Research

Framework for Analysis:

The framework I have developed considers 6 elements in the design of motion graphics.

LAYOUT or Cinematography

This considers various qualities; balance, symmetry, underlying grids or graphic rules including shape and texture.  When analysing motion graphics the variation through time must also be considered.  After analysis a conclusion shall be drawn as to whither the layout of each piece is appropriate.

DELIVERY  (Narrative)

This will asses how appropriate the perceived tone of voice is in conveying the message.  Does the piece have a loud, shouting voice or deliver it in a calm and concise manner.  The speed of information will also be assessed in considering how well the target audience has been considered in the design.

HIERARCHY

Some elements in a design will be perceived as more important due to the importance placed on them through colour, contrast shape or various other means.  This section of the framework asks which parts are most prominent, why, and how they have been made so.  Additionally the relationship between text and image, whither it be in conflict or balanced, will be assessed.

FORM vs FUNCTION 

Every piece of design must consider these opposites.  This section assesses whither the designs intent is to effectively communicate a message or to be purely fashionable. 

COLOUR

This section will ask several questions concerning the use of colour in a piece.  Are the colours harmonious or contrasting?  Have a warm, cool or complimentary scheme been used?  For what reason has the colour scheme been chosen?  Is that choice appropriate?

TYPOGRAPHY

This will comprise of only a brief look at the typography of each piece as an in depth exploration of the fonts used would merit an entire study of its own.  The readability and clarity of the type will be assessed.  It will be noted if the type has an individual style or a generic one.  Finally the suitability of the font will be discussed.

Case Studies:


BBC ONE
Layout:
Delivery:
Hierarchy:
Form vs Function:
Colour:
Typography:

CHANNEL 4

Layout:

Delivery:

Hierarchy:

Form vs Function:

Colour:

Typography:

PLUG TV

Layout:

Delivery:

Hierarchy:

Form vs Function:

Colour:

Typography:

SUNDANCE CHANNEL

Layout:

Delivery:

Hierarchy:

Form vs Function:

Colour:

Typography:

REELZCHANNEL

Layout:

Delivery:

Hierarchy:

Form vs Function:

Colour:

Typography:

KI.KA

Layout:

Delivery:

Hierarchy:

Form vs Function:

Colour:

Typography:

FUEL TV

Layout:

Delivery:

Hierarchy:

Form vs Function:

Colour:

Typography:

Research Notes:

JoyRide: http://ijmccallumhonours.blogspot.com/2011/10/26th-january-2012.html

Design Fundamentals: http://ijmccallumhonours.blogspot.com/2011/10/30th-december-2011.html

Language of vision: http://ijmccallumhonours.blogspot.com/2011/10/15th-december-2011.html

A punctuated history: http://ijmccallumhonours.blogspot.com/2011/10/14th-december-2011.html

What is graphic design?: http://ijmccallumhonours.blogspot.com/2011/10/30th-november-2011.html

How to Design: http://ijmccallumhonours.blogspot.com/2011/10/27th-november-2011.html

Logo Design: http://ijmccallumhonours.blogspot.com/2011/10/19th-november-2011.html

Good Design Practice: http://ijmccallumhonours.blogspot.com/2011/10/17th-november-2011.html

Case Studies: http://ijmccallumhonours.blogspot.com/2011/10/16th-november-2011.html

Graphic Design: http://ijmccallumhonours.blogspot.com/2011/10/15th-november-2011.html

Channel 4 Idents: http://ijmccallumhonours.blogspot.com/2011/10/14th-november-2011.html


Bibliography:

Bartholdy, Bjoern. 2007. Showreel.01 53 projects on audiovisual design. Cologne:Daab gmbh

Booth, Edward. 1980. The Language of Graphics. London: Thames and Hudson

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

Hashimoto, Alan. 2007. Visual Design Fundamentals A Digital Approach. 2nd Edition. Boston: Charles River Media

Higa, Michelle. 2011. Scott Benson: Rendezvous "The Murf" Interview. [Online]

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

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

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

Weber, Harrison. 2011. 3 Types of textures you should consider using in web design. [online] thenextweb.com Available from: http://thenextweb.com/dd/2011/12/30/3-types-of-textures-you-should-consider-using-in-web-design/ [Accessed 31 December 2011]

Wildbur, Peter and Burke, Michael. 1998. Information Graphics, Innovative Solutions in Contemporary Design. London: Thames and Hudson

Reading list:

Austin, Tricia & Doust, Richard. 2007. New Media Design. London: Laurence King Publishing Ltd

Cabarga, Leslie. 1999. The Designers Guide to Colour Combinations. Ohio: North Light Books

Bartholdy, Bjoern. 2007. Broadcast Design. Cologne: Daab gmbh

Hollis, Richard. 2001. Graphic Design, a concise history. Rev Ed. London: Thames and Hudson

Jury, David. 2002. About Face. Switzerland: RotoVision SA

Gordon, Bob & Gordon, Maggie. 2002. The complete guide to Digital Graphic Design.  London: Thames and Hudson

Koren, Leonard & Meckler, R. Wippo. 1989. Graphic Design Cookbook. San Francisco: Chronicle Books

Kress, Gunter & Leeuwen, Theo. 1996. Reading images, The Grammar of Visual Design. London: Routledge

Lupton, Ellen & Miller Abbott. 1999. Design Writing Research, writing on graphic design. New York: Phaidon Press Inc.

Krause, Jim. 2000. Idea Index. Ohio: North Light Books

Landa, Robin. 1998. Thinking Creatively, new ways to unlock your visual imagination. Ohio: North Light Books

Ranciere, Jacques. 2004. Aesthetics and its discontents. Cambridge: Polity Press

Silver, Lisa. 2001. Logo Design that Works, Secrets for Successful Logo Design. Massachusetts: Rockport Publishers, Inc.

Practical Resource:

Stephan, Jurgen. 2007. Line Design for the 21st Century, Edge Tension Please 01. Germany: Kehrer

Some of my thoughts through the progression of research:
place these at random - or maybe regular places - through the book... irrelevant experiments : a year of my life (lol)

27th November 2011

        I am looking at the creation of a product that does not fall to the demands of the current fashion or waver in the face of a clients pre-conceived vision of design based on what their competitors are doing.  Although there is a constant stream of books, articles and comments by designers and writers on how to achieve this goal, many work still falls into an ageing state.  It is my aim to look at the process of creation objectively.  It may be that there is a specific set of practice or methodologies that consistently result in the creation of timeless content.  There is also the chance that their is not the scope within our current understanding of graphics to define a 'winning' technique.  It is my gut instinct that what many are looking for lies in the most obvious places; hard work and a relevant focus - that is to say, do not get distracted to excess, a little distraction is a good thing.

30th November 2011

        The more research I commit to discovering an order in the application of 'forms and codes' in visual language the more implausible a single collated document becomes.  As in any creative pursuit there are clear sets of tools and theories but an infinitely variable manner in which they may be combined.  Herein lies the value of the designer, the sum of his experiences filtered by the requirements of a project into an idea that will be expanded and refined, creating a solution unique to that designer.  

        Throughout literature on design there seems to be a consensus that the success of a project is paralleled, within reason, by the number of solutions produced in the conceptual stage.  Our current era of mass iteration, facilitated by growing computational abilities, brings with it the necessity for a designer to posses editorial talent.  Without this talent, any idea of worth will be lost amongst its mediocre alternatives save the selection of chance.

1st December 2011

Katherine McCoy - "too often our [design] graduates and their work emerge as charming mannequins, voiceless mouthpieces for the messages of ventriloquist clients.  Let us instead give designers their voices so they may participate and contribute more fully in the world around them."

        Reading this quote has brought to light a realisation of a subject mentioned fairly regularly throughout the research.  In creating design, before the designer has even met the client or seen the project it seems that he must decide what his aim is between changing the world or satisfying the client.  This feels like a generalisation but it at least shows that the designers personal aims will have a bearing on the project.  I am sure it would be an advantage to know and be clear on your aims before embarking on any new proposal.  There may come a time when these aims will have to be set aside in order to survive as a creative force.  This could be portrayed as a sign of weakness in the resolve of the designer but in opposition it would be a show of foolishness to force ideals through where they may result in the failure of a piece.  The idiom "live to fight another day" comes to mind.

26th December 2011

Through the re-drafting of the research proposal its subject has slowly swung from a study of the design and production process to a study that aims to identify the issues faced by creatives through these processes.  This should give the study an ability to conclusively answer the aim.  It's a small shift but one which should not be forgotten, this may even justify redrafting the professional practice literature if it is to be re-assessed at the conclusion of the project.

28th December 2011

Through researching an array of design disciplines in books, internet sources and interviews I have come to realise a fairly blatant fact.  Some design professionals and students create an austere front that portrays design as a complex an intimidatingly 'special' entity, sometimes actively sometimes subconsciously.  Harsh judgments can be passed deeming objects as just simply 'bad' which, in a different light or differing opinion, can be 'good'.  These objects are the results of well meaning endeavours or the endeavours themselves.  This covers all creative elements in life and can even extend from within the person looking upon this seemingly impregnable set of skills.  With this I can extend to all those who have encountered a similar feeling a small word or idea which I am attempting to pursue myself.  As long as you keep producing and improving on your own ideas and creations, you will find your way.  Fingers crossed.

16th January 2012

Up until this point the project has been aimed towards the development of a full channel or network identity.  The reason for this undertaking was to identify and propose possible solutions to the design problems faced by an individual or studio engaged in a similar activity, specifically within the use of motion graphics.  There are two points of justification for this area of interest.  The first and foremost is my intention to find employment creating motion design for the broadcast industry.  The second concerns the recent combination of various design disciplines into one as a result of the computers ability to preform a multitude of specialised tasks.

To restrain the project scope and focus the production aim to something more suited to my personal requirements I have tweaked the subject.  Instead of a full channel identity I will look purely at channel idents from which a full identity can be extrapolated.  In effect this will form an exercise in branding with motion graphics.  For consistency each ident produced will aim to fill 10 seconds.  As for the question being asked it seems to be lying somewhere between the following two:

'What are the issues faced in portraying the identity of a channel in a 10 second motion graphic.'

'How is the identity of a channel portrayed in a 10 second motion graphic, what issues are faced and how might they be overcome.'

The form of the project will remain the same.  Academic research will inform the theoretical underpinnings of design while media testing will explore the practical production and implementation of design theories.