BBC1 1974 – 1981 Branding

In the mid-1970s, as colour television sets became increasingly widespread, BBC1 transitioned its colour scheme to a more vibrant yellow-on-blue. Rather than adopting the “twin-striped” ident introduced in 1974, decision-makers chose to retain the iconic Futura Bold typeface. Interestingly, the initial iteration of this “new” globe utilised the same model as its predecessor.

However, by 1978, a redesigned globe made its debut, featuring several notable modifications. The space between the globe and the BBC1 legend was expanded, and the globe itself was re-imagined. In this updated version, the North Pole appears noticeably smaller, allowing the continents to occupy more of the sphere, while the reflection takes on a more flattened aesthetic.

BBC1 Programme Promotions

BBC1 Holding Slides

Following the globe redesign in late 1974, BBC 1 persisted in using slides reminiscent of its 1969 style. However, these eventually evolved into the iconic “twin-stripe” stills, which graced the channel from approximately 1976 until the latter part of 1983. These slides were unique in featuring an alternative BBC 1 logo, accompanied by the programme title set in Eurostile typography.

Further examples of BBC 1 holding slides.

BBC2 Holding Slides

A selection of holding slides used to promote BBC 2 programmes; the following are from 1980.

How did they make the BBC1 “mirror ball” ident/symbol?

For countless aficionados, BBC 1’s iconic mirror globe serves as the quintessential emblem of the channel’s identity. Conceived and crafted by Murray Andrew in 1969, this captivating visual made its screen debut on November 15th of the same year. But what is the story behind the creation and on-screen presentation of this enduring symbol, as well as the accompanying timekeeping graphics?

The iconic globe was a compact mechanical marvel, roughly the dimensions of a shoebox. Illuminated from within by a 10V festoon bulb positioned at its apex, the globe achieved its reflective allure through a concave mirror situated behind it. The channel identifier, a backlit transparency, was designed for easy interchangeability. While most mechanical idents like clocks were typically lit by the presentation camera’s lamp, such an approach would have distorted the globe’s mirror reflection. Hence, an internal light source became imperative. Separate controls at the rear of the device allowed for adjustments to both the globe’s illumination and the ident’s backlighting.

The globe’s geographical features were clear areas, outlined by black metallic paint symbolising the oceans. Due to heat from the internal bulb, the paint often peeled, necessitating frequent touch-ups to keep the continents accurately shaped. Contrary to popular belief, the numerous tiny ‘islands’ on the mirror globe were intentional design elements, not the result of flaking paint or accumulated dust.

Murray Andrew, the creative mind behind the mirror globe, experimented with several prototypes, including variations that featured raised continents and a visible South Pole.