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Home»Arts & Entertainment»Eurovision unveils new world identification for seventieth anniversary designed by a one-woman company in Sheffield
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Eurovision unveils new world identification for seventieth anniversary designed by a one-woman company in Sheffield

Buzzin DailyBy Buzzin DailySeptember 4, 2025No Comments4 Mins Read
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Eurovision unveils new world identification for seventieth anniversary designed by a one-woman company in Sheffield
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The Eurovision Music Contest has revealed a refreshed world identification for its seventieth anniversary, and it is a far cry from the cookie-cutter rebrands typically seen at this scale. Unveiled by the European Broadcasting Union (EBU), the replace marks the primary main evolution of the model in a decade, introducing a brand new brand, typeface, and design system constructed for digital readability and world consistency.

Surprisingly, the challenge wasn’t delivered by an enormous community company. As a substitute, it was led by Amy Bedford, founding father of Sheffield-based PALS, working with a handpicked workforce of greater than 20 freelancers from all over the world.

Amy, who beforehand led the BBC’s 2023 Eurovision model technique and coined the now-familiar “United by Music” proposition, noticed this as an opportunity to rethink what a world-class inventive course of may appear like, particularly outdoors of London.

“That is proof you do not should be a world community to ship world-class branding,” says Amy. “The present wave of redundancies exhibits the massive company mannequin is damaged – there’s an excessive amount of mediocre useful resource delivering costly, mediocre work. With a smaller, agile mannequin, you get sharper pondering, quicker selections, and higher outcomes.”









The reimagined Eurovision brand retains the well-known handwritten wordmark however refines it right into a unified, bespoke marque. Whereas the acquainted coronary heart icon stays centre stage, it now serves as the inspiration for a versatile, digital-first design system that may shift in fashion, color, and motion, adapting to host nations, marketing campaign themes, or artist identities with out shedding its core Eurovision DNA.

A brand new typeface, Singing Sans, replaces the beforehand used Gotham, offering the model with a definite typographic voice and non-obligatory elaborations for added aptitude. The system is rounded out with an intensive digital asset library, an inclusive color palette, and outlined model behaviours.

Amy describes it as a “dwelling, respiration model system”, with the refreshed coronary heart – nicknamed the Chameleon Coronary heart – able to absorbing cultural cues and musical vitality in actual time. For the anniversary 12 months, the emblem animates in 3D with 70 layered varieties, every representing a 12 months within the historical past of Eurovision.









The refresh arrives at a time when the Eurovision Music Contest’s world attain is larger than ever. In 2025 alone, the competition’s official platforms generated over 2 billion digital impressions. With that scale in thoughts, the model needed to work simply as nicely on a smartphone display because it does on a stadium stage.

In accordance with Martin Inexperienced CBE, director of the Eurovision Music Contest, the brand new identification is about each honouring the previous and future-proofing the model. He says: “This refresh honours 70 superb years whereas taking the model ahead to an thrilling future. It is daring, playful, and filled with coronary heart – similar to the Contest itself.”

He added that the up to date design would assist unify Eurovision’s rising household of initiatives below a single visible language, whereas additionally strengthening trademark safety and consistency throughout markets.









For Amy, the challenge was additionally a press release about inventive potentialities past the same old capitals. “Sheffield is notoriously unhealthy at selling itself,” she says. “I would love this challenge to ask a highlight onto regional expertise and present that world-class inventive work is not restricted to the capital.”

Working remotely from South Yorkshire, she assembled a world workforce of typographers, 3D artists, movement designers, and strategists – together with one of many world’s main brand designers – to create one thing that would evolve with the competition.

“Solely midway into the challenge did I realise Eurovision has extra viewers than the Tremendous Bowl,” she jokes. “However being small meant I may construct extremely shut relationships with the EBU workforce, which made the collaboration stronger.”

The brand new identification will start rolling out throughout Eurovision platforms, occasions, and campaigns over the approaching months, forward of the seventieth Contest in Vienna, Austria.









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