through clear and compelling storytelling, is at the heart of everything we do at BBC News. We live in an increasingly complex world, and it’s clear our viewers and readers really appreciate the role visual design can play in helping them to understand developing stories and give clarity to the issues,” writes Paula Thompson, design director of BBC News.

A Global Change for the BBC

From the second the countdown first begins, the change to BBC Reith is noticeable, as the various show opens have been updated with the new typeface.

Shows like “Newsday,” “Beyond 100 Days,” and “BBC Breakfast” all feature a tweaked opening with the new typeface while keeping their existing show design and branding.

BBC provides rare look at full version of countdowns

Across the board, BBC News has also changed how it presents news headlines, using a simplified gradient overlay on video with the headlines in the serif version of BBC Reith.

In show, the lower third has now inverted from its previous white color to a black overlay with a pop of color for show and network branding. The L3 mixes the serif version of the typeface for headlines while the sans-serif provides context or details.

The ticker has also been replaced by a flipper, displaying one headline at a time, mirroring the opacity effects of the L3.

For the regional newscasts, such as the news bulletins on “BBC News London” or “BBC North West Tonight,” a new open has debuted featuring a new take on the network’s globe animation.

These opens include new drone video shots and end with bold red title slides.

The post BBC overhauls on-air design with new type, focus on clarity appeared first on NewscastStudio.

After 35 years since its last update — and 62 years since it was introduced — one of the most popular TV graphics fonts (as well as in graphic design in general) has gotten a major update.

6 fonts TV news graphics packages love to use — plus a bonus one

Helvetica, which was updated in 1982 with Neue Helvetica (sometimes known as Helvetica Neue), is now available as “Helvetica Now.”

The new release, which required Monotype designers to redraw 40,000-plus characters over a four year period, includes across the board updates that aim to increase legibility at all sizes and media types.

#Helvetica gets a 21st century update https://t.co/0reiKNhQ6Y

— TypographicMix (@TypographicMix) April 10, 2019

Now included are Micro, Text and Display sizes, each of which have a variety of weights within them, ranging from thin to black. 

TV graphics designers will benefit from the update with increased legibility thanks to characters that have been designed with screen display — as well as the traditional print — in mind.

In addition, smaller applications, such as tickers and mobile apps, could also benefit from the Micro size — which was developed specifically for use at smaller sizes.

Monotype has made the Helvetica Neue available for use on local computers as well as on websites that use webfont technology. Exact licensing requirements and pricing will vary greatly, though single-computer pricing starts at $35 for each font or $149 to the entire family.

It’s important to note that in order to use this (or any commercial font) on television broadcasting, you will likely need to purchase an extended or enterprise license that covers such use. Using the webfont on websites, meanwhile, is based on pageviews — with custom pricing packages available for high traffic sites. 

CNN now has its own font

Some large media outlets have commissioned their own, bespoke fonts, including CNN’s CNN Sans and BBC’s BBC Reith. 

Although the prospect of designing a custom font is certainly not inexpensive, it may be seen as an opportunity to “own” the look of a font as part of an overall branding strategy, as well as potentially save money in the long term, depending on the licensing model negotiated. 

CNN uses its font in almost every application — from on-air lower third graphics to its websites and mobile apps. 

BBC develops its own font

The post Popular TV graphics font Helvetica gets an update 35 years in the making appeared first on NewscastStudio.

‘Today’ gets new, wider graphics

The show also unveiled a new anchor lineup as part of an attempt to fend off declining ratings that apparently hasn’t helped.

This isn't good news for Australia's @TheTodayShow https://t.co/nQ0rxIIPOy

— TVNewsMix (@TVNewsMix) January 15, 2019

For the new look, the show retained its familiar logotype with curved underline as well as reimagining the curved petal pattern used behind its title.

The previous ‘Today’ logo featured the same logotype as the new look and also laid the groundwork for the arc pattern found in the new look.

The new look, much like its parent network’s logo, takes on a glassy, gel-like look. The curved pattern background appears in red and gold in the logo — now in white — used in the show’s titles as well as in more muted tones in the backgrounds. Meanwhile, the curves in the arc pattern have become much more pronounced — whereas before they were more suggested by thin, muted lines, they now appear as thick glassy-edged bevels in the new look.

The box and arc motif is also used in segment stingers, including breaking news. The color scheme of the breaking news look is more red — with a gold light burst accenting the screen. 

In addition to suggesting the paths of light in a sunrise, the now more prominent pattern also conjures imagery of petals or scales. 

For lower third insert graphics, a much flatter look is used — with a mix of blue and white and clean typography. Blue backgrounds in the look used a subtle gradient, while the glassy arches of the pattern appearing in the background of most fullscreen elements. 

For breaking news, the lower third inserts add a red top line with ‘breaking news’ repeater and red second tier below. 

For teases, the blue and white bars swap places. In addition to the lower thirds, the show has also redesigned its bug to mirror the square shaped used in titles and stingers, but with the more subtle arc pattern previously used in the background — a move that makes it easier to see the show’s logo and current time. 

Screen captures courtesy Media Spy.

The post Australia’s ‘Today’ gets glassy new look appeared first on NewscastStudio.