Advanced SearchSearch Tips
A Study on Channel 4`s Station Identification: focused on `Modular Typography`
facebook(new window)  Pirnt(new window) E-mail(new window) Excel Download
  • Journal title : Cartoon and Animation Studies
  • Volume , Issue ,  2016, pp.241-262
  • Publisher : Korean Society of Cartoon and Animation Studies
  • DOI : 10.7230/KOSCAS.2016.42.241
 Title & Authors
A Study on Channel 4`s Station Identification: focused on `Modular Typography`
John, Adjah; Hong, Mi-Hee;
  PDF(new window)
British TV Channel 4 is one of the famous TV Channel in the world. Its station ID has also played a leading role in the developments of Motion Graphics including station IDs. This station ID`s main visual design concept is its name and an iconic logo `4` at the same time. The first channel 4 station ID was designed by using modular typography to construct the iconic `4`. Modular typography is a technique of creating letters with similar elements. Channel 4`s station ID was constructed from coloured polygons. The polygons split and converge at the same point in 3D space. Modularity in Channel 4`s station ID is evidenced by the similar units of polygons. After the first station ID, Channel 4 was re-branded. Eventhough the station IDs which followed did not use coloured and geometrical polygons, modularity is seen in most of the station IDs especially between 2004 - 2011. In these station IDs, the iconic `4` is formed from similar natural and environmental objects like rocks, buildings, lights etc. In this analysis paper, there is a visual narrative on the history of Channel 4, the concept of modular typography in the original station ID and the application of modular typography in other Channel 4`s station IDs.
Modular Typography;Station ID;Channel 4;
 Cited by
Brownie B., Transforming Type: New Directions in Kinetic Typography, Bloombury, 2015, Pg. ix

한창완, 디지털콘텐츠의 기술기반 진화모델연구, 한국만화애니메이션학회, Vol.-No.10 (2006), pp. 159-178.

Willen B., Nolen S. Lettering & Type: Creating Letters and Designing Typefaces, Prineton Achitectural Press, 2009, Pg. 60

Raizman D., History of Modern Design: Graphics and Products Since the Industrial Revolution, Lawrence King Publising Ltd,2003, Pg 191

Ruxandra Duru EINA," Type Foundries today, A study of the independent type foundry industry", 2011

Lawson A., Anatomy of a Typeface, David R. Gordine Publishing Inc.,1999, Pg 338

Hobson D., Channel 4: The Early Years and the Jeremy Isaacs Legacy, I.B. Tauris,2 008 Pg. 2

The House of Lords, The British Film and Television Industries--Decline Or Opportunity?, Volume II, ,2010 Pg 467-468

Lander R. Graphic Design Solutions 5th Edition, Wadsworth Cengage Learning,2014, pg. 240

이영미, 애니메이션 기법을 활용한 TV방송국 Station ID 디자인에 관한 연구, 한국애니메이션학회, Vol. No. 3 (2007), pp.197-218

임효영,이은석, TV채널 브랜딩요소를 통한 CATV Station ID의 인지효과연구 : 케이블 채널 OCN, ch CGV를 중심으로, 한국디자인지식학회, Vol. No. 12 (2009), pp.35-44

Ellen Lupton E., Phillips Cole J., Graphic Design: The New Basics, Princeton Architectural Press, 2008 Pg. 161-167

Brownie, B."Modular construction and anamorphosis in Channel 4 idents: past and present". Journal of Media Practice, 14(2), 93-110. 10.1386/jmpr.14.2.93_1 crossref(new window)

McDonald P., Channel 4 and British Film Culture, Edinburgh University Press, 2014

Van Sijll J. , Cinematic Storytelling, Michael Wiese Productions, 2015, Pg 172

Simon B., Elements of Visual Design in the Landscape, Spoon Press, 2004, Pg. 54

Bruce M., Film Production Technique: Creating the Accomplished Image, 5th Edition, Wadsworth Cengage Learning, 2009, Pg. 9

Kuhn A., Westwel G., A Dictionary of Film Studies, Oxford University Press, 2012, Pg.211

Williams R., The Non-Designer's Design Book,Peachpit Press, 2008, Pg. 51

Samaroo M., The Complete Guide to Writing a Successful Screenplay: Atlantic Publishing Group Inc. 2013, Pg. 210



23. 2015.01.30.

24., Accessed 2016.01.25.

25. 2015.01.24.

26. 2015.01.27.

27. accessed 2015.01.29.

28. 2015.01.29