Creating Europe’s largest television festival brand

The Festival itself had always been a triumph, but the team were wasting time and causing confusion by completely redesigning their brand identity year-on-year. That’s where we came in.



  • Create an ownable, stand-out brand identity that can be refreshed year-on-year
  • Increase ticket sales from website



  • Created a unique and striking visual identity based on the concept of motion and widescreen 16:9 screen ratio
  • Created a modular system for the website, allowing internal teams to quickly add and update content



  • Increase in paid delegates by 9.9% YOY
  • Updating a programme agenda now takes half the amount of time as previously for internal teams, ensuring a consistent customer experience across all physical and digital touchpoints
  • Sold 90% of their Early Bird tickets in 4 days, rather than the usual 6 weeks
  • Delegate revenue increased 15% YOY
  • Reduced number of phone calls requesting clarification on ticket rates due to clarity on site
  • Reduced time spent briefing and feeding back to event production and filming teams due to clear and thorough brand toolkit
  • Increased press coverage

Despite the event itself being well-established, the Festival’s visual identity was reinvented each year. This not only required a significant investment but also created inconsistency between print and digital communications, as well as poor brand recognition. We were invited to create a streamlined brand, develop highly flexible assets for the Festival’s content and digital presence and, most crucially, deliver a brand that allowed flexibility year-on-year.


The previous brand didn’t accurately reflect the nature of the Festival, both in its event and its work as a charity; it was being held back by an inflexible brand that lacked resilience across mediums and channels.

We worked to create an identity that celebrates the heritage of the industry and looks towards the future; one that can resonate with all of the target audiences – from those established in their careers to the newcomers who bring youth and creativity. Taking inspiration from cinematography, we created flexible grid systems based on the 16:9 screen ratio, the modern-day standard widescreen, to help provide a modular solution for limitless layouts across both print and digital. The idea of motion also features heavily in the new brand, reflecting the ambition, progression and dynamism of the media industry and the Festival itself.

increase in paying delegates between 2017 and 2018.

The existing site lacked hierarchy, suffered from information overload, and was too rigid to help users navigate and absorb content. The work that ETF does outside the Festival wasn’t clearly communicated before and much of the information on the site would become redundant after every Festival cycle.

The ETF team needed to have full control over the site, especially over what content was ‘heroed’ at certain times during the year. Instead of designing individual full-page templates, we created a modular system which allowed the team to change and edit things as they go, easily switching content in and out to ensure the site is always fresh and interesting to users. The team now has the option to hero events outside the main Festival throughout the rest of the year, stretching the system across all of ETF’s sub-brands while creating longevity.

The site modules themselves also have a range of flexible components that enable the same module to be used for different purposes across the site, requiring less training for the team to use them. This build allows them to have total control over a site that can grow and adapt in tandem with the Festival, as well as save significantly on time and budget.

We developed a modular approach that allows the team to create pages with huge variety, whilst remaining on-brand.


Lead Designer


The previous Festival programmes looked inconsistent between print and digital, leading to user confusion. We restructured the programme, creating a core set of event ‘strands’ which are consistently colour-coded across all communications. This ensures user comprehension and recognition regardless of where the programme is viewed.

Streamlining the online programme also allows users to view events in the most relevant way possible. Filtering by certain categories is now more accessible on mobile and tags allow users to access related activities easily. Event pages are populated with extra information about the featured speakers and panellists, as well as specifically chosen related events to help connect with other areas of the site.

Nalla helped us to address some of the issues we were having with our brand. We didn’t feel that our identity reflected who we are, now we have a youthful, effective and totally flexible brand for us, which the whole team are loving.


Marketing Manager, Edinburgh TV Festival


  •   Shortlisted for Best Visual Identity from the Technology, Media and Telecommunications Sector
Vicki Young
Meri Wills
Alice Saunders
Jonny Davidson