Critical Analytical Writing: identifies the significance, evaluates strengths/weaknesses, weighs up sources against one another, argues a case, gives reasons for selecting, makes links between information, draws conclusions.
Since the creation of Channel 4, the brand has set out to be ‘radically different… [and] provide innovative programming and cater for minority audiences not served by existing channels’ (Brown, 2007), suggesting that, in contrast to the BBC …, this channel already had very specific brand values set in place . It is clear to see by the initial branding, created by Lambie-Nairn, that the channel was breaking the boundaries, being playful and being exciting, something that the public had not really seen before from TV channels . The separate colourful interlocking blocks (fig 3.1), which form a number four, were fluidly used throughout the brand as a form of communication . The reasoning behind these blocks as the branding was due to ‘Lambie-Nairn [researching] Channel Four’s philosophy and [seizing] the fact that they would be buying all their programmes in, so Channel Four would be a patchwork’ (Barnes, 2016) as well as the movement of the blocks symbolising the “coming together”. This allowed the channel to have a personality, for example jokingly forming a number five (fig 3.2) rather than four, accompanied by a “malfunction” with the usual theme music, as the blocks come together. This humorous behaviour had not been seen through British channel branding before, which can only have made Channel 4 stand out even more, as the channel had found a gap within the market and focused their branding on this. The ethos of this branding has certainly been a huge success, as the foundation of the brand visuals have arguably remained virtually the same, aside from minor tweaks, from the launch in 1982, to present day.