Appendices:
Appendix A Explanation of the aims and objectives:
1. Review and evaluate literature on graphic design and design theories
Motion graphics has it's roots in graphic design. Understanding these theories is a necessity for the coming analysis stages. It also stands in for the lack of design theory based on motion graphics, being a newer medium there is not the same depth of knowledge available. This is initially covered in the research proposal. The literature review section serves as an introduction to graphic design and the various types of thinking, some example guidelines developed from theory, and styles over the past hundred or so years. In the dissertation further research focuses on motion graphics and broadcast design completing an introductory journey from primary symbols to the case studies in the next section.
2. Investigate and analyse examples of motion graphics in channel idents
Up to this point there is only an explanation of the theories and historical context for motion graphics. This section will ground the theoretical discussion in reality with examples showing how design is applied in a practical scenario. Seven channels have been selected, two generic national ones, two aimed at youth culture - one US and the other EU, a children's channel, and two specialist focus channels. The study of these examples provides insight into various approaches to broadcast design. The knowledge gained in developing this section is invaluable in it's application to the final practice stage of the honours project, both in developing bespoke idents and in creating fictional channel identities within which to place the idents.
3. Conduct practice based research in the techniques used to create motion graphics.
Both the preceding sections concentrate on conceptual design, from theories to practical development. The final requirement for a designer is technical knowledge. This is essential in realising a design concept, without this knowledge there would be not physical product. A designer with a larger toolset will not be forced to compromise as much as the man with a smaller set. As a result, this section will explore a large range of techniques through a number of media tests. Each test will contribute a new skill and technique which may be used in the final section. Typography, stop motion, photography, particle effects, motion tracking and illustration are some of the areas covered.
4. Create and critically evaluate a broadcast ident using motion graphics and its associated techniques
This is the focus point for each of the three preceding sections. The theory informs the concept, the case studies inform it's development and the media tests inform it's realisation. The results will stand as an exhibition of the combined knowledge and understanding gained from this project. Three broadcast identities have been developed to allow a variation in approaches (See Appendix B for the three channel descriptions). With these three identities in place idents will be produced for each, driven by the three sections. These idents are the final showcase pieces.
Motion graphics has it's roots in graphic design. Understanding these theories is a necessity for the coming analysis stages. It also stands in for the lack of design theory based on motion graphics, being a newer medium there is not the same depth of knowledge available. This is initially covered in the research proposal. The literature review section serves as an introduction to graphic design and the various types of thinking, some example guidelines developed from theory, and styles over the past hundred or so years. In the dissertation further research focuses on motion graphics and broadcast design completing an introductory journey from primary symbols to the case studies in the next section.
2. Investigate and analyse examples of motion graphics in channel idents
Up to this point there is only an explanation of the theories and historical context for motion graphics. This section will ground the theoretical discussion in reality with examples showing how design is applied in a practical scenario. Seven channels have been selected, two generic national ones, two aimed at youth culture - one US and the other EU, a children's channel, and two specialist focus channels. The study of these examples provides insight into various approaches to broadcast design. The knowledge gained in developing this section is invaluable in it's application to the final practice stage of the honours project, both in developing bespoke idents and in creating fictional channel identities within which to place the idents.
3. Conduct practice based research in the techniques used to create motion graphics.
Both the preceding sections concentrate on conceptual design, from theories to practical development. The final requirement for a designer is technical knowledge. This is essential in realising a design concept, without this knowledge there would be not physical product. A designer with a larger toolset will not be forced to compromise as much as the man with a smaller set. As a result, this section will explore a large range of techniques through a number of media tests. Each test will contribute a new skill and technique which may be used in the final section. Typography, stop motion, photography, particle effects, motion tracking and illustration are some of the areas covered.
4. Create and critically evaluate a broadcast ident using motion graphics and its associated techniques
This is the focus point for each of the three preceding sections. The theory informs the concept, the case studies inform it's development and the media tests inform it's realisation. The results will stand as an exhibition of the combined knowledge and understanding gained from this project. Three broadcast identities have been developed to allow a variation in approaches (See Appendix B for the three channel descriptions). With these three identities in place idents will be produced for each, driven by the three sections. These idents are the final showcase pieces.
Appendix B Three channel descriptions:
MONDO is a channel dedicated to the 'epic'. Action / adventure, science fiction, fantasy, extreme sports - be it a series, film or live event: Mondo will showcase anything that has 'huge' effects, story or achievement. Drawing together a surreal mix from blockbusters to viral independent 'web film', behind the scenes stories, and ground breaking events Mondo provides a constant 'wow' to it's target audience of 20 to 30 year olds, predominantly men.
PULSE is an entertainment channel focusing on the playful side of life with a streak of daring. Shorter programming tending towards 10 and 20 minute shows invigorate the channels schedule and fit the culture of todays fast moving youth. Series, reality, game, and award shows are mixed in with entertainment news and reviews. It's lighthearted and silly nature stands in contrast to an increasingly busy and stressful world. The target audience is primarily the younger generation: 15 to 24 year olds. The name was chosen for it's strong visual and metaphorical connotations.
PULSE is an entertainment channel focusing on the playful side of life with a streak of daring. Shorter programming tending towards 10 and 20 minute shows invigorate the channels schedule and fit the culture of todays fast moving youth. Series, reality, game, and award shows are mixed in with entertainment news and reviews. It's lighthearted and silly nature stands in contrast to an increasingly busy and stressful world. The target audience is primarily the younger generation: 15 to 24 year olds. The name was chosen for it's strong visual and metaphorical connotations.
ARISEN is a channel dedicated to unveiling truth behind controversial issues, activities and events throughout the world. It creates a platform from which the voices of ordinary and independent people can be herd, specifically those directly affected by the subject under discussion. ARISEN aims to remain un-influenced by differing viewpoints and to present a non-biased outlet of information so that viewers may form their own opinions free from pre-conceptions. It is comparable to a news channel but delves deeper through a programming slate of documentaries, short (factual) films, educational and discussion shows. The audience is primarily made up by well educated, open minded individuals between the ages of 20 and 49 although suitable for anyone with an interest in the current and controversial who is willing to hear more than one side to a story. Reason for the name: 'Arisen' was chosen as a name to represent the hope that a sometimes blurred truth will always become apparent.
Appendix C The laws of the Gestalt school of thought
The first law: equilibrium. It describes the tendency of cognitive processes to simplify the perception of an object. Moving its constituent parts towards an equilibrium. It is similar to the second law of thermodynamics with objects tending towards a state of higher entropy.
The second law: closure. If a graphic figure is left incomplete, there is a desire to close it. This stems from closed areas as having a higher perceived stability. Incomplete or broken graphics portray instability, even hostility.
The third law: continuation. A straight line can appear to extend past its physical constraints and a curve can form the image of a circle where one is not drawn. A common employment of this concept is the dotted line. It is also related to the stroboscopic effect of animation.
The fourth law: similarity. What is perceived by the eye is constantly organised into patterns. Objects of similar size, shape, colour and direction will be grouped as one entity. This law is closely related to the fifth.
The fifth law: proximity. When objects are arranged in close proximity they will, again, be grouped as one entity. This law draws from a general gestalt principle that the character of an object is partially dependant on its surrounding field or context.
Appendix D The 12 principles of animation
1 Squash and stretch
Think of a bouncing ball, when it is impacting the floor it compresses or squashes, just as it leave the floor (it's fastest moment of travelling) it can be interoperated to stretch. This increases the sense of weight and movement. It is important, with realistic animation, that the object retains it's volume.
2 Anticipation
A kind of pre-movement. Imagine throwing a ball, you first reach back with your arm before launching the ball. Before you jump you will first bend your knees. These movements build anticipation of an intended movement.
3 Staging
Similar to layout in graphic design. The purpose of staging is to direct attention to a desired area of a scene, this will show the audience what to pay attention to and can be useful in making sure a subtle but important detail is not missed.
4 Straight ahead action and pose to pose
These are two different techniques in producing the frames of animation. Straight ahead entails drawing out the frames in order, this is more difficult but creates fluid movement more appropriate for action scenes with dynamic movement. Pose to pose involves setting up specific poses and is more suited to emotional scenes. With the introduction of computers, pose to pose is used throughout as is gives further advantage for planning, composition and organisation.
5 Follow through and overlapping action
This refers to the variety of movement throughout a characters body. Different limbs are likely to move at different rates and different times. If a character sits down his hips will finish their movement first followed by the torso, shoulders then arms. This principle also refers to the movement of cloths, if loose they will take a frame or two to catch up with the characters movements.
6 Slow in and slow out
If you imagine dropping a ball, initially it's movement will be slow and accelerate towards the ground. between bouncing and the top of it's bounce this change of speed will be inverted, initially fast and slowing to the top of the bounce. This applies to most movement and creates more realistic motion when applied to a character.
7 Arcs
Most (natural) objects tend to follow a arc in their movement. projectiles will be affected by gravity. limbs are attached to joints around which they rotate. The faster the object the wider the arc and vice versa.
8 Secondary Action
A movement that is not part of the main action. This give more life, detail and interest to a scene. It is also important to ensure the secondary action emphasises the main movement rather than distract from it.
9 Timing
Similar to slow in and slow out but taking into account the emotion or mood of the scene and what is trying to be portrayed by an action. A crazed, hyperactive chipmunk may have short, fast erratic movement whereas a chilled out turtle will have slower more fluid movement.
10 Exaggeration
A tool for emphasising a scene. Were animation to follow reality directly it could come across as dull, emphasising the speed, path or squash and stretch within movement will remedy this. It is important to keep exaggerations proportional to each other to avoid confusion.
11 Solid drawing
This covers several concepts. First, in classical animation, the animators ability to draw. Specifically the ability to understand three dimensions and the consistency of volume when moving through the third dimension. This also covers 'twinning' - the effect of both sides of the body mirroring each other, either in movement or appearance (this is generally a bad thing). It has been noted that although animators working in a digital environment will benefit greatly from an understanding and ability to animate classically.
12 Appeal
This is the interest a character hold for the audience, akin to charisma. Readable faces and poses will allow the audience to understand the character and interest will grow (assuming the character has a well constructed personality).