From worst to first: Nickelodeon Network IDs 1984-1992

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Fred/Alan started with working with Nickelodeon in late 1984 when Bob Pittman was made President of MTV Networks and he fired the existing staff, which had succeeded in losing the company tens of millions of dollars, and worse, making Nickelodeon the lowest rated cable network in America.

Bob assigned us to the remaining executives, Gerry Laybourne and Debby Beece, and suggested to them the Fred/Alan approach to branding could help them succeed. We immediately introduced them to our notion of network “promises” and then redesigned the network with Tom Corey and Scott Nash (Corey McPherson Nash, Boston) and hired some of our favorite writers and producers to create a ‘brand’. There was no money for programming or advertisting, so all the work needed to be done by the airtime on the channel itself. Nonetheless, our efforts succeeded in bringing Nickelodeon from worst to first in the ratings within six months, and Nickelodeon remains America’s #1 cable network of any kind, earning billions of dollars and making millions of kids happy.

The Nickelodeon logo, designed by Tom Corey & Scott Nash

See more of our Nickelodeon posts here.

Nickelodeon Logo Logic   Designed by Sheri Dorr & Laurie Kelliher   Creative Director: Scott Webb

Tom Corey, Scott Nash, and Alan Goodman are the key guys in the Nickelodeon logo saga.

Back in the day my partner Alan Goodman and I were known as the logo guys. It was both flattering and annoying, because we’re not designers and it deflected attention from the brilliant people we worked with often, like Manhattan Design (Frank Olinsky, Pat Gorman, and Patti Rogoff designed MTV’s logo) and Corey & Co. (who designed Nickelodeon’s). But after we became known as the group who developed (not designed) the MTV logo, our reps were set in stone for a while. Eventually we were able to morph it into the idea of developing media brands, which more accurately reflected how Alan and I thought of ourselves.

After setting the vocabulary (more important than design in many ways) and “look” of MTV Alan and I left MTV Networks to set up our independent Fred/Alan Inc. and our first client was… MTV Networks. By 1984, the five year old Nickelodeon was in trouble, having lost an accumulated $40 million (that’s in 1980’s money, like $200 million today) and worse, it was the absolute lowest rated cable network in America. Dead last. MTVN chief Bob Pittman asked Alan and I to help. It was a tough decision for us to make since we were broke but had no interest in children’s television or the people who worked in it. The ‘broke’ part won out.

The key decisions we made:

• Keep the name “Nickelodeon.” We figured that 10,000,000 kids (there current circulation) knew the name and what it stood for. Management wanted to switch to “Nick,” since it was easier to spell and say; let’s forget that everyone outside the company would wonder why they were named after a garage mechanic. There were a lot of reasons for killing it: no one under a certain age had ever heard of a nickelodeon, and those who had knew it had nothing whatsoever to do with children; the word was hard to spell correctly in the age of pre-Google and spellcheck; and, the word was way too long and thin to dominate a television screen.

• Treat the network like an exclusive club, where only kids could join, not like a TV station with all kids shows. Kids in June of 1984 (when we started work) needed something they could call their own. They felt on the rear end of life, they told us so constantly. Adults (parents and teachers) made all the decisions for them. TV in the 80s wasn’t for them. They were scared of getting older, but their unconscious biology kept egging them on to age faster.

• Ban the word “FUN” from the Nickelodeon vocabulary. Every network promo told the kids that Nickelodeon was fun. It wasn’t. We thought it was better to be “fun” than say “fun.”

• Redesign the logo. Famous television designer, a moonlighting Lou Dorfsman, had designed the logo in 1981, and our brilliant friend Bob Klein had added a silver ball that zoomed around the screen in and out of everything a kid might find exciting.

Alan and I didn’t find it exciting. We’d been working a lot with a new friend, Tom Corey, who owned Corey & Co. (tragically, Tom’s passed away, his companies are now called Corey McPherson Nash & Big Blue Dot) in Boston. He came down to the Fred/Alan office in New York with his partner Scott Nash and heard our pitch for the network. we told them about our decisions I talked about above, and told them while we didn’t know anything about kids’ programming we knew that the offices of Nickelodeon were as quiet as a chapel (as one of the internal wags put it) and that in order to spice the place up we hoped that when our jobs were done they’d all be shooting spitballs at each other. Tom and Scott dug in eagerly.

I wish I had their presentation. It was pretty informal —a bunch of logos sketched on a page— and none any of us were all that crazy about. Eventually, we settled on one that was 3D in nature that revolved around itself, and kind of a standard designer treatment of a trademark. We were about to settle when Alan spoke up and said he didn’t think it was in keeping with our reputation as moving image thinkers about logos.

The MTV logo had been sold in with two thoughts. 1) Rock’N’Roll was a dynamic constantly changing medium and a logo should have a built in updating mechanism. And 2) More importantly, television was moving pictures. Logos were generally designed by print designers who wanted a perfect image, then handed off to moving image designers who had to figure out how to make the damn thing move. Often, it ended up with a big hunk of metal hurtling through space, cause what else were they going to do? We’d argued that in the 1980s that was a dumb thing to do. Why not just design a logo with movement baked into the conceptual frame right from the beginning? TV was the most important place to see the logo, and print designers could just *STOP* the motion and pick an image for an ad; it would be more dynamic even in the print that way.

Alan pointed out that’s how we’d made our bones, and besides were right, darn it. Movement was the way to go, constant change made for a energetic network, and kids were the most vital force in the world. Give them something they relate to: change. He was looking at the orange splat on their page. Tom and Scott argued that orange generally clashed with everything and that would make the logo stand out (as long as we didn’t let designers try and make it work “correctly.”) The splat could morph into any image we liked. And it wasn’t the MTV version of change. I came along for the ride that Tom, Scott, and Alan were proposing, and we trucked over to Bob Pittman’s and Gerry Laybourne’s office to make the pitch.

Bob and Gerry didn’t buy it. No one else there did either. “It doesn’t match anything.” “It’s flat.” “It’s not as cool as the MTV logo, what happened to you guys?”

Ultimately, we prevailed. I’m not really sure how, since all their objections were right on. But we were the “logo guys,” so they eventually bought our action. I’m thrilled they did, since our work with Nickelodeon is some of my favorite stuff in our careers. Tom and Scott went on to be among the premiere designers in television and kids (Scott’s now one of the leading children’s book authors and illustrators), Alan’s a successful producer and brand strategist (still consulting Nickelodeon), and they all deserved the accolades the world could throw at them.

(By the way, the book Nickelodeon Logo Logic was put together in 1998 by Sheri Dorr and Laurie Kelliher at their in-house creative services department after Alan and I had stopped full time consulting to the company six years before. The company had expanded so dramatically and so many people had trademark needs that without us —the “logo police”— around Nick’s Worldwide Creative Director Scott Webb needed some objective rules set down for designers and marketers to follow. I’m not so sure we’d agree with all their points but a trademark is a dynamic thing. Different people interpret it different ways, kind of like a musical composition, and it’s natural it’ll be looked at in new ways over the years.)

Update, 2010:

• Nickelodeon discontinued use of this logo after 26 years. They call it a “rebranding.” We would probably beg to differ.

• On his website, advertising executive George Lois claims to have designed the Nickelodeon logo. Since Fred/Alan developed the logo directly with Tom Corey and Scott Nash, his assertion is clearly false.

—Fred Seibert, 2009

Fred/Alan plays with Nickelodeon.

Fred/Alan worked with Nickelodeon from 1984 through 1992 as brand, marketing, and programming consultants, as their advertising agency, and through it’s Chauncey Street Productions subsidiary (managing director: Albie Hecht), as television producers.

Alan has continued to consult and produce for Nickelodeon. Fred produces cartoons and consults for the network. Albie became Nick’s President of TV & FIlm Production for many years and now produces TV shows for them too.

The first cable TV brand: MTV: Music Television Network IDs 1981-1983

MTV IDs 1981-1983 from on Vimeo.

MTV’s network identity wasn’t a Fred/Alan project, but it might as well have been, since Fred and Alan began their professional television collaboration there.

(There’s more about the MTV logo on Fred’s personal site here.)

Fred Seibert began working as virtually the first employee of MTV: Music Television in May 1980 (under programming head Bob Pittman). He quickly recruited his radio colleague Alan Goodman to help lead the strategic efforts to create a network promotional strategy. Pittman first raised the idea of animated IDs as the equivalent of radio jingles; Fred and Alan upped the ante by thinking of them as the video generation’s ‘album covers,’ the visual touchstones of their cultural life.

Frank Olinsky was Fred’s childhood friend. His tiny design firm, Manhattan Design, was chosen over giant international to create the iconic trademark. And in quick succession, we enlisted virtually unknown independent animators to create the network identifications. Colossal Pictures in San Francisco, Broadcast Arts in Washington DC, and Buzzco in New York were the first creative teams.

Within days of the network launch on August 1, 1981, the rapidly morphing, indelible logo was a fixture of the popular culture, and a revolution in media branding had begun its run.

The true creative breakthrough came when we stared at the dozens of Manhattan Design’s color take-outs on their amazing logo; we had to figure out the standard, fixed logo we thought was de rigeur for a ‘famous’ trademark. Frank Olinsky felt differently and thought every show on MTV should have its own logo, and supplied his takes on what they could be. The problem was that MTV: Music Television wasn’t going to have any shows, just a continuous wheel of hundreds and thousands of music videos in a row.

After weeks of delirium filled sessions of staring at all the cool designs they’d provided us we realized the solution would be to use all of them. Right, we could use all of the logos, and more, all the time in every piece of animation and promotion. Using them all at once would provide a frentic pace and color hysteria that we thought would be a perfect metaphor for pop music.

Guess we were lucky enough to be right.

Inventing TV ‘brands’: Fred/Alan Network IDs 1980-1992 

From the very first minute I went to work for Bob Pittman (he was 25, I was 27) at the Warner-Amex Satellite Entertainment Company in May of 1980, he told me about the company’s plan for a television channel that would be exclusively rock videos and how he envisioned the TV equivalent of radio jingles: network identifications (‘IDs’) short, wacked out pieces of animation that would reveal the network logo. Not like the staid CBS Eye (“You’re watching CBS.”) but rock’n’roll wrapped up into a little picture explosion.

As soon as we started working on what would become MTV: Music Television a month later I started thinking about these IDs and realized they could be the album covers of the new generation of music fans. For baby boomers the album cover came of age with the first American Beatles album representing every phase of their cultural development. I had bemoaned my lateness to that party, but my self-importance hoped the MTV network IDs could serve the same purpose.

Little did I know they’d achieve an almost equal prominence, and more. For me and Alan Goodman, my first partner in the enterprise (and countless more), they led the way for how we would become the first people to ‘brand’ American cable television networks throughout the 1980s. First as employees at MTV, then for our clients at Fred/Alan, we made over 1000 more of these 10-second visual operas for networks ranging from Nickelodeon and Comedy Central to TMTV in Japan and Lifetime. We worked with some of the greatest indie animators the world had to offer (some we’re still doing projects with today) and started a lot of companies on their way. These IDs might have been the most fun I had during the years we were doing television branding. (And for me, inadvertendly, they began what was to become a late life career change into producing cartoons.)

-Fred Seibert, 2006