2 Research domain map (First) (Second) (Third)
Skills: Modeling, animation, motion graphics, general post production
Tools: Maya, Photoshop, After effects,
Learning: Houdini, Toon Boom, Smoke, C4D
Examples can be seen on my portfolio blog: aRollingPortfolio.blogspot.com
1.4 Skill Gaps
Autodesk smoke (compositing, editing, finishing)
Houdini (particle effects)
Cinema 4D
Rendering processes, vray, mentalray
nuke, shake, final cut,
Colour theory
2 Research domain mind map
First domain - the design of VFX pipelines
Second domain - Visual stylisation of short film
Third domain - Visual identity in broadcast design
3 Aim and objectives
To investigate how the marketing goals of a television channel or network drives the design of its branding, and to demonstrate the development and production of its visual identity
1 Review and evaluate literature on motion design
2 Investigate and analyse examples of motion design
3 Conduct practice based research in the creation of visual identity
4 Create and critically evaluate a visual identity through motion graphics
4 Pitch Presentation
Week 4
The Slides
The Write up
The Feedback
Week 8
The Presentation
The Feedback
5 Learning Contract
Module Code: AG1084A
Module Title: Honours Project
Student Name: Iain J McCallum
Student Number: 0904111
Email Address: IJMcCallum@hotmail.co.uk
5.1 Project Title:
(The design of) Broadcast Identity
5.2 Project Aim:
To investigate how the marketing goals of a television channel or network drives the design of its branding, and to demonstrate the development and production of its visual identity
5.3 Objectives:
1 Review and evaluate literature on motion design
2 Investigate and analyse examples of motion design
3 Conduct practice based research in the creation of visual identity
4 Create and critically evaluate a visual identity through motion graphics
5.4 Methodology:
1.1 Literature Review
1.1.1 Review literature to identify the basic theories and values of graphic design
1.1.2 Review literature on branding and logo design
1.1.3 Review literature on motion design
1.1.4 Reflect on the literature, discuss and identify criteria for analysis of visual identity.
1.1.5 Write a review of the literature for the dissertation
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 Examine the literature identifying methods used to create visual identity
2.1.4 Write a critical analysis of the case studies and how they portrayed visual identity
3.1 Media Tests
3.1.1 Experiment with the use and creation of various styles and techniques in motion design
3.1.2 Prepare a series of identities to be used as subjects for the media
tests
3.1.3 Develop a visual presentation of the most appropriate identities through experiments in motion design
3.1.4 Produce documentation reflecting on the media tests, their production processes and their results
4.1 Practice
4.1.1 Prepare a fictional 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
4.1.6 Generate ideas
4.1.7 Evaluate and refine ideas
4.1.8 Develop the most appropriate idea
4.1.9 Produce a visual identity
4.1.10 Write a critical evaluation of the mini-short for the dissertation
4.1.11 (if time permits) repeat 4.1.2 through 4.1.10
5.5 Submission Deliverables:
The following deliverables shall be provided as evidence of having achieved the four objectives:
1.1 Literature Review
Online diary documenting the research activities undertaken for the first objective
Document reviewing the literature researched.
2.1 Research Diary
Online diary documenting the research activities undertaken for the second objective
Document critically analysing the case studies and their methods in creating visual identities.
3.1 Media Tests
The media and project files used to create each test.
The collection of finished media tests.
Document reflecting on the processes and results for each of the media tests undertaken.
4.1 Practice
Online sketchbook and notes showing background information and analysis of the 'client'
Online sketchbook and notes showing development of the visual identity.
The completed motion graphic piece showing a visual identity
Document critically evaluating the final piece.
Much of the work produced as a result of the five methods shall be incorporated into the end of year exposition. The exposition will showcase the entirety of the research process, clearly communicating how the end artefact was achieved.
Additionally, the dissertation shall communicate the result of the literature review, the development of methodology, and the research findings.
5.6 Resources:
Autodesk Maya
Autodesk Smoke
Houdini
Adobe Photoshop
Adobe after effects
Adobe Premier
Toon Boom
Access to maya pc's for rendering
6 Proposal
AG1064A: Professional Practice – Project Proposal
Project Title: (The Design of) Broadcast Identity
Proposer: Iain J McCallum
Student Number: 0904111
Programme: BA Computer Arts (Hons)
Specialism(s): Motion design
Project Description
6.1 Abstract
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 therefor a requirement in the realisation of channel design, new programe packaging, promotion clips and advertising concepts.
This study will focus on describing a rout through which the goals of a channel can be developed into a visual identity that set it apart from the competition. Research into motion design, branding and graphic design will inform a practice based approach with the full production of a visual identity being the final aim.
6.2 Project Aim and Objectives
To investigate how the marketing goals of a television channel or network drives the design of its branding, and to demonstrate the development and production of its visual identity
The objectives are as follows:
1 Review and evaluate literature on motion design
2 Investigate and analyse examples of motion design
3 Conduct practice based research in the creation of visual identity
4 Create and critically evaluate a visual identity through motion graphics
6.3 Rationale
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. The processes each studio uses in its work flow will differ hugely but still share certain fundamental elements. This journey from the character and goals of the client to the finished product can be a testing one but one which every creative must undertake.
It is hoped that this study will help facilitate an in-depth understanding of the process by which the visual language of identity is created. For practitioners in the business of producing identities this knowledge is essential. It is the key to ensuring the design communicates exactly what is required of it. Too many fall into the trap where by "The form [is] dictated by the machine, and so, surprisingly, [is] some of the content" (Kyle Cooper, 2006). In other words the work fails in its goal of communicating an identity and instead advertises a mastery of design software. But, holding onto and staying true to the goals of the work through development and creation can result in a design that transcends the fashion of the moment and becomes a message that will not fade with time.
There are others who have collected and analysed information on similar topics. Mark Oldach authored the book 'Creativity for graphic designers' outlining processes of development which include many methods relevant in designing broadcast identity. Other valuable sources of information are 'Motion by Design' by several authors and 'Showreel.01' by Bjoern Bartholdy which both outline a number of case studies on design practices working through several disciplines.
Finally there are the multitude of authors describing rules, theories, laws and ideas in the creation of graphic design within which motion deign has its origins and can there for draw from for creative guidance.
6.4 Project Methodology
In order to achieve the objectives listed above, a practice-based methodology shall be deployed. This shall focus on the development and production of visual identity in broadcast through practice-based methods, leading to the production of graphic development, motion design tests and finally a completed visual identity.
A progress diary shall be maintained through out the extent of the project documenting activities undertaken by the project proposer. The diary shall collect all research and practice based development in the form of an online blog. This blog shall include a detailed breakdown and presentation of the various elements that make up the body of the honours project.
A literature review shall be produced in order to document the proposers investigation into existing sources of relevant information. This shall focus primarily on graphic, motion and broadcast design. The review shall be complimented by visualisation techniques such as mind mapping and graphic portrayals of information demonstrating the proposers understanding of the subject.
A research diary shall be kept in order to document the proposers examination of case studies. These shall focus primarily on visual identities developed for television networks and channels. The diary shall also document the analysis of each study.
Practice based media tests shall be conducted. These media tests shall experiment with techniques in the creation of motion graphics in various styles. They shall also experiment with design choices identified in both the literature review and research diary. A collection of the media tests shall be produced alongside documentation of their analysis.
The design and production of a final visual identity for a broadcast entity shall be used as a research method. This piece shall encapsulate all of the major findings of the research exhibited as a fully developed piece of motion design portraying a visual identity.
As the methodology is practice-based drawing entirely upon arts practice methods, it is important that all materials are accurately and efficiently documented, and that transparency of process and analysis is achieved.
6.5 Outcomes and Deliverables
The following deliverables shall be provided as evidence of having achieved the four objectives:
1.1 Literature Review
Online diary documenting the research activities undertaken for the first objective
Document reviewing the literature researched.
2.1 Research Diary
Online diary documenting the research activities undertaken for the second objective
Document critically analysing the case studies and their methods in creating visual identities.
3.1 Media Tests
The media and project files used to create each test.
The collection of finished media tests.
Document reflecting on the processes and results for each of the media tests undertaken.
4.1 Practice
Online sketchbook and notes showing background information and analysis of the 'client'
Online sketchbook and notes showing development of the visual identity.
The completed motion graphic piece showing a visual identity
Document critically evaluating the final piece.
Much of the work produced as a result of the five methods shall be incorporated into the end of year exposition. The exposition will showcase the entirety of the research process, clearly communicating how the end artefact was achieved. Additionally, the dissertation shall communicate the result of the literature review, the development of methodology, and the research findings.
6.6 Expertise and Experience of Project Proposer
The project proposer has approximately 2 years experience working with Autodesk Maya and 6 years working with Adobe Creative Suite. In particular, the proposer has a thorough understanding of production processes and the principles of animation. Previously, the proposer completed short films as part of university coursework, and has some experience producing scenes for external projects.
However, it has been identified that the proposed will require more in-depth knowledge of VFX in Houdini, compositing in Autodesk Flame and motion graphic creating in Cinema 4D. As such, as part of the project, the proposer shall aim to develop his skills in these areas. This work shall be carried out predominantly in semester 1, in preparation for the honours project module in semester 2.
Additionally, it has been identified that the proposer currently has a limited knowledge and understanding of motion graphics and graphic design. As such, it is crucial that the proposer engages with the literature in history, development, and making of graphics early in semester 1. This will feed into the literature review and dissertation as well as underpin good production practice.
6.7 Timetable
The following timetable shall be followed from early-November 2011 until May 2012, and shall result in the creation of the project artefact and dissertation.
6.8 Ethics and Risk Assessment
There will be no participants in this study besides the project proposer. The proposed shall work primarily in the studio, and will not encounter any substantial risks to health or safety in the execution of the project.
The completion of media tests as part of method 3 could be delayed to the point were information gathered would be insufficient in informing the project and final work. As a result the project and final work would rely on the information gathered in methods 1 and 2.
Availability of hardware facilities within the university may be limited to such an extent as to impact on the completion of an appropriate amount of media tests or on the production and rendering of the final piece. In these circumstances privately owned machines equipped with trial software will be employed.
There is the potential that failure to complete all specified art assets as part of method 4 in time would impact on the completion of the final piece. As such, a backup plan will be to make use of existing assets from method 3 alongside visualisations from method 1 in order to complete the final presentation of work.
6.9 Resources
The following resources will be required in order to accomplish the proposed project:
Autodesk Maya
Autodesk Smoke
Houdini
Cinema 4D
Adobe Photoshop
Adobe After Effects
Adobie Premier
Final Cut
Toon Boom
Acces to maya pc's for rendering
6.10 References
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
Drate, Spencer, Robbins, David, Salavetz, Judith. 2006. Motion by Design.London: Laurence King Publishing Ltd
Newark, Quentin. 2002. What is Graphic Design?. Switzerland: RotoVision SA
Oldach, Mark. 1995. Creativity for graphic designers. Ohio: North Light Books
Ritchie, Ian. 2005. Design Choice: Channel 4 Idents. Marketing (London). 09/07/2005. pp. 13
Wildbur, Peter and Burke, Michael. 1998. Information Graphics, Innovative Solutions in Contemporary Design. London: Thames and Hudson
Thomas, Gregory. 2000. How to Design Logos, Symbols & Icons. Ohio: How Design Books
7 Project Map
8 Gantt Chart
9 Structure
10 Media and reflection
11 Exposition
Report:
In conducting research on this topic it was found that there is almost too much to bring together into a short study. Focusing primarily on practical exhibitions that show their process alongside the finished artefact helped narrow down the information, in other words, focusing on expositions rather than exhibitions.
One of the first examples that comes to mind was the fifth year Architectural degree show in Edinburgh College of Art at the end of the 2010/11 educational year. Colour scheme, exhibition style, font, physical items on show; everything was tailored to match the designs which in turn strongly reflected the concepts. This is a recurring theme through all the varying projects on show. The clean, sharp edged proposal for a car factory is reflected in the well ordered, minimal presentation style whereas, just around the corner, the warming, intricate, and rich content of a food market is complemented by herbs and spices with tactile materials binding design documents. In stark contrast to these two, further along the studio, is a controversial concept dealing with the presentation of jewish wartime art alongside that of the nazis. The design and exhibition space convey a sharp clash with highly contrasting colours, rough materials (including rusted barbed wire) and degraded paper on which the details are laid out.
In thinking about the requirements for this honours project there is a temptation to go wild with the construction of its exposition, one of the ideas that wandered through my head was to create a mini living room. The roots of this concept lie in the area of my study being broadcast design therefor the viewers home is the natural place of presentation. The impracticalities could be solved by flattening the 'room' onto the walls of the exposition as a picture. The problem would then lie in achieving an atmosphere of quality, something that would be near impossible given the constraints of time and space. At this point I feel very strongly that taking a leaf from Mies van der Rohes book would help lead to the most relevant and successful solution. "God is in the details" and "less is more".
In order to achieve a presentation guided by these principles I will follow a similar line of thought to Le Corbusier's statement "A house is a machine for living". I intend to treat the exposition as a machine for portraying content. Using the same process as Mies "to subtract and distill" until left with "almost nothing" the presentations concept shall reflect some of the modernist ideals of the 'interwar years' in which "There would be no applied ornament anywhere". Only that which is necessary shall be included.
Kostof, Spiro. 1995. A History of Architecture. 2nd Edition. New York: Oxford University Press, inc.
Layout plan:
Research into other expositions and exhibitions
12 Pitch and Crit Management
1st session:
The group consisted of five students, three second and two third year computer artists. With the smaller group size time management was less of an issue. Another factor that helped in this respect was the joint project between two of the students for their sole module.
Providing feedback was slightly more difficult. As this is the beginning of the semester not all of the students have gotten into the work so much. The small amount of presentation material did not afford much to provide feedback on. Most of the advice given focused on planning for future hurdles. For example, one student with a programming background is going into a team next semester with the hopes of working on the art. My advice was to generate enough art to justify that position as the likely hood of being the only person with an ability to program is fairly high unless the work is outsourced. Also to the three second years taking their own developed game concepts into a group that will only produce a single idea - keep in mind they will have to justify why their idea would be a better investment of time and effort. Going into the group development without justifications backing up their own ideas is likely to result in it being ditched.
The joint animation project had more depth and development creating more opportunities for feedback. I began the feedback with some initial notes on their presentation style then moved into some finer points regarding the planned performances of their characters. Their project had enough substance to draw the rest of the group into discussion with most giving their own contributions.
In future sessions I hope to improve on my ability to appraise and identify weak points in projects with more speed. I found myself coming up with ideas for feedback after the conclusion of the session. From my perspective the pitch went well, hopefully the students will provide more practical work in the next presentation from which I can draw an improved understanding of any difficulties they may be facing.
2nd session:
Slightly different bunch of people this time. Unfortunately the other 4th year didn't make it leaving the group to me. From the presentations 4 weeks ago there has been varied progress. The most significant advice I was able to give was to bring to their attention the pending deadlines and inevitable build up of work.
With much of the work moving into production the more technical issues are coming to light. This is a tricky area to advise without more specialist knowledge, especially when the problem areas are in coding games and my focus is on animation and films.
I was, however, in a position to point out areas in which more information could be found. These came in the form of other works which I have come across as a direct result of honours research and pointing out other honours students work where there research would be relevant to the younger students.
My parting shot of advice, which is a given and one I will likely repeat to anyone, was to keep an eye on the future. This is more specifically for the third years who will be beginning their own honours project next year, the significance of this study on future career opportunities I doubt will be lost on anyone reading this far into an honours research blog.
3rd session:
For this third 'pitch and crit session' I was supervising a different group of individuals. Over all this was a much more comfortable group with all those present providing feedback. This was due to the members having more outgoing attitudes and a good collection of concepts to present. Either by chance or good preparation on the parts of those presenting we ran almost perfectly to time. These circumstances allowed me to concentrate on giving valuable feedback without the worry of timekeeping and encouraging others to come forward with opinions.
Of the general advice I gave; the most important, in my opinion, was the importance of maintaining an online portfolio in order to help with landing future opportunities. The following are a few more points of advice given through the session:
- Don't bite off more than you can chew.
- It's better to keep a project small but polished
- If possible outsource work in order to concentrate on key elements in production.
- If you don't use maya it would be worth learning to get the most out of this course.
- For animators, look up the 11 second club and take part, also check the crit videos
- Check out the 4th years projects for potential collaboration opportunities.
- When attempting an ambition project, keep deadlines and have a backup plan.
- Find reference and inspiration from dissimilar projects, it'll keep your ideas fresh
- Abduzeedo is one example of an excellent resource for inspiration.
- Make sure you can produce work in a variety of styles, versatility = employability.
- When working in the style of an artist make sure you consider the underlying concepts and not just the surface appearance.
4th session (6th March 2012):
3 Aims and objectives (1st) (2nd) (3rd) (4th) (5th)
4 Pitch presentation (First) (Second)
5 Learning Contract (PDF)
6 Proposal (PDF)
7 Project Map (link)
8 Gantt Chart (Time table) (Chart)
9 Structure
10 Media and reflection
11 Exposition (Report PDF) (Mock up) (Group slides)
12 Pitch and crit management (First) (Second)
1 Personal Statement
Proposer: Iain J McCallum
Student Number: 0904111
Programme: BA Computer Arts (Hons.)
Specialism(s): Motion Design
1.1 Inspiration and interests
I have a strong interest in design and creativity with a specific focus on visual effects. I had always been aware of amazing things being shown in films and TV. Until easter 2009 I did not realise the potential of a career in this area. The trigger that sent me down this rout was a combination of the 3d modeling I was learning in architecture and a series of autodesk software reels. After seeing these I decided to finish up my architecture BA and follow this passion.
Almost all of the clips in these videos have a 'wow' factor, something I would like to attempt to achieve in my show case. Of course, as is the nature of any company showreel, these examples incorporate a huge range of skills, methods, technology and time. As one person I do not have the same breadth of experience. Fortunately my supervisor, Gregor, pointed out that through my portfolio the stronger work is all motion graphics. This is something I have always enjoyed pottering around with and will form a satisfying focus as the area of this project.
Autodesk showreels (the specific videos which brought this industry to my attention):
Media and entertainment 2007
http://www.youtube.com/watch?v=DkHbr_bhfno&feature=related
Showreel 2008
http://www.youtube.com/watch?v=EW73SUiTMAM
Best of the best 2009
http://www.youtube.com/watch?v=_p3MhKh6oXE&feature=related
Siggraph 2009 showreel
http://www.youtube.com/watch?v=UTObzzFSADU&feature=related
1.2 Career and creative aims
I am aiming to work in a smaller film and tv studio after graduating. Commercials and short promotional videos are the most likely areas in which I will find work. A speaker at the 'Scotland Loves Animation' workshop described having a broader skill set as an advantage in the world of smaller studios. The ability to wear many hats makes the studio as a whole more versatile. Also having a skill that no one else in that particular studio will give you a huge advantage in acquiring work there. He advised students to have a general range of skills as well as a specialisation. I do not find the idea of focusing on one particular skill with a larger company as enticing at this stage, although I would not say no to any form of employment. If a studio will have me, that's where I'll go.
1.3 Current skills and abilities
4 Pitch presentation (First) (Second)
5 Learning Contract (PDF)
6 Proposal (PDF)
7 Project Map (link)
8 Gantt Chart (Time table) (Chart)
9 Structure
10 Media and reflection
11 Exposition (Report PDF) (Mock up) (Group slides)
12 Pitch and crit management (First) (Second)
1 Personal Statement
Proposer: Iain J McCallum
Student Number: 0904111
Programme: BA Computer Arts (Hons.)
Specialism(s): Motion Design
1.1 Inspiration and interests
I have a strong interest in design and creativity with a specific focus on visual effects. I had always been aware of amazing things being shown in films and TV. Until easter 2009 I did not realise the potential of a career in this area. The trigger that sent me down this rout was a combination of the 3d modeling I was learning in architecture and a series of autodesk software reels. After seeing these I decided to finish up my architecture BA and follow this passion.
Almost all of the clips in these videos have a 'wow' factor, something I would like to attempt to achieve in my show case. Of course, as is the nature of any company showreel, these examples incorporate a huge range of skills, methods, technology and time. As one person I do not have the same breadth of experience. Fortunately my supervisor, Gregor, pointed out that through my portfolio the stronger work is all motion graphics. This is something I have always enjoyed pottering around with and will form a satisfying focus as the area of this project.
Autodesk showreels (the specific videos which brought this industry to my attention):
Media and entertainment 2007
http://www.youtube.com/watch?v=DkHbr_bhfno&feature=related
Showreel 2008
http://www.youtube.com/watch?v=EW73SUiTMAM
Best of the best 2009
http://www.youtube.com/watch?v=_p3MhKh6oXE&feature=related
Siggraph 2009 showreel
http://www.youtube.com/watch?v=UTObzzFSADU&feature=related
1.2 Career and creative aims
I am aiming to work in a smaller film and tv studio after graduating. Commercials and short promotional videos are the most likely areas in which I will find work. A speaker at the 'Scotland Loves Animation' workshop described having a broader skill set as an advantage in the world of smaller studios. The ability to wear many hats makes the studio as a whole more versatile. Also having a skill that no one else in that particular studio will give you a huge advantage in acquiring work there. He advised students to have a general range of skills as well as a specialisation. I do not find the idea of focusing on one particular skill with a larger company as enticing at this stage, although I would not say no to any form of employment. If a studio will have me, that's where I'll go.
1.3 Current skills and abilities
Skills: Modeling, animation, motion graphics, general post production
Tools: Maya, Photoshop, After effects,
Learning: Houdini, Toon Boom, Smoke, C4D
Examples can be seen on my portfolio blog: aRollingPortfolio.blogspot.com
1.4 Skill Gaps
Autodesk smoke (compositing, editing, finishing)
Houdini (particle effects)
Cinema 4D
Rendering processes, vray, mentalray
nuke, shake, final cut,
Colour theory
2 Research domain mind map
First domain - the design of VFX pipelines
Second domain - Visual stylisation of short film
Third domain - Visual identity in broadcast design
3 Aim and objectives
To investigate how the marketing goals of a television channel or network drives the design of its branding, and to demonstrate the development and production of its visual identity
1 Review and evaluate literature on motion design
2 Investigate and analyse examples of motion design
3 Conduct practice based research in the creation of visual identity
4 Create and critically evaluate a visual identity through motion graphics
4 Pitch Presentation
Week 4
The Slides
The Write up
The Feedback
Week 8
The Presentation
The Feedback
5 Learning Contract
Module Code: AG1084A
Module Title: Honours Project
Student Name: Iain J McCallum
Student Number: 0904111
Email Address: IJMcCallum@hotmail.co.uk
5.1 Project Title:
(The design of) Broadcast Identity
5.2 Project Aim:
To investigate how the marketing goals of a television channel or network drives the design of its branding, and to demonstrate the development and production of its visual identity
5.3 Objectives:
1 Review and evaluate literature on motion design
2 Investigate and analyse examples of motion design
3 Conduct practice based research in the creation of visual identity
4 Create and critically evaluate a visual identity through motion graphics
5.4 Methodology:
1.1 Literature Review
1.1.1 Review literature to identify the basic theories and values of graphic design
1.1.2 Review literature on branding and logo design
1.1.3 Review literature on motion design
1.1.4 Reflect on the literature, discuss and identify criteria for analysis of visual identity.
1.1.5 Write a review of the literature for the dissertation
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 Examine the literature identifying methods used to create visual identity
2.1.4 Write a critical analysis of the case studies and how they portrayed visual identity
3.1 Media Tests
3.1.1 Experiment with the use and creation of various styles and techniques in motion design
3.1.2 Prepare a series of identities to be used as subjects for the media
tests
3.1.3 Develop a visual presentation of the most appropriate identities through experiments in motion design
3.1.4 Produce documentation reflecting on the media tests, their production processes and their results
4.1 Practice
4.1.1 Prepare a fictional 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
4.1.6 Generate ideas
4.1.7 Evaluate and refine ideas
4.1.8 Develop the most appropriate idea
4.1.9 Produce a visual identity
4.1.10 Write a critical evaluation of the mini-short for the dissertation
4.1.11 (if time permits) repeat 4.1.2 through 4.1.10
5.5 Submission Deliverables:
The following deliverables shall be provided as evidence of having achieved the four objectives:
1.1 Literature Review
Online diary documenting the research activities undertaken for the first objective
Document reviewing the literature researched.
2.1 Research Diary
Online diary documenting the research activities undertaken for the second objective
Document critically analysing the case studies and their methods in creating visual identities.
3.1 Media Tests
The media and project files used to create each test.
The collection of finished media tests.
Document reflecting on the processes and results for each of the media tests undertaken.
4.1 Practice
Online sketchbook and notes showing background information and analysis of the 'client'
Online sketchbook and notes showing development of the visual identity.
The completed motion graphic piece showing a visual identity
Document critically evaluating the final piece.
Much of the work produced as a result of the five methods shall be incorporated into the end of year exposition. The exposition will showcase the entirety of the research process, clearly communicating how the end artefact was achieved.
Additionally, the dissertation shall communicate the result of the literature review, the development of methodology, and the research findings.
5.6 Resources:
Autodesk Maya
Autodesk Smoke
Houdini
Adobe Photoshop
Adobe after effects
Adobe Premier
Toon Boom
Access to maya pc's for rendering
6 Proposal
AG1064A: Professional Practice – Project Proposal
Project Title: (The Design of) Broadcast Identity
Proposer: Iain J McCallum
Student Number: 0904111
Programme: BA Computer Arts (Hons)
Specialism(s): Motion design
Project Description
6.1 Abstract
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 therefor a requirement in the realisation of channel design, new programe packaging, promotion clips and advertising concepts.
This study will focus on describing a rout through which the goals of a channel can be developed into a visual identity that set it apart from the competition. Research into motion design, branding and graphic design will inform a practice based approach with the full production of a visual identity being the final aim.
6.2 Project Aim and Objectives
To investigate how the marketing goals of a television channel or network drives the design of its branding, and to demonstrate the development and production of its visual identity
The objectives are as follows:
1 Review and evaluate literature on motion design
2 Investigate and analyse examples of motion design
3 Conduct practice based research in the creation of visual identity
4 Create and critically evaluate a visual identity through motion graphics
6.3 Rationale
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. The processes each studio uses in its work flow will differ hugely but still share certain fundamental elements. This journey from the character and goals of the client to the finished product can be a testing one but one which every creative must undertake.
It is hoped that this study will help facilitate an in-depth understanding of the process by which the visual language of identity is created. For practitioners in the business of producing identities this knowledge is essential. It is the key to ensuring the design communicates exactly what is required of it. Too many fall into the trap where by "The form [is] dictated by the machine, and so, surprisingly, [is] some of the content" (Kyle Cooper, 2006). In other words the work fails in its goal of communicating an identity and instead advertises a mastery of design software. But, holding onto and staying true to the goals of the work through development and creation can result in a design that transcends the fashion of the moment and becomes a message that will not fade with time.
There are others who have collected and analysed information on similar topics. Mark Oldach authored the book 'Creativity for graphic designers' outlining processes of development which include many methods relevant in designing broadcast identity. Other valuable sources of information are 'Motion by Design' by several authors and 'Showreel.01' by Bjoern Bartholdy which both outline a number of case studies on design practices working through several disciplines.
Finally there are the multitude of authors describing rules, theories, laws and ideas in the creation of graphic design within which motion deign has its origins and can there for draw from for creative guidance.
6.4 Project Methodology
In order to achieve the objectives listed above, a practice-based methodology shall be deployed. This shall focus on the development and production of visual identity in broadcast through practice-based methods, leading to the production of graphic development, motion design tests and finally a completed visual identity.
A progress diary shall be maintained through out the extent of the project documenting activities undertaken by the project proposer. The diary shall collect all research and practice based development in the form of an online blog. This blog shall include a detailed breakdown and presentation of the various elements that make up the body of the honours project.
A literature review shall be produced in order to document the proposers investigation into existing sources of relevant information. This shall focus primarily on graphic, motion and broadcast design. The review shall be complimented by visualisation techniques such as mind mapping and graphic portrayals of information demonstrating the proposers understanding of the subject.
A research diary shall be kept in order to document the proposers examination of case studies. These shall focus primarily on visual identities developed for television networks and channels. The diary shall also document the analysis of each study.
Practice based media tests shall be conducted. These media tests shall experiment with techniques in the creation of motion graphics in various styles. They shall also experiment with design choices identified in both the literature review and research diary. A collection of the media tests shall be produced alongside documentation of their analysis.
The design and production of a final visual identity for a broadcast entity shall be used as a research method. This piece shall encapsulate all of the major findings of the research exhibited as a fully developed piece of motion design portraying a visual identity.
As the methodology is practice-based drawing entirely upon arts practice methods, it is important that all materials are accurately and efficiently documented, and that transparency of process and analysis is achieved.
6.5 Outcomes and Deliverables
The following deliverables shall be provided as evidence of having achieved the four objectives:
1.1 Literature Review
Online diary documenting the research activities undertaken for the first objective
Document reviewing the literature researched.
2.1 Research Diary
Online diary documenting the research activities undertaken for the second objective
Document critically analysing the case studies and their methods in creating visual identities.
3.1 Media Tests
The media and project files used to create each test.
The collection of finished media tests.
Document reflecting on the processes and results for each of the media tests undertaken.
4.1 Practice
Online sketchbook and notes showing background information and analysis of the 'client'
Online sketchbook and notes showing development of the visual identity.
The completed motion graphic piece showing a visual identity
Document critically evaluating the final piece.
Much of the work produced as a result of the five methods shall be incorporated into the end of year exposition. The exposition will showcase the entirety of the research process, clearly communicating how the end artefact was achieved. Additionally, the dissertation shall communicate the result of the literature review, the development of methodology, and the research findings.
6.6 Expertise and Experience of Project Proposer
The project proposer has approximately 2 years experience working with Autodesk Maya and 6 years working with Adobe Creative Suite. In particular, the proposer has a thorough understanding of production processes and the principles of animation. Previously, the proposer completed short films as part of university coursework, and has some experience producing scenes for external projects.
However, it has been identified that the proposed will require more in-depth knowledge of VFX in Houdini, compositing in Autodesk Flame and motion graphic creating in Cinema 4D. As such, as part of the project, the proposer shall aim to develop his skills in these areas. This work shall be carried out predominantly in semester 1, in preparation for the honours project module in semester 2.
Additionally, it has been identified that the proposer currently has a limited knowledge and understanding of motion graphics and graphic design. As such, it is crucial that the proposer engages with the literature in history, development, and making of graphics early in semester 1. This will feed into the literature review and dissertation as well as underpin good production practice.
6.7 Timetable
The following timetable shall be followed from early-November 2011 until May 2012, and shall result in the creation of the project artefact and dissertation.
6.8 Ethics and Risk Assessment
There will be no participants in this study besides the project proposer. The proposed shall work primarily in the studio, and will not encounter any substantial risks to health or safety in the execution of the project.
The completion of media tests as part of method 3 could be delayed to the point were information gathered would be insufficient in informing the project and final work. As a result the project and final work would rely on the information gathered in methods 1 and 2.
Availability of hardware facilities within the university may be limited to such an extent as to impact on the completion of an appropriate amount of media tests or on the production and rendering of the final piece. In these circumstances privately owned machines equipped with trial software will be employed.
There is the potential that failure to complete all specified art assets as part of method 4 in time would impact on the completion of the final piece. As such, a backup plan will be to make use of existing assets from method 3 alongside visualisations from method 1 in order to complete the final presentation of work.
6.9 Resources
The following resources will be required in order to accomplish the proposed project:
Autodesk Maya
Autodesk Smoke
Houdini
Cinema 4D
Adobe Photoshop
Adobe After Effects
Adobie Premier
Final Cut
Toon Boom
Acces to maya pc's for rendering
6.10 References
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
Drate, Spencer, Robbins, David, Salavetz, Judith. 2006. Motion by Design.London: Laurence King Publishing Ltd
Newark, Quentin. 2002. What is Graphic Design?. Switzerland: RotoVision SA
Oldach, Mark. 1995. Creativity for graphic designers. Ohio: North Light Books
Ritchie, Ian. 2005. Design Choice: Channel 4 Idents. Marketing (London). 09/07/2005. pp. 13
Wildbur, Peter and Burke, Michael. 1998. Information Graphics, Innovative Solutions in Contemporary Design. London: Thames and Hudson
Thomas, Gregory. 2000. How to Design Logos, Symbols & Icons. Ohio: How Design Books
7 Project Map
8 Gantt Chart
9 Structure
10 Media and reflection
11 Exposition
Report:
In conducting research on this topic it was found that there is almost too much to bring together into a short study. Focusing primarily on practical exhibitions that show their process alongside the finished artefact helped narrow down the information, in other words, focusing on expositions rather than exhibitions.
One of the first examples that comes to mind was the fifth year Architectural degree show in Edinburgh College of Art at the end of the 2010/11 educational year. Colour scheme, exhibition style, font, physical items on show; everything was tailored to match the designs which in turn strongly reflected the concepts. This is a recurring theme through all the varying projects on show. The clean, sharp edged proposal for a car factory is reflected in the well ordered, minimal presentation style whereas, just around the corner, the warming, intricate, and rich content of a food market is complemented by herbs and spices with tactile materials binding design documents. In stark contrast to these two, further along the studio, is a controversial concept dealing with the presentation of jewish wartime art alongside that of the nazis. The design and exhibition space convey a sharp clash with highly contrasting colours, rough materials (including rusted barbed wire) and degraded paper on which the details are laid out.
In thinking about the requirements for this honours project there is a temptation to go wild with the construction of its exposition, one of the ideas that wandered through my head was to create a mini living room. The roots of this concept lie in the area of my study being broadcast design therefor the viewers home is the natural place of presentation. The impracticalities could be solved by flattening the 'room' onto the walls of the exposition as a picture. The problem would then lie in achieving an atmosphere of quality, something that would be near impossible given the constraints of time and space. At this point I feel very strongly that taking a leaf from Mies van der Rohes book would help lead to the most relevant and successful solution. "God is in the details" and "less is more".
In order to achieve a presentation guided by these principles I will follow a similar line of thought to Le Corbusier's statement "A house is a machine for living". I intend to treat the exposition as a machine for portraying content. Using the same process as Mies "to subtract and distill" until left with "almost nothing" the presentations concept shall reflect some of the modernist ideals of the 'interwar years' in which "There would be no applied ornament anywhere". Only that which is necessary shall be included.
Kostof, Spiro. 1995. A History of Architecture. 2nd Edition. New York: Oxford University Press, inc.
Layout plan:
Research into other expositions and exhibitions
12 Pitch and Crit Management
1st session:
The group consisted of five students, three second and two third year computer artists. With the smaller group size time management was less of an issue. Another factor that helped in this respect was the joint project between two of the students for their sole module.
Providing feedback was slightly more difficult. As this is the beginning of the semester not all of the students have gotten into the work so much. The small amount of presentation material did not afford much to provide feedback on. Most of the advice given focused on planning for future hurdles. For example, one student with a programming background is going into a team next semester with the hopes of working on the art. My advice was to generate enough art to justify that position as the likely hood of being the only person with an ability to program is fairly high unless the work is outsourced. Also to the three second years taking their own developed game concepts into a group that will only produce a single idea - keep in mind they will have to justify why their idea would be a better investment of time and effort. Going into the group development without justifications backing up their own ideas is likely to result in it being ditched.
The joint animation project had more depth and development creating more opportunities for feedback. I began the feedback with some initial notes on their presentation style then moved into some finer points regarding the planned performances of their characters. Their project had enough substance to draw the rest of the group into discussion with most giving their own contributions.
In future sessions I hope to improve on my ability to appraise and identify weak points in projects with more speed. I found myself coming up with ideas for feedback after the conclusion of the session. From my perspective the pitch went well, hopefully the students will provide more practical work in the next presentation from which I can draw an improved understanding of any difficulties they may be facing.
2nd session:
Slightly different bunch of people this time. Unfortunately the other 4th year didn't make it leaving the group to me. From the presentations 4 weeks ago there has been varied progress. The most significant advice I was able to give was to bring to their attention the pending deadlines and inevitable build up of work.
With much of the work moving into production the more technical issues are coming to light. This is a tricky area to advise without more specialist knowledge, especially when the problem areas are in coding games and my focus is on animation and films.
I was, however, in a position to point out areas in which more information could be found. These came in the form of other works which I have come across as a direct result of honours research and pointing out other honours students work where there research would be relevant to the younger students.
My parting shot of advice, which is a given and one I will likely repeat to anyone, was to keep an eye on the future. This is more specifically for the third years who will be beginning their own honours project next year, the significance of this study on future career opportunities I doubt will be lost on anyone reading this far into an honours research blog.
3rd session:
For this third 'pitch and crit session' I was supervising a different group of individuals. Over all this was a much more comfortable group with all those present providing feedback. This was due to the members having more outgoing attitudes and a good collection of concepts to present. Either by chance or good preparation on the parts of those presenting we ran almost perfectly to time. These circumstances allowed me to concentrate on giving valuable feedback without the worry of timekeeping and encouraging others to come forward with opinions.
Of the general advice I gave; the most important, in my opinion, was the importance of maintaining an online portfolio in order to help with landing future opportunities. The following are a few more points of advice given through the session:
- Don't bite off more than you can chew.
- It's better to keep a project small but polished
- If possible outsource work in order to concentrate on key elements in production.
- If you don't use maya it would be worth learning to get the most out of this course.
- For animators, look up the 11 second club and take part, also check the crit videos
- Check out the 4th years projects for potential collaboration opportunities.
- When attempting an ambition project, keep deadlines and have a backup plan.
- Find reference and inspiration from dissimilar projects, it'll keep your ideas fresh
- Abduzeedo is one example of an excellent resource for inspiration.
- Make sure you can produce work in a variety of styles, versatility = employability.
- When working in the style of an artist make sure you consider the underlying concepts and not just the surface appearance.
4th session (6th March 2012):
Of the four pitch and crit management sessions this was the smoothest. There were those who had not achieved as much as would be expected and will likely face an intense last minute 'crunch time'. This was pointed out but, as is so common, learning it the hard way will make it stick. Generally though all the work that had been completed so far has been developed on strong concepts and good preparation. One had difficulty with the base concept for a module who's brief is unrealistically open and undefined, after running through some quick ideas they seemed confident with a more defined direction. No student in my group stuck out above the others, nor below. If anything, we ran slightly quicker than was expected.