Broadcast design in mainland Europe

From 1984 to 2009, Etienne Robial was the general artistic director for Canal+.

At a time when European television used a staid presentation, Etienne Robial's innovative work being created for Canal+ altered this landscape with the concept of habillage.

Having been created in the form of a mathematical geometric grid, based on squares, Etienne Robial's innovative work for Canal+ was successfully exported to 11 countries.

Meanwhile, Etienne Robial created a new logo and identity for M6; this was being made to replace its former logo that was similar to MTV.

The Futura typeface that Etienne Robial has often used is for both Canal+ and M6, the earlier using its customized version, replacing the Plus word with an asymmetric + sign.

Whereas Etienne Robial's Canal+ work used a sophisticated, orderly and cinematic vibe, his M6 work utilized an energetic, bold and pop culture one.

Etienne Robial's work for Canal+, which changed European television presentation, recalls regional television in Australia in the post-aggregation era.

In some European nations, like France, until Etienne Robial, television used low production values in graphics and visuals.

Conversely, across the British Isles, television used more advanced production values similar to other Anglophone broadcasters.

However, with Etienne Robial, both France and the British Isles have used similar production values in television.

Until Etienne Robial, with apologies to one of Aesop's Fables, television in some European nations like France was a slow-paced television tortoise in graphics and visuals.

For years, with apologies to one of Aesop's Fables, television all across the British Isles had served as a fast-paced hare in both graphics and visuals similar to Anglophone broadcasters.

Plus, until Etienne Robial, with apologies to Cinderella, television in some European countries was a servant in graphics and visuals.

Meanwhile, television all around the British Isles (with apologies to Cinderella) served as a beautiful princess in graphics and visuals similar to Anglophone counterparts.

Yet, with apologies to Cinderella, Etienne Robial's work was a Fairy Godmother that turned television presentation in some European nations into a princess in graphics and visuals.

In addition, with apologies to Cinderella, Etienne Robial's work was also a glass slipper being used by European princesses waeing the ball gown to marry Anglosphere TV princes.

Furthermore, Etienne Robial, with apologies to one of Aesop's Fables, forced the slow-paced television tortoise in European nations to run at the same speed as the fast-paced hare in the Anglosphere.

Until 1984, both ARD and ZDF held a national duopoly on the German television landscape with their staid presentation.

Sat.1 and RTL Plus, which are Germany's first two private television services on a national basis, both launched in 1984, broke the ARD and ZDF duopoly with their American-style approach.

Initially, both Sat.1 and RTL Plus operated on a shoestring budget, which recalled Australia's regional television industry under the solus system.

However, in the late-1980's, both Sat.1 and RTL Plus improved and increased their production values, recalling Australia's regional TV after aggregation.

With apologies to one of Aesop's Fables, both ARD and ZDF served as the slow-paced tortoises, while private stations, like Sat.1 and RTL Plus, were fast-paced hares since the late-1980's.

In addition, with apologies to Cinderella, both ARD and ZDF were the isolated servants, whilst private stations, like Sat.1 and RTL Plus, were, since the late-1980's, known as princesses.

Responding to Etienne Robial's work for both Canal+ and M6, Sat.1 began using Futura, lasting until 2001, also resulting in high production values and a slicker and sleeker look.

Meanwhile, RTL's move to Cologne led to higher production values and a slicker and sleeker look.

Coinciding with its relocation to Cologne, RTL Plus introduced its new and distinctive symbol, which featured the iconic red, yellow and blue colour scheme, designed by Studio Cerise.

This colour scheme for the RTL Television logos during its Cologne years bridges the gap between its origins and its future: the red and blue for Luxembourg, the red and yellow for the German flag.

Novocom/GRFX, Pittard Sullivan and 3 Ring Circus made the slick graphics packages for Sat.1, RTL Television and ProSieben from the early-1990's to the late-noughties.

By the 1990's, with apologies to one of Aesop's Fables, private channels, like Sat.1 and RTL Plus, were fast-paced hares after innitally being slow-paced tortoises.

With apologies to Cinderella, by the 1990's, private stations, like Sat.1 and RTL Plus, were princesses.

Switzerland and Austria have similar values to Germany in graphics and visuals.

Contrasting to Hungarian television's high production values during the communist period, Icelandic television often operated with few resources until the 1990's.

By the 1990's, Icelandic television had similar high production values to the Hungarian one.

Until the 1990's decade, with apologies to one of Aesop's Fables, Icelandic television was a slow-paced television tortoise in graphics and visuals for a capitalist nation.

On the other hand, with apologies to one of Aesop's Fables, Hungarian television had been a fast-paced television hare in graphics and visuals for a nation in the Eastern Bloc.

With apologies to Cinderella, Icelandic television served as a modest girl in graphics and visuals for a capitalist nation until the 1990's.

Meanwhile, with apologies to Cinderella, Hungarian television was a beautiful communist princess.

By the 1990's, with apologies to Cinderella, Iceland had become a similar princess to Hungary as being facilitated by the Fairy Godmother.

Likewise, with apologies to Cinderella, private TV channels served as glass slippers allowing Icelandic princesses wearing the ball gown to marry the charming Hungarian/European TV princes.

Furthermore, the 1990's, with apologies to one of Aesop's Fables, also forced the slow-paced television tortoise in Iceland to run at the same speed as the fast-paced hare in Hungary.