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.

The work I create is informed by questioning reality/identity, the fractalizing planes of existence our essence occupies, and the artifacts of memory experience navigating through space time. While existing in this realm of oversaturated media and neon glow, I question the effects of pervasive data systems overloading or programming the mental software we possess. My work includes humor as a means of exploring these conventions while also displaying psychedelic surrealist imagery to help break away from the conscious prison this existence births our concept apparatuses within.

Denna studie syftar att undersöka hur en svensk inkubators statiska logotyp skulle kunna animeras utifrån dess varumärkes värdeord; inspirerande, inkluderande och utvecklande. Dessutom syftar den att identifiera hur en animation av en logotyp påverkar tolkningen av en verksamhets varumärke. Genom att använda sig av metoden forskning genom design har en animerad logotyp tagits fram åt verksamheten East Sweden Game. En förstudie utfördes för att få grepp om verksamheten och därefter följde en designprocess i fem steg. Först identifierades ytterligare information om verksamheten för att sedan skissa koncept i storyboards. Därefter animerades de mest lovande koncepten till utkast som efteråt värderades av East Sweden Game och Fishy Minds. Efter värderingen färdigställdes de två mest lovande animationerna och validerades genom en kvantitativ studie samt en kompletterande kvalitativ studie. Resultaten från studierna visade att ett av förslagen, “Kontrollen” som kan ses nedan, utmärkte sig och ansågs av respondenterna representera värdeorden och verksamheten bättre. Båda animationerna ansågs också av en majoritet tillföra något positivt för East Sweden Games varumärke.

A proposta desse trabalho é mostrar a produção em termos de design das vinhetas para televisão e as técnicas para a produção das mesmas desde o início da televisão no Brasil no ano de 1950, até os primeiros anos da TV Educativa (TVE), período no qual a computação gráfica televisiva dava os primeiros passos no país. Além de fazer um panorama histórico dos elementos gráficos que eram veiculados nesse meio de comunicação e a apresentação de conceitos utilizados na área, o trabalho mostra como funcionava a prática do design gráfico em movimento através dos trabalhos do designer gráfico Rui de Oliveira, que trabalhou na TV Educativa entre os anos de 1977 e 1983. / The aim of this research is to show what was done in terms of broadcast design and techniques for producing on air graphics from the begin of television broadcasting in Brazil in 1950 until the early years of TV Educativa (TVE). In addition to making a historical overview of broadcast graphics, this research shows what was the current practice of motion graphic design at a television station in said period. Part of the projects developed by graphic artist Rui de Oliveira, who worked on TV Educativa from 1977 to 1983, was used here to illustrate this practice.

A proposta desse trabalho é mostrar a produção em termos de design das vinhetas para televisão e as técnicas para a produção das mesmas desde o início da televisão no Brasil no ano de 1950, até os primeiros anos da TV Educativa (TVE), período no qual a computação gráfica televisiva dava os primeiros passos no país. Além de fazer um panorama histórico dos elementos gráficos que eram veiculados nesse meio de comunicação e a apresentação de conceitos utilizados na área, o trabalho mostra como funcionava a prática do design gráfico em movimento através dos trabalhos do designer gráfico Rui de Oliveira, que trabalhou na TV Educativa entre os anos de 1977 e 1983. / The aim of this research is to show what was done in terms of broadcast design and techniques for producing on air graphics from the begin of television broadcasting in Brazil in 1950 until the early years of TV Educativa (TVE). In addition to making a historical overview of broadcast graphics, this research shows what was the current practice of motion graphic design at a television station in said period. Part of the projects developed by graphic artist Rui de Oliveira, who worked on TV Educativa from 1977 to 1983, was used here to illustrate this practice.

På många medieplattformar förekommer i dagsläget ofta någon form av rörliga element, till exempel så ackompanjeras vissa låtar i Spotify av en animation, eller så förhandsvisas serier i Netflix genom en kort trailer. Detta är inget som ännu hunnit nå fram till ljud- och e-boksvärlden, där apparna fortfarande bara består av statiska element och omslag. I denna studie undersöks därför möjligheten till rörliga bokomslag i dessa appar, närmare bestämt hur ett sådant rörligt bokomslag kan vara utformat för att väcka mer intresse för en bok hos användaren. För att nå fram till ett svar på frågan har bland annat teori om bokomslag, rörlig grafik och designprinciper samlats in, varpå en intervju har genomförts med användare av dessa appar, för att få en bättre förståelse för hur de använder apparna, och vad som får dem intresserade av ett omslag. Därefter togs två förslag till rörliga bokomslag fram genom en designprocess där konceptidéer ställdes mot varandra i en värderingsmatris, varpå ett av koncepten togs vidare i processen, och en storyboard och till sist en animation togs fram. De nya omslagen värderades sedan i enkäter som samlade in både kvalitativ och kvantitativ data från deltagarna, för att utvärdera om omslagen uppfattades som mer intressanta än de statiska omslagen. Studien fann att de rörliga omslagen uppfattades som mer intressanta, och att viktigt för utformningen vad att de hölls enkla och tydliga, samt att de är representativa för den genre som boken kategoriseras inom. / On many media platforms, there are often some form of moving elements, for example, certain songs in Spotify are accompanied by an animation, or shows on Netflix are previewed through a short trailer. However, this is not something that has yet reached the audio and e-book world, where the apps still only consist of static elements and covers. In this study, therefore, the possibility of moving book covers in these apps is explored, more specifically how such a moving book cover can be designed to create more interest in a book. To reach an answer to the question, the theory of book covers, motion graphics and design principles has been collected, after which an interview has been conducted with users of these apps, to get a better understanding of how they use the apps, and what gets them interested in a cover. Subsequently, two proposals for moving book covers were produced through a design process where concept ideas were set against each other in a Pugh chart. From there on, one of the concepts was taken to further development, and a storyboard and finally an animation was produced. The new covers were then evaluated in surveys that collected both qualitative and quantitative data from the participants, to evaluate whether the covers were perceived as more interesting than the static covers. The study found that the moving covers were perceived as more interesting, and that it was important for the design that they were kept simple and clear, and that they are representative of the genre in which the book is categorized.

This research aims to apply procedural techniques, similar to those employed in node-based modeling or compositing software packages, to the motion design workflow in Adobe After Effects. The purpose is to increase efficiency in the motion design process between pre-production and production stages. Systems Theory is referenced as a basis for breaking down problems in terms of inputs and outputs. All of this takes place within the context of a larger motion design project.

Nowadays, there are many trends and changes happening in the market industry, in order to cope with the rise of technologies. Brands are finding new, modern, and revolutionary ways in order to elevate their identities into new levels. Therefore, the adoption of motion graphics and videos yield remarkable improvements in marketing in general. The benefits of motion graphics and its impact on the field of design and marketing have attracted the attention of researchers and businesses around the world. This thesis focuses on the benefits of motion graphics in branding, and how it can add more values, opportunities, and movement to digital brand identities in order to make brands live and breathe. First, the term “Motion Graphics” is introduced and defined, for it is a vague concept for some of the viewers. In addition, a small description of the history of branding and motion graphics is touched upon, in order to give the viewers, the idea of where both fields came from and how they evolved to the level they are now. Second, the thesis uses a qualitative method such as semi-structured interviews, together with data through the insights, experiences, and knowledge of professional designers working in the field. The interview method is chosen because it is best suited to provide a more complete understanding of the research problem than quantitative data for this specific topic. Then this thesis continues to illustrate the importance of adding motion graphics in every digital brand. Where each brand can have its own unique style of animation that can differentiate their identity in the market. Therefore, some examples are presented as well as some successful digital brands that have their own animation and illustration style that make their identity stand out. Finally, the results show that motion graphics is indeed in demand and may become a norm to be added in every digital brand toolkit. In addition, motion graphics can add dynamism, can reflect the digital brand and its attributes in a better way, help brands convey their messages in a more effective way, and can increase the value and make it more suitable for social media.

Ända sedan filmbranschen började implementera datorgenererat innehåll i filmproduktioner har 3D blivit en större del av vår vardag. Syftet med detta arbete är att hjälpa 3D-artisten att optimera sitt arbetsflöde för att effektivisera en annars tidskrävande teknisk process. Genom att visuellt analysera och därefter kategorisera befintliga animationer av olika 3D-logotyper, har detta arbete skapat en grund till att kartlägga hur en eventuell plugin med förinställda ljussättningar bäst möter funna kategorier. För att besvara arbetes frågeställningar utfördes en visuell innehållsanalys av 50 3D-animationer. De analyserade logotyperna valdes ut från urvalskategorierna: film och bil. Arbetets resultat tyder på att det finns återkommande stilar och metoder för ljussättning av motion graphics. Funna kombinationer för ljussättningar har inte kunnat kategoriseras då resultaten från analysen ej gav upphov till mer än en ljussättning. Resultaten ger en grund för en optimal ljussättning ämnad för en plugin i Cinema 4D. Studien ger även förslag på fortsatt forskning inom området. / Ever since the film industry started implementing computer generated content in film productions the presence of 3D in our everyday life has increased. The purpose of this study is to help the 3D artists optimize their workflow and streamline a time-consuming technical task. Through visually analyzing and further categorizing existing logotype animations this study has created a foundation towards mapping how a potential plug-in with predefined lighting setups best matches found categories. To answer the questions of this study a visual content analysis was conducted during which 50 3D animations were analyzed. The analyzed logotypes were chosen from the categories: film and cars. The findings of this study suggest that there are reoccurring styles and methods for lighting in motion graphics. The study has not been successful categorizing the most commonly used lighting setups due to the analysis not resulting in more than one lighting setup. The result provides a foundation for an optimal setup for lighting in motion graphics. The study also provides suggestions for future research on the subject.