YA TV

The Ya mark had to work as a still on a business card and as a moment on screen. I built it so it assembles — strokes travelling in, locking to the wordmark, then settling into the teal-and-mint palette the rest of the channel inherits.

Two reveals came out of that: a full-length one for sign-on and station breaks, and a shorter, quieter cut for use between segments where the channel only needs to sign its name.

Mark→Motion Build→Ident System

The corner logo sits over live content for hours at a time, so it had to be present without competing. It reveals once on return from break, then holds at reduced weight — enough presence to brand the feed, light enough to sit over news lower thirds and sport scorelines without collision.

News is where a channel's credibility is read fastest. The opener moves with weight and intent — hard cuts, tight typography, teal running underneath — so the bulletin feels scheduled rather than improvised.

The bumper is the same system compressed: a two-second reset that carries viewers in and out of breaks without restating the whole opener each time.

Opener→Lower Thirds→Bumper→Return

Weather is the most repeated graphic on any channel, so it was designed as a system rather than a screen. City cards, condition icons and temperature blocks all sit on one grid, which means an operator swaps data, not layout.

The day and night variant uses the same build with an inverted field — mint reading against dark for evening bulletins — so the two never feel like different channels.

Between programmes, graphics do the job a presenter can't. The now-showing board answers what's on right now, the daily rundown lays out the evening ahead, and the weekly rundown gives the shape of the whole schedule.

All three share one typographic ladder and one motion rhythm, so a viewer learns to read the channel's schedule once and it holds everywhere.

Now Showing→Up Next→Daily→Weekly

Business and Sport needed to feel distinct on the schedule while still reading as Ya. Each inherits the core geometry and motion language, then shifts emphasis: Business runs steadier, data-led and teal-weighted; Sport runs faster, with harder cuts and mint pushed forward.

Both packages ship as full sets — opener, transitions, lower thirds and end card — so a producer can cut an episode without asking for new graphics.