Tubi Logo Redesign: Comparing the Old and New Identity

What the old Tubi logo actually is

The old Tubi logo is a wordmark: the brand name drawn as four lowercase letters, t u b i, in a rounded sans-serif, almost always in a vivid magenta-pink. A wordmark is a logo made from lettering rather than from a separate pictorial symbol, so those four shapes are the identity. That magenta name is the specimen most people mean when they look up the previous mark, and it is the version to hold against the current identity.

Two older stages are easy to mix together. An earlier public lockup treated the service as Tubi TV, so the letters TV sat in the name or beside it. A lockup is a fixed arrangement of logo parts. The version that usually counts as the classic old logo is the later, name-only mark: lowercase tubi, magenta, no TV suffix. The current identity still reads as lowercase tubi in the same pink family. The redesign is a refinement of that wordmark and a broader entertainment system around it, not a swap to a new mascot.

Scope matters before any visual judgment. A horizontal wordmark, an app icon on a rounded tile, a corner bug on video, and a promotional crop are different assets even when they share letters. Compare old and new only when the specimens are the same kind of lockup, at a similar size, on a similar background. Color values, curve radii, and kerning tables from official artwork are not supplied here, so those details are flagged as unverified rather than guessed.

How to tell which version you are looking at

• Name contents: Tubi TV or a TV suffix points to an earlier lockup; name-only tubi is the classic wordmark and the current one.
• Letter case: the established mark is all lowercase. Mixed case or a generic substitute font is a lookalike, not either official drawing.
• Color role: both eras lead with vivid magenta-pink. A dull rose sampled from a compressed screenshot is often the same mark with bad color, not a different logo.
• Roundness: the older drawing reads softer and fuller in the bowls; current applications look tighter and crisper as a single unit.
• Context: older store listings and early marketing show the friendlier wordmark; current player chrome, thumbnails, and campaign films show the refreshed system.

What actually separates the old mark from the current identity

The useful comparison is not “pink versus not pink.” Both identities keep the same four-letter name, the same lowercase tone, and the same ownable magenta. The meaningful differences sit in geometry, typography, spacing, how color is used in the wider system, how the mark behaves when it shrinks, and how editable a given file really is. The table below uses comparable public wordmarks as the reference, not an app icon next to a billboard. Performance claims about sharpness at tiny sizes are untested in this guide.

Criterion	Older identity	Current identity
Geometry	Rounder bowls and softer stroke endings; a friendly, app-like silhouette	Crisper joins and a more compact overall shape that reads as one unit
Typography	Custom rounded sans, all lowercase; warm and informal	Same name skeleton, with tighter control of terminals and the dot of the i
Spacing	More open tracking in many historic standalone lockups	Tighter tracking in current digital and on-air rectangles
Color	Magenta-pink as nearly the whole color story	Same pink family, used with a wider supporting palette and motion
Scalability	Simple four-letter forms that often appeared as a full wordmark even at icon size	Same short name, built to sit in player chrome, bugs, and thumbnails
Editability	A single wordmark is straightforward if you have clean outlines	More lockup and system rules once the mark lives inside a full identity

Geometry: bowls, stems, and the overall silhouette

In the older wordmark the dominant shape is round. The bowl of the b—the enclosed curved counter inside that letter—reads full and almost inflated, and that roundness echoes in the u and in the tittle (the dot) of the i. Stroke endings look blunt or softly cut, which keeps the four letters from feeling sharp. The result is a short, cushioned rectangle that is easy to recognize even when someone only sees the pink color and the bounce of those bowls.

The current drawing keeps that skeleton: a vertical stem on the t, an open u, a stemmed b, a dotted i, in that order, with no extra character. What changes is tension. Public current applications look more compact, with slightly firmer cuts at the ends of strokes and less visual air around the name. The silhouette is still a horizontal word, not a monogram, but it packs into a more predictable box. That is an observational reading of public use, not a measured overlay of official outline files, which this guide does not include.

Typography: why the letters stay lowercase

Both eras set tubi in all-lowercase custom sans-serif lettering. Lowercase here is a tone choice. It reads as a product name you can say quickly, not as a prestige network monogram in caps. Sans-serif means the letters have no small finishing strokes at the ends of the main lines, which is why the mark stays simple at small sizes. The old drawing leans friendlier and more rounded. The current drawing holds the same four-letter rhythm with stricter terminals and a more even stroke color, so it sits closer to entertainment-brand lettering than to a startup app label.

A file that merely looks similar is not the logo. If the letters come from a generic rounded font, if the b bowl is the wrong width, or if the i-dot is a square, you are looking at a substitute. Official lettering is custom. For identification, match the sequence, the case, the round-versus-crisp construction, and the magenta role. Do not treat a near-match display font as either the old or the new mark.

Spacing and the rectangle the name occupies

Tracking is the overall spacing across a word, as opposed to kerning, which is the space between one specific pair of letters. Historic uses of the old wordmark often leave a little more air between t, u, b, and i, which suited a standalone store tile where the name was the whole object. Current digital and on-air uses tend to close that air so the mark occupies a stable rectangle in a crowded player frame. Tighter tracking can make four letters read as one badge; too tight, especially in a low-quality raster, can clog the counter of the b.

Because this guide has no side-by-side vector overlay, treat spacing as a tendency in public applications, not as a specification you should copy by eye. If you are redrawing or checking a file, compare official outlines at the same size. Guessing a tracking value from a screenshot will miss both the old and the new drawings.

Color: the magenta is shared, the system is not

The signature color in both eras is a vivid magenta-pink, strong enough to read as the brand against black video and against white marketing fields. In the older identity that pink did almost all of the work: pink letters on white or black, or white letters on a pink tile. The current system still owns that pink, but campaign and product use sit it next to a wider supporting palette, cinematic lighting, and motion. The ownable color did not disappear; it stopped being the entire kit.

Exact swatches—screen values, print builds, and what happens to the pink on different backgrounds—are not documented in this guide. Sampling a compressed screenshot is a poor substitute, because magenta shifts easily toward red or toward dull rose once the file is flattened and resized. For production color, pull from current official artwork. For a historical recreation, pull from an archival master of that era rather than from a phone photo of an old icon.

Scalability at icon, bug, and screen sizes

The old mark’s practical strength is simplicity. Four wide, round letters with no fine serifs can appear as a full wordmark even at app-icon sizes, which is unusual; many brands abandon the name and switch to a single letter when the canvas shrinks. That is why so many older screenshots still show the entire word tubi inside a pink square. The current identity keeps that short name and treats the mark as something that must survive player chrome, a corner bug, and a thumbnail, not only a store icon.

Whether the current outlines stay clearer than the old ones at favicon size is untested here; no rasterization test was run on matched files. In principle, a more compact current spacing can help the name hold as one shape when it is small. In practice, a blurry PNG of either version will fail first at the b counter and the i-dot. For a real decision, scale official vectors of both eras to the same pixel size, on the same light and dark backgrounds, and look at those two tests rather than at memory.

Vector files, traces, and what you can actually edit

A logo is not vector artwork because a filename says so. Vector artwork is built from points and curves, so it can scale and recolor without going soft. A PNG or a screenshot of the old magenta wordmark is a picture of the logo, not a production master. An unofficial file with a vector-style extension can still be an auto-trace: too many points, wobbly bowls, and a pink that does not match. Availability of a file is also not permission to use the mark.

• Prefer live outlines with a modest number of anchors on simple curves; that is what you want in either era’s master.
• Recolor and scale only from those outlines. Expanding a screenshot will not recover the old or new geometry.
• Keep old and current masters in clearly labeled folders so a historic wordmark cannot drop into a live layout.
• If the bowls look stepped or the magenta was eyedropped from the web, treat the file as a reference image and obtain a real master.

Which version to use, depending on the job

The recommendation is conditional on intended use. There is no single “better” drawing outside that context. Mixing old letterforms with current campaign crops and presenting the hybrid as official is the one consistent mistake to avoid.

• Current product, press, partnership, app UI, or anything that should match the service as it appears now: use the current wordmark and current lockup rules.
• Retrospective decks, redesign case studies, or period-accurate recreations of an older screen: use the old wordmark and label it as the previous identity.
• Work that must include the TV-era name: use that earlier Tubi TV lockup, not the later name-only mark, and label the generation.
• If you are studying the redesign for your own brand system: a round, single-color wordmark is highly recognizable and easy to stamp on one surface; a tighter, system-led refresh is easier to police across video, app, and marketing once the company outgrows a single store icon.

What this comparison cannot settle without official files

Several facts still need a master file or a brand spec, and they should stay marked as gaps. This guide does not include matched vector specimens, print tests, or licensed artwork, so it cannot state curve geometry, tracking values, or production color as measurements.

• Official outline files for the TV-era lockup, the classic name-only wordmark, and the current mark, compared at the same size.
• Specified color builds for screen and print, instead of colors sampled from photos.
• Clear-space and minimum-size rules for each lockup, including app icon versus horizontal wordmark.
• Whether a given “old logo” asset is the TV lockup, the classic magenta wordmark, or an unofficial redraw.
• A controlled small-size test of old versus current outlines on light and dark fields.