Over the course of the design process we lost unicorns but managed to keep the bright pink. As dads of daughters (like Ray) Nash (Edgerton, director/producer) and I were both suddenly extremely aware of the power of the colour pink, and its sudden prevalence in our lives. And what a wonderful colour. Seriously, the best. I was delighted to discover the target in the negative space in the text layout too. Series 2, despite many hours spent again wrangling virtual mythical beasts, eventually reverted to the same, but blue. And then to match the excellent key art (not mine) for the final season, grey and flame.