The story behind the splat's return.
is close enough to the 1980s design to be immediately recognisable while still feeling fresh. Rogers says the rebrand was conceived to unify the brand across on-air, digital, and social and to create an identity that could grow and evolve with new creative output. And that meant thinking like a kid.
Roger creative director Braden Wheeler said: “We love a brief that asks us to tap into our weirdo kid brains. Kids are all about trying everything out, so we wanted to make a brand that allowed for revisionism, randomness, and irreverence. That said, the design language needed consistency across every touchpoint of the Nickelodeon brand, from on-air to digital and social media to the product packaging and resort experiences, so we knew we needed a very accessible core to the visual identity.
The colour palette was based around Nickelodeon’s existing signature orange but adds complementary gradients of purples, yellows, and pinks. Meanwhile, bold and clean typography is layered on top for a contemporary look. Roger says it chose ROC Grotesk due to its subtle irregularity and paired it with Neue Plak, which created contrast between a more playful and more condensed style. They noted that both types offer extensive style options for future evolution.
Belgique Dernières Nouvelles, Belgique Actualités
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