From Wikipedia:

The Krypton Factor is a British game show produced by Granada Television for broadcast on ITV. The show originally ran from 7 September 1977 to 20 November 1995 and was hosted by Gordon Burns.

An italic variant of Isonorm was used in the scoreboards, timers, and general text including end credits. The typeface was used throughout most of the 1980s run of the show, before switching to Insignia for the 1992 season.

Spotted at the Museum of Brands, London. In this board game, players can “join Robin Hood and his Merry Men”. It was issued as a tie-in product, capitalizing on the popularity of The Adventures of Robin Hood, a British TV series starring Richard Greene as the legendary heroic outlaw, which was broadcast weekly between 1955 and 1959 on ITV.

Robin Hood’s name is presented in hand-drawn Old English with colored initials. The accompanying typefaces are Grotesque No. 9 and Imprint Italic.

Soccer Aid is a charity football event held in the United Kingdom. It was founded in 2006 by singer Robbie Williams and Jonathan Wilkes with the purpose of raising funds for UNICEF, an international organization dedicated to the protection and well-being of children around the world.

The event consists of a football match featuring celebrities and former professional footballers, forming two teams: the England team and the Rest of the World team. Over the years, Soccer Aid has seen the participation of numerous stars from the entertainment and sports worlds, making each edition a highly anticipated and widely publicized event.

In addition to the match itself, Soccer Aid includes activities and fundraising campaigns aimed at mobilizing the audience to make donations to UNICEF, thereby supporting projects and programs designed to improve the lives of vulnerable children around the world

Since the event's inception, its image and logo remained unchanged, featuring a traditional football (black and white) and a patch in the shape of the African continent. Around 2018, Conran Design Group, along with ITV and UNICEF, launched a new visual identity for the event. This new design featured a color palette more aligned with UNICEF’s colors plus the image of the African continent within the ball.

Campaigns and website use Fuse V.2 for headlines and subheadings, and Universal Sans for body text on their website. The logo is set in Univers.

Source: www.youtube.com License: All Rights Reserved.

Source: www.youtube.com License: All Rights Reserved.

Source: www.youtube.com License: All Rights Reserved.

Source: www.youtube.com License: All Rights Reserved.

From Wikipedia:

The Persuaders! is an action-comedy series starring Tony Curtis and Roger Moore, produced by ITC Entertainment, and initially broadcast on ITV and ABC in 1971. The show has been called “the last major entry in the cycle of adventure series that began 11 years earlier with Danger Man in 1960”, as well as “the most ambitious and most expensive of Sir Lew Grade’s international action adventure series”. The Persuaders! was filmed in Britain, France, and Italy between May 1970 and June 1971.

The typeface used for the opening titles including the series logo is Dreamline (Mecanorma, 1969). The unicase face in the style of Alfred Roller lettering is used with a modified P. It also appears on many other things related to the series, from the cover of the soundtrack (1972) to more recent DVD packaging. Shown below are the covers of various international TV tie-in paperbacks, written by Frederick E. Smith. Paul Woods posted a collection of various additional items.

Photo: Jaz Wiseman. License: All Rights Reserved.

The Persuaders! Book One, Pan Books, 1971

Photo: Jaz Wiseman. License: All Rights Reserved.

The Persuaders! Book Two, Pan Books, 1972

Photo: Jaz Wiseman. License: All Rights Reserved.

The Persuaders! Book Three, Pan Books, 1973

Photo: Jaz Wiseman. License: All Rights Reserved.

Os Persuasores, Portuguese edition published in Edições DêAgá (DH)’s Colecção Enigma, 1971

Photo: Jaz Wiseman. License: All Rights Reserved.

Kaygısızlar, Turkish edition by Koza Yayınları, 1974

Photo: Jaz Wiseman. License: All Rights Reserved.

Kaygısızlar 2. kitap, Turkish edition by Koza Yayınları, 1974

TV viewers in the UK are – rather nervously – watching and mostly enjoying the new ITV spy thriller series The Ipcress File, set in 1962 during the depths of the Cold War and in the shadow of nuclear war. The six episodes recreate the grimy looks of 1960s London and Berlin with impressive attention to detail, including vintage cars, cinema posters, and a suitably wide range of political attitudes and social prejudices.

The Egyptienne Bold Condensed typeface for the title conveys (to me – perhaps I've been psychologically conditioned, like Harry Palmer?) a nostalgic feeling, as if a big brass nameplate has fallen off the back of an old steam engine.

Many viewers of the new series will inevitably compare it with the iconic original film, The Ipcress File, made in 1965, starring Michael Caine. This was regarded as a realistic portrayal of contemporary grimy London. In that film, though, the title sequence used stencil-style lettering to convey bureaucratic rubber stamps and secret dossiers stored in manila folders. The 1960s wasn’t a decade of nostalgia.

For the opening credits, the TV series uses Type.Today’s Normalidad Extended Black.

The logo seen during the opening credits

The cover page of the press pack

Opening credits. This tilted camera angle is frequently seen in this series.

For comparison: the stencil lettering using for the 1965 film

Shatter (Letraset, 1973) is the typeface used for the title of Sky. The British children’s science fantasy TV series was produced by HTV for ITV, and broadcast from 7 April to 14 May 1975. Opening and end credits as well as episode titles are set in Helvetica, mostly using its Bold Italic style. Vic Carless likely based his Shatter on a skewed Helvetica Bold.

On The Medium is Not Enough, Rob Buckley comments:

Sky is perhaps the most obvious example of a kids’ show written by people on drugs. Created by Bob Baker and Dave Martin in 1975, it was a curious seven-part serial about an alien that comes to Earth. So far, so simple, no?

What differentiates it from other similar fare is that it’s clearly off its face. Sky is a time traveller with incredible powers from another dimension. Or maybe another universe. Except he might be a god. Just like Jesus and any other religious figure in fact, since they were all time-travellers too.

He’s arrived here before the correct time – we’re still “before the chaos” – and needs to get to the future where he can show the surviving people of the Earth the right way to live in harmony with the Earth. Trouble is, the Earth of today senses that’s he’s alien and tries to repel him, just like an immune system repelling a bacterium. While he searches for ‘the Juganet’ – the way to the future – Sky is attacked by trees and plantlife, before eventually the Earth creates something in human form – ‘Ambrose Goodchild’ – to destroy Sky.

Writers Bob Baker and Dave Martin “were also known for their scripts for the BBC cult sci-fi series, Doctor Who and the HTV West cult children’s fantasy drama series, Into the Labyrinth.” – Wikipedia. The music was provided by Eric Wetherell, who died earlier this year at the age of 95.

The stark black and white title cards announce the beginning of another two-hour investigation featuring Chief Inspector Morse, Britain's most popular TV detective.

The sombre mood of the titles establishes a suitable mood for the series of gruesome and bizarre murders which were apparently a weekly occurrence in (fictional) Oxford.

The TV adaptations of Colin Dexter’s books featuring the curmudgeonly opera-loving detective first appeared on ITV in 1987. ITC Serif Gothic – designed by Herb Lubalin and Tony Di Spigna, published in 1972 – was still going strong in the 1980s after becoming hugely popular in the 1970s.

Fonts In Use already has many examples of Serif Gothic, but if you want even more, visit serifgothic.com.

Motion graphics studio Momoco designed this opening for a noir detective series from Hans Rosenfeldt, writer of the critically-acclaimed The Bridge. The typeface, Time In Hell (a mix of Times and Helvetica), is one of many sans/serif mutants of the 1990s. It’s interesting to see this hybrid style make a comeback several decades later in these titles, and 2019’s Parasite movie poster and trailer.

Love Island is a British dating reality show. The series launched on 7 June 2015 on ITV2.

In a feature on It’s Nice That, David Newton, Managing Director of Potion Pictures, says of the logo: “We picked a font that was legible, sleek and modern but also recognisably distinctive without being gimmicky.” The typeface is Josefin Sans, a geometric sans serif with long ascenders, designed by Santiago Orozco and first released in 2010. It’s used in two of its four weights, in all lowercase. The letterforms were processed in 3D software to make the look if they were made from glass tubes. This allows the logo to “remain recognisable and legible” when placed on different backgrounds.

The recently introduced secondary typeface is Pecita by Philippe Cochy. The decision to add this informal monolinear script “was made by one of ITV’s art directors following the use of the font in the villa”. On screen, it’s used with a glow effect, further emphasizing its neon-like qualities. Pecita is also used for a wide range of merchandise items, from water bottles to suitcases and accessories, which feature the contestants’ names.