SPIKE Channel Rebrand

For the relative new (in the Benelux) TV channel SPIKE I was asked to join the team to create a fresh contemporary new look. Since the channel always has been different than its competitors, there was a need of a look and feel unmatched in the current dutch media landscape. Therefore, the whole brand has undergone a complete transformation, only keeping the logo as it was.

On-Air Design

SPIKE had a range of colours before this, some not fitting the brand really well. We chose to go with only one colour, yellow, and make that the accent colour for the channel. The promo package was specifically designed to avoid over communication - and by always overlaying graphics on top of content, we make sure the content in this design is always the center piece - but is complimented by minimalist yellow elements.

Shifting Alphabet

The content of SPIKE is constantly changing, shifting and adapting to the viewers needs. We created a shifting alphabet to match this identity of the channel. Our custom made animating alphabet is featured throughout the whole rebrand. From the alphabet we created and coded an alternating font that reacts and stretch into the right letters as you type a Show Title (for example, when typing Midnight Texas the D, H and E stretch) that is only for SPIKE.


Print Design

As our kinetic type and yellow color are now the recognisable feat for Spike, we incorporated the vibrant style in our on- and offline branding as well. Big stretched type keeps our print campaigns minimal yet stylish, featuring a solid clean background (either black or yellow) - where our talent square and frame makes sure no other object is in focus and no information gets lost. We also created a set of gradiënts that fit the channel and can be used to compliment the yellow if a full yellow background or the plain image background does not fit.


Banner & Social Design

The banners have the same grid. The date on the side can be animated to scroll like it does On-Air, but when the image gets smaller as in the vertical rectangle, the date is bigger and written on two lines and we lose the framed outline we have in the poster design. Social covers get the same treatment. A small difference is that we leave the Talent Titles out because they will take up too much space in the image - unless the image is less busy.

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Creative Team

Arjen Noordeman - Creative Director
Noesjka van der Helm - Channel Head
Jorge Fröberg - Lead Designer,  Concept, Motion Design
Camie Roos - Concept, Graphic Design, Motion Design
Jacob Heidstra - Intern Help Alternating Font
4th Dimension - Sound Design