Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-15T20:32:09Z No. of bitstreams: 1 Marcio Rodriguez Tau.pdf: 5360355 bytes, checksum: bd4040c29dc9856f3b6ab93bdaa4c8fc (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-17T18:43:38Z (GMT) No. of bitstreams: 1 Marcio Rodriguez Tau.pdf: 5360355 bytes, checksum: bd4040c29dc9856f3b6ab93bdaa4c8fc (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-17T18:46:43Z (GMT) No. of bitstreams: 1 Marcio Rodriguez Tau.pdf: 5360355 bytes, checksum: bd4040c29dc9856f3b6ab93bdaa4c8fc (MD5) / Made available in DSpace on 2018-10-17T18:46:59Z (GMT). No. of bitstreams: 1 Marcio Rodriguez Tau.pdf: 5360355 bytes, checksum: bd4040c29dc9856f3b6ab93bdaa4c8fc (MD5) Previous issue date: 2017-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation investigates the use of graphic elements in the cinema, with the purpose of understanding how the design can collaborate to the construction of the audiovisual message and to identify the potentialities that the movement can add to the graphic compositions in open titles film. The project started with the realization that more and more graphic designers have the need to incorporate time and movement into their multiplatform projects, which in turn raises a number of theoretical and practical reflections. Thus, within the delimited theoretical scope, subjects related to moving image, principles of animation, digital graphic design, motion graphics and the graphic design in the cinema and open titles films were approached through authors like Arlindo Machado ( (2005 and 2010), Gilles Deleuze (1985 and 1990), Paul Wells (1998 and 2008), Donis Dondis (2007), Ellen Lupton (2013 and 2015), Matt Woolman (2004), Lev Manovich 2007, 2008 and 2012) and Gemma Soloma and Antonio Boneu (2007), among others. Finally, as a case study, a brief contextualization is presented, followed by the analyzes of the opening credits of the films: “Até que a sorte nos separe 2” (2013, direction: Roberto Santucci) and “Meu passado me condena: o filme”(2013, directed by: Julia Rezende). The proposal to choose these films was to provide a look at the contemporary production of Brazilian audiovisual graphic design, as well as to enable a study on open titles national films - not identified in the literature of the area consulted in this research / Essa dissertação investiga o uso de elementos gráficos no cinema, com o objetivo de entender como o design pode colaborar para a construção da mensagem audiovisual e identificar as potencialidades que o movimento pode acrescentar às composições gráficas em créditos de aberturas de filmes. O projeto partiu da constatação de que cada vez mais os designers gráficos tem a necessidade de incorporar o tempo e o movimento em seus projetos multiplataformas, o que suscita, por sua vez, diversas reflexões de ordem teórica e prática. Assim sendo, dentro do escopo teórico delimitado, foram abordados assuntos referentes à imagem em movimento, princípios da animação, design gráfico digital, motion graphics e o design gráfico no cinema e em créditos de abertura de filmes, por meio de autores como Arlindo Machado (1997, 2005 e 2010), Gilles Deleuze (1985 e 1990), Paul Wells (1998 e 2008), Donis Dondis (2007), Ellen Lupton (2013 e 2015), Matt Woolman (2004), Lev Manovich (2005, 2006, 2007, 2008 e 2012) e Gemma Soloma e Antonio Boneu (2007), entre outros. Por fim, é apresentado, como estudo de caso, uma breve contextualização seguida das análises dos créditos de abertura dos filmes: "Até que a sorte nos separe 2" (2013, direção: Roberto Santucci) e "Meu passado me condena: o filme" (2013, direção: Julia Rezende). A proposta de escolher esses filmes foi a de propiciar um olhar sobre a produção contemporânea do design gráfico audiovisual brasileiro, além de possibilitar um estudo sobre créditos de abertura de filmes nacionais – não identificado na literatura da área consultada nesta pesquisa.

Denna studie syftar till att undersöka hur ideella organisationer kan använda sig av rörlig infografik i sin marknadsföring på sociala medier för att väcka uppmärksamhet och intresse kring sitt arbete. Studien har gjorts i samarbete med den ideella organisationen Hand in Hand och praktiska exemplen har utformats baserat på Hand in Hands verksamhet. Målet är att organisationens målgrupp ska förstå effekten av arbetet, få kännedom om hur de arbetar samt känna engagemang och/eller en vilja att veta mer. För att göra det har ett koncept och designmanéer utformats. Studien inleddes med en förstudie i tre delar. Detta för att få en större förståelse för Hand in Hand som verksamhet, undersöka liknande koncept på sociala medier samt få en uppfattning om den givna målgruppens syn på; innehåll på Instagram, ideella organisationer och hur information presenteras. Därefter genomfördes en designprocess med utgångspunkter från förstudie och tidigare forskning. Flera koncept utformades och värderades för att komma fram till ett koncept att arbeta vidare med. Därefter utformades praktiska exempel av det valda konceptet, vilket innefattade att ta fram manus, storyboard, design och animering. Värdering av de slutgiltiga praktiska exemplen gjordes genom fem semistrukturerade intervjuer med tillhörande efter-enkät. Studien resulterade i ett designkoncept för rörlig infografik för Hand in Hand. Konceptet är utformat utifrån målgruppen och för att fånga uppmärksamhet och väcka intresse för organisationen och deras arbete på sociala medier. Genom användning av illustrerad grafik och rörligt material kan uppmärksamhet fångas då det idag är relativt nytt på sociala medier och gör att det sticker ut i flödet. I konceptet väcks ett intresse genom kontinuerlig rörelse och skapande av en historia, vilket gör att mottagaren vill veta mer. / This study aims to explore how non-profit organizations can use motion infographic in their social media marketing to attract attention and interest to their work. The study has been done in collaboration with the non-profit organization Hand in Hand and practical examples have been developed based on Hand in Hands work. The goal is that the target group of the organization should understand the effect of the work, get to know how they work, feel engaged and/or want to know more. To do so, a concept and design manners have been formed. The study began with a preliminary study in three different parts with the aim to get a greater understanding of Hand in Hand as a business and to investigate similar concepts on social media. It also aimed to give an idea of the given target groups view on; Instagram content, non-profit organizations and ways of presenting information. Subsequently, a design process was carried out based on the preliminary studies and previous research. Several concepts were developed and evaluated to find one final concept to continue working on. Thereafter, practical examples of the chosen concept were designed. This included developing a script, a storyboard, design and animation. Evaluation of the final practical examples was done through five semi-structured interviews with a complementary questionnaire. The study resulted in a design concept for motion infographic for Hand in Hand. The concept is designed with the target group in mind and to attract attention and arouse interest to the work of non-profit organizations on social media. Through the use of illustrated graphics and motion elements, attention can be captured since its usage is relatively new on social media and makes it stand out in the feed. The concept arouses interest through the use of continuous movement and the creation of a story, which makes the viewer want to know more.

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Propolis – Creating and using an immersive 2D honey bee environment to educate children between the ages of 3-10, about the importance of honey bees. This capstone project will showcase this researcher's skills in graphic design, spatial sound, architecture, exhibition design, and character illustration. Within this structure, individuals will be able to observe, determine, and make comparisons between a healthy bee colony and one that is fragile and dying. / Master of Fine Arts / "Honey bees have been on the decline. As of 2016, eight species of bees made it on the United States (U.S.) endangered species list. It reported that the decline of pollinators is due to industrial agriculture, parasites, pathogens, and climate change" (Contributors 2020). The loss of habitat and lack of nectar is due to monocultures and bee-killing pesticides. These are significant threats to honey bees and wild pollinators. There is a need for good, clean food providing for a healthy existence for the honey bee. When bees have proper nutrients, the result is a healthy hive that gives mature bees a better chance to fight off diseases. To showcase the life of a honey bee, this researcher created an immersive environment that simulates a hive structure. The structure, along with the motion graphics and critical takeaway printed pieces, is to help children between the ages of 3-10 understand the importance of honey bees. By comparing healthy and unhealthy bees in their natural habitat in an illustration format, the children could empathize with the honey bees. Hopefully, they will one day change the fate of these amazing creatures. The immersive environment will emulate a spatial audio, 2D character illustration, and animation projected onto a honeycomb structure. Custom seed packets and a brochure will accompany the immersive environment to allow the children to plant a bee-friendly garden and to learn more about the honey bees. This capstone project will showcase the researcher's skills in graphic design, spatial sound, architecture, exhibition design, and character illustration. This structure will allow individuals to observe, determine, and make comparisons between a healthy colony and one that is fragile and dying.

This exegesis traces a path through the production of an animated work, and discusses the evolution of an individual production workflow that refigures the industrial animation process of prototyping. By incorporating spontaneity within the animation workflow, the creative output of the project focusses on the development of a series of non-narrative, process-driven temporal constructions that fuse form and process. The creative work occupies 75% of this Masters project, and the exegesis 25% (7500 Words)

La presente tesis doctoral tiene como objeto de estudio el grafismo audiovisual. El grafismo audiovisual se presenta como un elemento indivisible de los actuales sistemas audiovisuales, tanto en los medios convencionales, cinematográfico o televisivo, como en muchos otros sistemas multiplataforma, como los grandes eventos o los dispositivos periféricos, puesto que forma parte de la comunicación y supone el vehículo idóneo de transmisión de determinadas partes del mensaje. El grafismo audiovisual actúa como soporte tanto de la información escrita como de las señas de identidad, al tiempo que activa los mecanismos persuasivos. Por este motivo, el grafismo audiovisual se convierte en un elemento necesario dentro de los diferentes discursos, considerándose un valor añadido, ya que sus cualidades estéticas y semánticas contribuyen a la penetración de los mensajes en el espectador. El desarrollo de esta investigación se ha propuesto extraer los aspectos específicos del lenguaje gráfico audiovisual, cuya principal característica es la brevedad de sus discursos. Para ello se han analizado los elementos que forman parte de este lenguaje (imagen, tipografía, movimiento, sonido, espacio, tiempo ), así como los mecanismos que trazan las uniones entre estos y sus estructuras discursivas principales, también se han analizado los usos, recursos y estrategias expresivas, para aproximarnos, de este modo, a una sintaxis y una semántica de la gráfica audiovisual. El análisis de los antecedentes, desde sus orígenes en el cine mudo, hasta nuestros días, destacando aquellos hitos relevantes, ha sido esencial para poder entender el grafismo audiovisual tal y como se entiende en la actualidad. Se ha estudiado un caso específico de aplicación: la creación, gestión y transmisión de la imagen corporativa en el medio televisivo, para el que ha sido necesario hacer un análisis en profundidad de aquellas características propias del medio. / Herráiz Zornoza, B. (2008). Grafismo audiovisual: el lenguaje efímero. Recursos y estrategias [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/4333 / Palancia

Esta investigación tiene como objetivo explicar la relación de los motions graphics como elemento metaficcional en la construcción de la narrativa de los videojuegos en primera persona: Prey y Observer. Es así que se planteó como supuesto de investigación que los motion graphics aportan en la inmersión del jugador y en la narrativa de los videojuegos Prey y Observer. La metodología usada en la investigación es un estudio de tipo cualitativo descriptivo de los videojuegos: Prey y Observer. En total se analizaron 40 elementos gráficos usando una ficha de análisis visual y contenido. Además, se realizaron encuestas a ocho jugadores y una entrevista al experto Jorge Assen. Los resultados obtenidos evidencian que los motion graphics como elemento metaficcional cumplen la función de contextualizar, informar y conducir al jugador a través de la historia, de esta forma teniendo participación en el desarrollo de la narrativa. También, se evidencia que la metaficción y el estilo visual que se usan en los motion graphics influyen en la inmersión del jugador. Finalmente, se pudo determinar que los motion graphics como elemento metaficcional complementan en el desarrollo de la narrativa contextualizando, informando y conduciendo al jugador a través de pequeños aportes narrativos con valor en la historia del juego. / This research aims to explain the relationship of motions graphics as a metafictional element in the construction of the narrative of video games in the first person: Prey and Observer. Thus, it was proposed as a research assumption that motion graphics contribute to the immersion of the player and the narrative of the Prey and Observer video games. The methodology used in the research is a qualitative descriptive study of video games: Prey and Observer. In total, 40 graphic elements were analyzed using a visual and content analysis sheet. In addition, surveys were conducted with 8 players and an interview with the expert Jorge Assen. The results obtained show that motion graphics as a metafictional element fulfill the function of contextualizing, informing and leading the player through the story, thus having participation in the development of the narrative. Also, it is evident that the metafiction and visual style used in motion graphics influence the immersion of the player. Finally, it was determined that motion graphics as a metafictional element complement the development of the narrative by contextualizing, informing and leading the player through small narrative contributions with value in the history of the game. / Trabajo de investigación

Engagement. This has become a key concept in the field of marketing. The concept of "engagement" is utilized to describe the way users instantly engage with brands using clicks, reactions, comments, and sharing. Brands and advertisers utilize media platforms to increase brand awareness and create customer-engaging content. In recent years, most platforms have utilized motion graphics and animations to produce more dynamic content, separate themselves from competitors, and create engaging content. Nevertheless, is it possible to increase engagement by using animation principles? The objective of this research is to gain an understanding of how the principles of animation can be used to improve engagement on LinkedIn, as well as the impact these principles may have on social networking site platforms, and to determine which types of content are the most engaging. The following research question was asked: RQ1: How does the use of animation principles in dynamic posts influence the level of engagement on LinkedIn compared to static posts? In this study, an inductive and empirical approach through the Visual Attention Theory was used. A quantitative content analysis was performed on the companies' LinkedIn profiles to gather data on engagement. The content analysis was performed on LinkedIn in a real-world scenario using Ny Studio, Grace Studio, and Saga Production’s accounts. In total, 18 posts—three static and three dynamic were uploaded on each of the company's LinkedIn accounts. The collected data was inserted into the engagement metric to be further analyzed. Compared to static posts on LinkedIn, the dynamic post with the principles of animation did not yield significantly higher engagement. The animation of principles does, however, affect a post's comments, reactions, and shares. At the same time, static posts showed higher engagement in terms of views and clicks. The independent t-test resulted in a significant (p < 0.001) value for the engagement metric of clicks. This reveals that static post engagement on clicks does differ substantially in this study compared to dynamic posts. The findings contribute to the limited understanding of how dynamic LinkedIn affects user engagement and have laid the groundwork for further research in this area.

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