Since the digital revolution, there has been a significant impact on how we live, work and play. For designers, it has transformed design practices and created new opportunities. However, this can bring about new problems and challenges. How can we communicate effectively in the digital age with different media and technologies advancing so rapidly? With the overload of information from tablets, smartphones, computers and television, we often start to overlook information. From research I will argue techniques that can help with us understand information in the digital realm and prove the importance of expression within visual communication.

Over the past three years I have engaged in a search for a form of moving image that would serve as a medium to contain, express and communicate my concerns and ideas. My initial investigations led me to motion graphics but as my understanding of moving image broadened I came to the conclusion that the models I was examining did not fit this genre, they are something new and do not have a definition. There are conflicting ideas about what the term motion graphics means. For the purpose of clarity, I adopted Matt Frantz's definition as a start point: "designed, non-narrative, non-figurative based visuals that change over time." Motion graphics is often considered a component of a larger moving image work or a filler element between two larger works. For example, the opening moments of a film or television programme, or a swirling abstract that forms a background for an interstitial between programmes. I require a description of a moving image type of that can be used as a guide to making work. Research into the field of moving image work made by designers was conducted with grounded theory employed as the principle methodology. This research has revealed a moving image type that I refer to as "graphic film". During the past year I have identified its key characteristics. I have explored and tested the boundaries of this new genre by constructing graphic film and comparing it to previously defined forms of moving image. The outcome of this project is a comprehensive description of what graphic film is and its ten primary characteristics. This project can serve as a guide for other graphic designers who wish to make work of this type.

Over the past three years I have engaged in a search for a form of moving image that would serve as a medium to contain, express and communicate my concerns and ideas. My initial investigations led me to motion graphics but as my understanding of moving image broadened I came to the conclusion that the models I was examining did not fit this genre, they are something new and do not have a definition. There are conflicting ideas about what the term motion graphics means. For the purpose of clarity, I adopted Matt Frantz's definition as a start point: "designed, non-narrative, non-figurative based visuals that change over time." Motion graphics is often considered a component of a larger moving image work or a filler element between two larger works. For example, the opening moments of a film or television programme, or a swirling abstract that forms a background for an interstitial between programmes. I require a description of a moving image type of that can be used as a guide to making work. Research into the field of moving image work made by designers was conducted with grounded theory employed as the principle methodology. This research has revealed a moving image type that I refer to as "graphic film". During the past year I have identified its key characteristics. I have explored and tested the boundaries of this new genre by constructing graphic film and comparing it to previously defined forms of moving image. The outcome of this project is a comprehensive description of what graphic film is and its ten primary characteristics. This project can serve as a guide for other graphic designers who wish to make work of this type.

This study explores the effect of ornamentation on the emotional response and perception of motion graphics. A series of motion graphics were created, eye tracked, and tested for changes in emotional responses and perceptions based on the amount of ornamentation in the design. This study collected both quantitative and qualitative data to gain a better understanding of the viewer's overall emotional responses and perceptions of each video. Eye tracking data was studied to validate focal points and areas of interest. The quantitative data was analyzed by looking for correlations and trends. The qualitative data was analyzed for trends and reoccurring ideas. This study found that the amount of ornamentation in logo animations has a direct effect on the viewer's emotional responses and perceptions. More ornamentation led to overall positive changes in the emotional responses and perceptions of the brand or message, however there can be a turning point where the ornamentation can cause a negative response from the viewer. / Master of Fine Arts

No description available.

The protection and preservation of biodiversity, a term that encompasses all living organisms on Earth, is becoming an exceedingly important topic as we are losing species at an alarming speed. Inspired by the UN conference, COP15, on biodiversity, this project seeks to engage and educate audiences about the importance of biodiversity conservation in the context of gardening, in close cooperation with two local gardening-related organisations based in Norrköping, Sweden.  The design project utilises motion graphics as a medium to depict the interconnections between biodiversity and gardening practices visually. By combining animation, visual effects, and audio elements, the motion graphics attempt to communicate the significance of preserving biodiversity and sustaining healthy garden environments. This thesis essay explores the research question using a Research Through Design (RtD) approach. The project was conducted through research, concept- and prototype development, finalising in an evaluation and validation phase.  The conclusion of this thesis suggests that motion graphics allow for a visual representation of complex environmental concepts, making them further accessible to a wide audience. By bridging the gap between scientific information and public understanding, motion graphics can empower individuals to adopt sustainable gardening practices and contribute to the preservation and protection of biodiversity.

Estudo da produção de motion graphics como um fenômeno original de linguagem e tecnologia, visando o levantamento de subsídios para uma metodologia de análise adequada à produção da área. A pesquisa aborda aspectos projetuais e propõe três grandes dimensões estruturais para o entendimento do motion graphics: a dimensão da matemática e da computação gráfica; a dimensão plástica; e a dimensão da linguagem. No final do trabalho a análise de um spot comercial de televisão exemplifica e testa a aplicabilidade das diretrizes metodológicas desenvolvidas. Acompanha a dissertação um anexo digital ilustrando as questões estudadas. / Study of motion graphics production as an original phenomenon of language and technology, with the aim of taking stock of subsidies for an analysis methodology appropriate for production in this area. The research approaches projectual aspects and proposes three great structural dimensions for the understanding of motion graphics: mathematics and computer graphics; plastic; and language. To complete the study, analysis of a television spot exemplifies and tests the applicability of the developed methodological directives. A digital attachment accompanies the dissertation, illustrating the analysis.

Estudo da visualização da informação em telejornalismo, através da pesquisa da base teórica da visualização da informação, e da análise dos infográficos veiculados em vídeo no telejornalismo brasileiro, que fazem parte dos motion graphics. A pesquisa aborda diferentes visões da visualização da informação, o processo de produção dos infográficos, e uma categorização dos infográficos em telejornalismo brasileiro, que se constituem como um passo para a exploração mais profunda deste campo de atuação do designer. Além disso, as entrevistas realizadas com designers da TV Globo são um ponto forte no posicionamento do designer neste campo de trabalho e sua atuação. Acompanha um anexo digital com exemplos das partes contituintes de um telejornal e a classificação proposta. / Study of Information Visualization in the news television, through research on the Visualization Information theoretical basis and the analisys of infographics broadcasted in the brazilian news television, a part of the motion graphics. The research approaches different points of view on the Visualization Information, the infographics production proccess and a classification of them, constituing as a step forward in the deep exploration of this field of work for designers. Moreover the interviews with TV Globo designers and art editors are a mark in the designers position in this field. A digital attachment accompanies this dissertation with examples of the news television parts and the proposed classification

O foco desta dissertação é o processo de criação de projetos de identidade corporativa na área do motion graphics e suas relações com os campos de estudo do design. A escolha do Canal Futura como objeto de pesquisa para dissertação de mestrado em design é explicável tanto pelas características singulares do seu projeto de identidade corporativa quanto pela relevância da instituição no cenário nacional, levando-se em conta a inserção desse estudo na linha de pesquisa História do Design Brasileiro, integrada ao Programa de Pós-graduação em Design da ESDI/UERJ. Acreditamos que a análise dos processos de identificação do Canal Futura nos auxilia na aproximação das atividades do design voltadas à aquisição de informações em sistemas, analógicos ou digitais, de comunicação. Identificamos uma série de fatores que, combinados, pareciam promover o desenvolvimento de um ambiente favorável a experimentações no campo do design da informação. Tais fatores foram divididos em três grupos principais, ligados respectivamente aos objetivos originais do Canal Futura, à contextualização do período pesquisado e ao projeto de identidade corporativa desenvolvido pela agência de design francesa, Gédéon. Nosso objetivo será analisar os fatores identificados, para em seguida, apresentar os resultados dessa combinação sob a ótica do design. Para avançarmos na discussão sobre projetos de identidade corporativa televisiva será necessária a introdução de dois conceitos classificatórios: o conceito de identidade corporativa aberta ou de convivência dialética e o conceito de Identidade corporativa fechada ou de emissão unidirecional. O primeiro conceito implica negociação entre diferentes identidades visuais enquanto o segundo baseia-se na confrontação de diferentes linguagens. Relacionaremos esses conceitos às linhas teóricas voltadas às identidades contemporâneas, tanto coletivas quanto individuais.

Estudo da produção de motion graphics como um fenômeno original de linguagem e tecnologia, visando o levantamento de subsídios para uma metodologia de análise adequada à produção da área. A pesquisa aborda aspectos projetuais e propõe três grandes dimensões estruturais para o entendimento do motion graphics: a dimensão da matemática e da computação gráfica; a dimensão plástica; e a dimensão da linguagem. No final do trabalho a análise de um spot comercial de televisão exemplifica e testa a aplicabilidade das diretrizes metodológicas desenvolvidas. Acompanha a dissertação um anexo digital ilustrando as questões estudadas. / Study of motion graphics production as an original phenomenon of language and technology, with the aim of taking stock of subsidies for an analysis methodology appropriate for production in this area. The research approaches projectual aspects and proposes three great structural dimensions for the understanding of motion graphics: mathematics and computer graphics; plastic; and language. To complete the study, analysis of a television spot exemplifies and tests the applicability of the developed methodological directives. A digital attachment accompanies the dissertation, illustrating the analysis.