1 Abstract
2 Introduction
3 The research question
4 The literature review
5 The research method
6 Significance of study
7 Consent, Access and participants protection
8 Bibliography
(PDF)
1 Abstract
(the demand for broadcast design, brief project description and aim)
There are more than 7200 television channels broadcast in europe alone, and a further 1400 available. World wide the total number ranges from 15000 into the 'millions'.
This drives a need for each station or network to step out from the crowd and draw in an audience already buried under a deluge of media. Creative brilliance is therefore a requirement of channel design, program packaging, promotion clips and advertising concepts. This study will focus on describing the development of successful identity design and the challenges that stand in its way.
Research into broadcast, graphic design and design theories will form an academic context in which the effectiveness of visual identity can be judged. Key production issues will be identified through a series of case studies whose work will be contrasted with the theories found in literature. The research will then identify and examine solutions through the practical application of media tests. It is hoped that a final project will demonstrate a solution to production issues which have to be resolved for any studio to survive in the broadcast industry.
3 The research question
4 The literature review
5 The research method
6 Significance of study
7 Consent, Access and participants protection
8 Bibliography
(PDF)
1 Abstract
(the demand for broadcast design, brief project description and aim)
There are more than 7200 television channels broadcast in europe alone, and a further 1400 available. World wide the total number ranges from 15000 into the 'millions'.
This drives a need for each station or network to step out from the crowd and draw in an audience already buried under a deluge of media. Creative brilliance is therefore a requirement of channel design, program packaging, promotion clips and advertising concepts. This study will focus on describing the development of successful identity design and the challenges that stand in its way.
Research into broadcast, graphic design and design theories will form an academic context in which the effectiveness of visual identity can be judged. Key production issues will be identified through a series of case studies whose work will be contrasted with the theories found in literature. The research will then identify and examine solutions through the practical application of media tests. It is hoped that a final project will demonstrate a solution to production issues which have to be resolved for any studio to survive in the broadcast industry.
2 Introduction
(History from primary symbols to universal graphic identity to motion graphics to tv)
The area of this study is broadcast design. Its focus: the use of motion graphics in portraying a visual identity. To gain a thorough understanding of this subject and its context one must examine the roots from which it has grown.
From the first basic symbols; circle, cross, triangle and square through the Roman empires "first nationalistic logo" (Gregory Thomas (2000)) and Procter & Gambles move to become "one of the first companies to capitalise on the use of trademarks" (Gregory Thomas (2000)). We have developed our obsession with visual symbology and graphics to the point where it is "the most universal of all the arts" (Quentin Newark (2002)). Its uses range from the first known forms of communication to decoration, explanation of practically anything and identification of almost everything.
"For centuries man has labelled himself, has created an identity within which he can live and be known as he would like to be known. It is not a new phenomenon, but rather an ancient ritual, designed to express the differences between one group of humans and another." (Edward Booth (1980))
The introduction of cinema, followed by television, brought with it the opportunity to add motion to graphics. It would be impossible not to mention Saul Bass at this point with his innovative, and legendary, title sequences for nearly 60 films from Otto Premingers Carmen Jones (1954) to Martin Scorseses Casino (1995). Other designers, including Martin Lambie-Nairn and Harry Marks, have made a name for themselves creating broadcast motion graphic design and playing key roles in the introduction of computers to the development process.
Today there is constant demand in packaging, branding, re-branding and design for thousands, or tens of thousands, of shows, channels and networks worldwide. The aim in conducting research of this subject is to identify the issues faced by creatives in developing these visual identities and to explore effective methods in working out solutions.
3 The research question
(how it's broken down, an explanation of the smaller questions)
"What are the issues faced by creatives in the development of motion graphics for broadcast identity, and how might they, where possible, be overcome?"
To answer this question an examination of the literary context must be conducted alongside a study of the practical implications. The following objectives are believed to be an effective way to break down the research question into achievable tasks.
1.0 Review and evaluate literature on graphic design and design theories
2.0 Investigate and analyse examples of visual identity in motion design
3.0 Conduct practice based research in the creation of visual identity
4.0 Create and critically evaluate a visual identity through motion graphics
The initial two objectives reflect each other in what they are helping to answer. Both seek to develop an understanding of the subject through context which will also provide criteria for the analysis of design. The first is concerned with literature in the history and theories of design while the second will deal with a series of case studies. They will also identify both practical and theoretical issues faced by creatives alongside potential solutions.
The third objective concerns the practical implications of any issues and will analyse identified solutions through media tests. These are divided into two groups; technical application and design development. The first addresses practical problems while the second tests theoretical solutions in design development.
This objective is addressed with more detail in the 'Pre-production' module.
The final objective serves as an extension of the third in demonstrating its findings through the development of a full visual identity.
4 The literature review
(theories from graphic design, the people, their issues and broadcast design)
This research, being focused on a visual development of identity in motion design, is effectively based on the principles and theories of graphic design. As motion design can be visualised as graphic design with the added dimension of time, the literature of graphic deign forms a significant portion of the resources.
'Graphic design', the broadly reaching term currently used to describe a vast array of work was first coined in 1922 by 'William Addison Dwiggins'. His view of the role played by the graphic designer was somewhat constricted in comparison to our modern understanding. 'Super-printing' was an alternative term he occasionally used. "The printing designers whole duty is to make clear presentation of the message - to get the important statements forward and the minor parts placed so that they will not be overlooked." (Quentin Newark (2002)) He is describing the specific discipline of layout. The main aim of this, in his view, was to get the message across in the most efficient and effective way.
His approach, developed through a career of commercial messages, contrasted that of Francis Meynell, a poet and printer who dealt with literature including Shakespeare. In a piece entitled 'With twenty-six soldiers of lead I have conquered the world' Meynells aesthetic leaning is reflected.
"All the heights and depths and breadths of tangible and natural things - landscapes, sunsets, the scent of hay, the hum of bees, the beauty of which belongs to eyelids (and is falsely ascribed to eyes); all the immeasurable emotions and motions of the human mind, to which there seems no bound; ugly and terrible and mysterious thoughts and things, as well as beautiful - are all compassed, restrained, ordered in a trifling jumble of letters. Twenty-six signs!" (Quentin Newark (2002))
The opinions of these two men represent "the poles between which the graphic designer must choose a position." (Quentin Newark (2002)). Function versus Aesthetic, an opposition of design philosophies which applies universally to any kind of creative endeavour. This conflict has generated the more recognisable phrase, now an overused cliché; 'form follows function', derived from Louis Sullivans statement in 1896 of "form ever follows function".
This effectively became a motto of modernist architecture in the 20th century alongside 'less is more' as decorative design saw its demise in the face of Bauhaus philosophy. After a time modernism gave way to postmodernism, a reaction against impersonal blandness in favour of personal expression and variety. Now, in the wake of globalisation, the tide is turning again with a 'modern' take on 'modernism'. Currently the most visible and influential force is Apple with a design philosophy being driven by Jonathan Ives and his aim to refine until there can be no more refinements.
This ebb and flow of trends between form and function is felt across everything touched by design but does not dictate the choices made by every designer. If these movements could dictate choice they would have no opposition and therefore no development. In design there is always a choice and therefore an issue to be dealt with, assuming the creative is aware of, and considering, his or her design philosophies.
In attempting to understand and apply the philosophies and theories of design, much of the literature and lines of thought can be off-putting in their complexity. This is especially true of aesthetics in the writing of Immanuel Kant. Without a basic understanding of his philosophical project and its aims it would not be possible to understand his aesthetic theories. His project can be summed up as "trying to establish a transcendental critique of the nature and possibilities of mental life in general". Mental life here is 'thinking' and the transcendental critique is an analysis of the necessary elements and principles of how 'thinking' works or how it plays out in life through such things as our will or desires, aspirations or reasoning. Kant is a heavily methodological philosopher and addresses the subject of aesthetics in a deeply technical way. This produces results so abstract and obscure as to be imposingly difficult to follow or relate to. His theory of beauty comprises of 'four moments'; quality, quantity, relation and modality.
The 'quality' of beauty is a question of how it is held in the mind, how is the thought of beauty what it is. Kant describes it as a subjective experience that is also universal. When we find an object beautiful, it is our own experience in which we find this beauty. But when we think of this object we think of it being beautiful in a general sense. The quantity of beauty is how the thought is distinguished from other thoughts in the mind. This relates to the way in which it is universally subjective. Beauty is not the thought of an object, it is a sense that purveys through objects. An object is not beauty but it can be beautiful. The relation of beauty is the question of which part of the mind is this feeling related to. Most 'things' in the mind are what they are because they can be conceptually linked to other 'things', for example: movement is the orientation or position of one object changing relative to another. Beauty is different in that the existence of beauty is generated by something being beautiful. In Kants words it has a 'purposive purposelessness'. Finally the modality of beauty describes the way in which it is a reflection of our senses upon themselves creating new set of possibilities, meanings and desires. To truly understand Kants aesthetic theories and philosophical aims would require an in depth study and analysis for which this project does not have enough scope although it is wise to take note of the impact Kant has had on design theory.
In the early 20th century the Gestalt school of thought sought to deconstruct the perception of objects into its elemental parts. The work of Kurt Kuffka, Max Wertheimer and Wolfgang Kohler was a step towards the practical application of aesthetic philosophy. The findings of the 'Gestaltists' were organised into five laws for use in design by John W Cataldo who sought to "provide the graphic designer with a reliable psychological basis for the spatial organisation of graphic information." These laws set out clear definitions of the elements in design and the effects of their application, an attractive alternative to working through aesthetic philosophies. They are, briefly, as follows.
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.
One modern philosopher of aesthetics, Denis Dutton, presented a view of aesthetics that is simplified yet further in a talk entitled 'A Darwinian Theory of Beauty'. He gives a very compelling reasoning behind why some things are more visually desirable than others, summing up with the statement: "we find beauty in something done well" (Dutton (2010)).
Today there appears a misconception that the mastery of software is in its self a mastery of graphic design. Technical advances have overtaken and are leaving behind the basics of design; shape, line, colour and typography. "The computer has revolutionised the design process. It has made the act of designing easier, and in many ways it has improved the way we design things. Yet in other respects it has made design more formulaic, and it has standardised the act of designing" (Adrian Shaughnessy(2005)) The seemingly limitless potential of technology and the problems which accompany it increase the need for an understanding of design fundamentals. "The availability of technology and the advances in imaging and production techniques will not cover up what is essentially a bad design" (Alan Hashimoto(2007))
Every subject mentioned in this proposal, and more, make up a landscape through which a creative must make his way. A designer must also, considering the convergence of technology and design tools, "command a baffling array of professional abilities that include, among others, the typographic chops of a print designer, the motion and timing smarts of an animator, the stylistic rendering talents of an illustrator, the narrative skills of a writer or editor, the music sensibilities of a composer and the cinematic and live action directing abilities of a film maker." (Kyle Cooper (2006)) A second implication of this convergence is in the format of the design product. It must possess a flexibility that will allow cross platform application. These challenges constantly test a studios ability and are becoming an increasingly crucial factor in its success.
5 The research method
(strategy of the research - a justification of the objectives)
RESEARCH DESIGN (the sources, areas of knowledge)
In order to more effectively identify the issues facing designers it has been deemed appropriate to divide them between the theoretical and practical. These two types require their own forms of research.
Being a relatively new art form there is only a small amount of writing on the theory of motion and broadcast design. In order to form a theoretical context, information will be drawn from the literature of graphic design as this is where the subjects of interest have their roots. As for the practical issues, a series of case studies, listed in the following section, will be conducted. In depth studies will specifically concern broadcast identity. Further small studies in a variety of motion graphic projects will outline a broader context.
STRATEGY AND FRAMEWORK (how this collection of knowledge will be tackled, the order and technique)
From a general assessment of graphic design already conducted, further study of the following areas has been identified as a requirement for the completion of the proposed research: aesthetics, function, perception, primary elements, colour theory, typography, layout and development.
The base of knowledge created by this investigation will form an essential structure within which the review of case studies can be effectively understood. The following channels and networks have been selected to describe a wide range of motion design projects portraying broadcast identity:
'BBC One' (UK)
Channel 4 (UK)
FOX cable networks 'FUEL TV' (USA)
KI.KA (Germany)
PLUG TV (Belgium)
REELZCHANNEL (USA)
SUNDANCE CHANNEL (USA)
motionographer.com will be used alongside similar websites as a source of information on the wider context mentioned in the concluding statement of the previous section. This will allow crucial insight into challenges faced by studios and the approaches used in overcoming them.
In order to create a framework within which to organise this research, the previously identified objectives have been split into to following sub-sections:
1 Review and evaluate literature on motion design
1.1 Literature Review
1.1.1 Review literature to identify the theories and values of graphic design
1.1.2 Asses the relevance of these theories for use in motion graphics
1.1.3 Conflict / issues
1.1.4 Criteria for analysis
1.1.5 Review
2 Investigate and analyse examples of visual identity in motion design
2.1 Research Diary
2.1.1 Identify a series of examples relevant to the area of study
2.1.2 Collect relevant literature discussing each case
2.1.3 Identify the practical challenges faced in each example
2.1.4 Analyse the approaches used to overcome any issues
2.1.5 Write a review of the case studies.
3 Conduct practice based research in the creation of visual identity
3.1 Media Tests
3.1.1 Experiment with a variety of techniques and styles in motion graphic design
3.1.2 Prepare a series of identities to be used as subjects for the media tests
3.1.3 Develop identities for those which pose issues identified in the research
3.1.4 Produce documentation reflecting on the media tests and their issues
4 Create a full visual identity through motion graphics
4.1 Practice
4.1.1 Prepare a client with background and marketing aims
4.1.2 Gather information on the client
4.1.3 Analyse the information
4.1.4 Set the objectives for the visual identity / product
4.1.5 Define the approach identifying potential issues
4.1.6 Generate ideas
4.1.7 Evaluate and refine ideas to deal with identified issues
4.1.8 Develop the most appropriate idea
4.1.9 Produce a visual identity
4.1.10 Write a critical evaluation of the identity for the dissertation
4.1.11 (if time permits) repeat 4.1.2 through 4.1.10
DATA COLLECTION AND ANALYSIS
Being a relatively new art form there is only a small amount of writing on the theory of motion and broadcast design. In order to form a theoretical context, information will be drawn from the literature of graphic design as this is where the subjects of interest have their roots. As for the practical issues, a series of case studies, listed in the following section, will be conducted. In depth studies will specifically concern broadcast identity. Further small studies in a variety of motion graphic projects will outline a broader context.
STRATEGY AND FRAMEWORK (how this collection of knowledge will be tackled, the order and technique)
From a general assessment of graphic design already conducted, further study of the following areas has been identified as a requirement for the completion of the proposed research: aesthetics, function, perception, primary elements, colour theory, typography, layout and development.
The base of knowledge created by this investigation will form an essential structure within which the review of case studies can be effectively understood. The following channels and networks have been selected to describe a wide range of motion design projects portraying broadcast identity:
'BBC One' (UK)
Channel 4 (UK)
FOX cable networks 'FUEL TV' (USA)
KI.KA (Germany)
PLUG TV (Belgium)
REELZCHANNEL (USA)
SUNDANCE CHANNEL (USA)
motionographer.com will be used alongside similar websites as a source of information on the wider context mentioned in the concluding statement of the previous section. This will allow crucial insight into challenges faced by studios and the approaches used in overcoming them.
In order to create a framework within which to organise this research, the previously identified objectives have been split into to following sub-sections:
1 Review and evaluate literature on motion design
1.1 Literature Review
1.1.1 Review literature to identify the theories and values of graphic design
1.1.2 Asses the relevance of these theories for use in motion graphics
1.1.3 Conflict / issues
1.1.4 Criteria for analysis
1.1.5 Review
2 Investigate and analyse examples of visual identity in motion design
2.1 Research Diary
2.1.1 Identify a series of examples relevant to the area of study
2.1.2 Collect relevant literature discussing each case
2.1.3 Identify the practical challenges faced in each example
2.1.4 Analyse the approaches used to overcome any issues
2.1.5 Write a review of the case studies.
3 Conduct practice based research in the creation of visual identity
3.1 Media Tests
3.1.1 Experiment with a variety of techniques and styles in motion graphic design
3.1.2 Prepare a series of identities to be used as subjects for the media tests
3.1.3 Develop identities for those which pose issues identified in the research
3.1.4 Produce documentation reflecting on the media tests and their issues
4 Create a full visual identity through motion graphics
4.1 Practice
4.1.1 Prepare a client with background and marketing aims
4.1.2 Gather information on the client
4.1.3 Analyse the information
4.1.4 Set the objectives for the visual identity / product
4.1.5 Define the approach identifying potential issues
4.1.6 Generate ideas
4.1.7 Evaluate and refine ideas to deal with identified issues
4.1.8 Develop the most appropriate idea
4.1.9 Produce a visual identity
4.1.10 Write a critical evaluation of the identity for the dissertation
4.1.11 (if time permits) repeat 4.1.2 through 4.1.10
DATA COLLECTION AND ANALYSIS
The data for this research project will be collected through two different methods; literature review and case studies. The literature review, concerning the theories and philosophies of graphic design, will primarily source information from published texts which have been through rigorous review. The case studies will be based around interviews and retrospective documents. It must be noted that these will be biased in varying ways but are still an invaluable source of insight into the creative and practical processes.
Analysis of these two methods will initially take the form of a written review in which conflicts and challenges will be evaluated against their impact and relevance to broadcast identity. Further analysis will be conducted through media tests, each of which will focus on a particular issue or technical process. Review of the media tests will inform the development of conceptual and production methodologies to be employed in the final production.
6 Significance of study
With an unbelievable number of television channels broadcasting around the world, there is no shortage of demand for design studios to create, revise or reinvent visual identities. This demand has driven an ever accelerating development of the tools and methods available to creatives. These advances have begun to blur the lines between what were once clearly defined and separate disciplines. A designer can be expected to create illustrated artwork alongside an animated production or a tailored typeface and visual effects within the same design package. What makes this even more prevalent is the ability to create all these products from a single workstation.
The result is a necessity to re-evaluate the challenges faced by a designer in this new cross-diciplined world. It is hoped that this study will help facilitate an in-depth understanding of the processes and challenges in creating visual identity. For practitioners in the business of producing identities this knowledge is essential. It is the key to ensuring the design is able to communicate exactly what is required of it. With the interdisciplinary nature of many design studios and individuals any revelation by this study will hold relevance in projects outwith the specific area of focus. This allows the study to hold adequate significance to justify its existence.
7 Consent, Access and participants protection
This investigation is primarily concerned with research and analysis of existing literature and case studies. Also the subject under study is unlikely to cause offence therefore no moral issues are anticipated. A full list of the resources used can be found in the bibliography section of this proposal.
8 Bibliography
Austin, Tricia & Doust, Richard. 2007. New Media Design. London: Laurence King Publishing Ltd
Bartholdy, Bjoern. 2007. Broadcast Design. Cologne:Daab gmbh
Bartholdy, Bjoern. 2007. Showreel.01 53 Projects on Audiovisual Design. Cologne:Daab gmbh
Booth, Edward. 1980. The Language of Graphics. London: Thames and Hudson
Burnham, Douglas. 2005. Kant's aesthetics. [online] iep.utm.edu Available from: http://www.iep.utm.edu/kantaest [Accessed 22 December 2011].
Cabarga, Leslie. 1999. The Designers Guide to Colour Combinations. Ohio: North Light Books
Cone, Justin. 2011. Psyop: Norton "Stuff anthem". [Online] Motionographer.com Avaliable from: http://motionographer.com/2011/09/12/psyop-norton-stuff-anthem/ [Accessed 6 November 2011]
Drate, Spencer, Robbins, David, Salavetz, Judith. 2006. Motion by Design. London: Laurence King Publishing Ltd
Gordon, Bob & Gordon, Maggie. 2002. The complete guide to Digital Graphic Design. London: Thames and Hudson
Hashimoto, Alan. 2007. Visual Design Fundamentals, A Digital Approach. Boston: Charles River Media
Higa, Michelle. 2011. Scott Benson: Rendezvous "The Murf" Interview. [Online] Available from: http://motionographer.com/features/scott-benson-rendezvous-the-murph-interview/ [Accessed 6 November 2011]
Hollis, Richard. 2001. Graphic Design, a concise history. Rev Ed. London: Thames and Hudson
Ichenor, Seth. 2011. Kant's Aesthetics 2 - The Four Moments of Aesthetic Judgment. [Online]. YouTube. Avalible from: http://youtu.be/qx2gYh9Qt0A [Accessed 22 December 2011]
Jury, David. 2002. About Face. Switzerland: RotoVision SA
Koren, Leonard & Meckler, R. Wippo. 1989. Graphic Design Cookbook. San Francisco: Chronicle Books
Krause, Jim. 2000. Idea Index. Ohio: North Light Books
Kress, Gunter & Leeuwen, Theo. 1996. Reading images, The Grammar of Visual Design. London: Routledge
Landa, Robin. 1998. Thinking Creatively, new ways to unlock your visual imagination. Ohio: North Light Books
Lupton, Ellen & Miller Abbott. 1999. Design Writing Research, writing on graphic design. New York: Phaidon Press Inc.
Monguzzi, Bruno. 1998. A designer's perspective. Baltimore: The Fine Arts Gallery
Motionographer.com Available from: http://motionographer.com/features/scott-benson-rendezvous-the-murph-interview/ [Accessed 6 November 2011].
Newark, Quentin. 2002. What is Graphic Design?. Switzerland: RotoVision SA
Oldach, Mark. 1995. Creativity for graphic designers. Ohio: North Light Books
Ranciere, Jacques. 2004. Aesthetics and its discontents. Cambridge: Polity Press
Redhead, David. 2004. Electronic dreams, designing for the digital age. London: V&A Publications
Ritchie, Ian. 2005. Design Choice: Channel 4 Idents. Marketing (London). 09/07/2005. pp. 13
Shaughnessy, Adrian. 2005. How to be a graphic designer without loosing your soul. United Kingdom: Laurence Publishing Ltd
Silver, Lisa. 2001. Logo Design that Works, Secrets for Successful Logo Design. Massachusetts: Rockport Publishers, Inc.
Staff. 2011. [Interview] Making "Amnesty international: 50 years". [online] Motionographer.com Available from: http://motionographer.com/features/interview-making-amnesty-international-50-years/ [Accessed 6 November 2011].
Thomas, Gregory. 2000. How to Design Logos, Symbols & Icons. Ohio: How Design Books
Wildbur, Peter and Burke, Michael. 1998. Information Graphics, Innovative Solutions in Contemporary Design. London: Thames and Hudson