My 14 month journey from web tv to going on air

In July 2020 it was just my creative director, one motion designer and me without an office yet, starting off what is now called the VIDEOGRAFIK team of BILD. We grew the team from one motion designer to a team, which has a couple of different areas of specialisation like operating, Viz, Touchscreen, Promotion, new packages, studio design, set design and the dailies. In total we have more than 43 people working for the Videografik department at this point ( September 2021), be it employed or freelancing.
During that 14 months we have designed packages for 14 documentaries and 46 shows, which we created over thousands of daily graphics for.
Since 11 days we are ON AIR now. For broadcast TV our department has created not only a new channel brand in less than 6 months, but also created 8 new shows in the last two. Counting this there has been a new show developed almost every week, while we kept on with the daily graphics such as maps, explainers, corona charts (and there where many…), timelines, …
All this has happened in 3 different studios, one Oval Office set and green screens. We have moved our team to a different floor, build a wall to have an office, tore it down again, cause we grew bigger. Not to forget that in all this work we grew together as a team. From all different backgrounds, different nations and different specilizations, but with ONE goal: Creating a great product AND a great team at the same time.

Interview for the Conference of the SND Amsterdam

With the SND Amsterdam coming closer, we wanted you to get to know some of the speakers a little better. We asked them about their career and how they got to the point where they are now without giving too much away about their SND talk. The first interview is with Madeleine Jarling.

As Layout Chief from Bild am Sonntag, Madeleine Jarling leads the design team of the biggest weekly newspaper in Europe. Previously, she worked as a designer for the daily BILD and the weekly BILD am Sonntag for a few years, quit the job to travel the Americas, Australia and Asia and was a freelancer for several clients.

Hi Madeleine! You have been to quite some places already! Do you think your travelling has had a lot of effect on your work?

“I think traveling has an effect on my personality and my personality has an effect on my work. So yes, it does. Besides, you get out of the design bubble of your country. Due to globalization and organizations like the SND, one can get an insight on other countries styles, but traveling gives you an insight of the cultures. You get to know the audience, you see posters, TV shows and unknown papers. I remember that I was totally irritated by Chinas all colorful and blinking TV shows and amazed by the daily “Prensa Libre” in Guatemala.”

Besides by traveling, where do you get your inspiration?

“Exchanging opinions with other designers, just walking through the streets, seeing advertisements and posters, checking graphic books, Twitter and experiencing new things. The smallest, most unexpected thing can be the biggest inspiration!”

What, in your opinion, makes or breaks a good visual?

“It’s good, if you understand what the story is about without reading the text and if text and visual are combined to one piece and complete each other. A good visual should make the reader curious to read the whole story. It’s NOT good if the visualization has nothing to do with the content.”

Is good visualization any more or less important in a newspaper that’s only published once a week?

“It’s always important. For a weekly paper you can do more detailed visuals. People have more time at the weekend to enjoy their paper, so they have more time to read longer stories and explore detailed infographics. Whereas in a daily paper, a visual that tells the story fast and easy, is more important. So, I think the importance is the same, but the claim to the visualization is different.”

What’s your ‘good advice’ for aspiring designers out there?

“Concentrate on the basics first. Do them well. Start breaking the rules only if you know them by heart. And if you do, do it so it makes sense for the story, not for your own self-fulfillment, while also always remembering to keep the identity of your publication.”

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