Broadcast Graphics: An Introduction by Iain McCallum

Broadcast Graphics: An Introduction Iain J McCallum

School of Computing and Creative Technologies May 2012

University of Abertay Dundee Permission to copy

Author: Iain J McCallum Title: Broadcast Graphics: An Introduction

Degree: BA (Hons) Year: 2012

I certify that the above mentioned project is my original work. I agree that this dissertation may be reproduced, stored or transmitted, in any form and by any means without the written consent of the undersigned.

Signature

Date

29/04/12

Abstract

Broadcast design, specifically motion graphics for broadcast, is a young industry built on younger disciplines. In comparison to other creative occupations, this area suffers a distinct lack of published material. This project aims to develop an understanding of the industry as a whole; its origins, current state, and a potential path for development. Drawn from this understanding is a proposed set of guidelines intended to enhance the conceptual development process used in designing motion graphics. In order to fulfill this aim, research into the history of graphic design, animation, and film has been conducted and presented along with studies of broadcast studios and channel identities. To conclude, a summary is given of the developed guidelines and a prediction for the industryâ&#x20AC;&#x2122;s future that will transform the interaction between creatives and their clients.

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Acknowledgements

Mr Gregor White for guidance

Table of Contents

Introduction . . . . . . Justification . . . . . Past . . . . . . . A condensed introduction to graphic design . A condensed introduction to film and animation Present . . . . . . Design today . . . . . Initial Proposal for motion graphic guidelines Description of the three developed channels . MONDO . . . . ARISEN . . . . PULSE . . . . Conclusion . . . . . . Guidelines development . . Overall Impression / Form vs Function Delivery / Narrative . . . Hierarchy . . . . Layout / Cinematography . . Visual Language . . . Animation . . . . Guidelines summary . . . . Future . . . . . . . Final Thoughts . . . . . Appendix A Aims and Objectives . . . Appendix B Principles of animation . . . Appendix C Review of seven existing channels . Fuel TV . . . . Plug TV . . . . KI.KA . . . . REELZ CHANNEL . . . Sundance . . . . BBC One . . . . Channel 4 . . . . Appendix D Review of three developed idents . MONDO . . . . ARISEN . . . . PULSE . . . . Bibliography . . . . . .

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List of Figures

Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 Figure 14 Figure 15 Figure 16 Figure 17 Figure 18

Illustration of the first Gestalt law, equilibrium Illustration of the second Gestalt law, closure Illustration of the third Gestalt law, continuation Illustration of the fourth Gestalt law, similarity Illustration of the fifth Gestalt law, proximity The MONDO logo . . . . The ARISEN logo . . . . The PULSE logo . . . . The Fuel TV logo . . . . The Plug TV logo . . . . The KI.KA logo . . . . The REELZ Channel logo . . . The Sundance Channel logo . . . The BBC One logo . . . . The Channel 4 logo . . . . MONDO ident frames . . . ARISEN ident frames . . . . PULSE ident frames . . . .

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Introduction

There are more than 7200 television channels broadcast in Europe alone and a further 1400 available. Worldwide the estimated number of existing channels 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 therefore a requirement of channel design, program packaging, promotion clips, and advertising concepts.

This study looks to facilitate an understanding of motion graphics within broadcast media and to construct an initial set of creative guidelines to help guide the creative process of any motion designer. To do this, research has been conducted and presented in three areas: past, present and future (see Appendix A for an explanation of the aims and objectives, page 32). With very little in the way of history, the ‘past’ chapter will focus on a condensed introduction to the disciplines from which motion graphics has grown: graphic design, animation and film. These introductions will be based on literary research of each industry’s published history. The ‘present’ chapter shall address the studios of today and form a proposal for creative guidelines. Qualitative study of current studios and examples of broadcast design using these guidelines shall inform a solid understanding of the productions and provide opportunity to develop the proposal. With this introductory understanding of the industry and the practice of motion design the final ‘future’ chapter shall look to a prediction of possible advances or changes the motion designer is likely to face in the coming years. 1

Justification In comparison to the disciplines of “classic” design the area between contemporary film and television design occupies a gap in the publishing market. Few literary resources are dedicated to the subject and those that are tend towards specific individuals who are of great influence but do not represent a fair cross section of the industry.

This lack of literature is understandable when the age of the industry is taken into consideration. Television broadcast began in the 1930s with John Logie Baird’s transmission from the Epsom Derby. Motion graphic design began its popularity in the 1950s with film title sequences by Saul Bass. Finally broadcast design took hold in the 1980s with Channel 4’s Ident by Lambie-Nairn giving the discipline only three decades to develop. In comparison, the cinema is almost a century older and yet ‘Film Studies’, after nearly forty years of development as a subject, is still a fragile one. So much so that in 2002 an essay by Lisa Cartwright, a tutor of film studies at the University of Rochester, was published in The Visual Culture Reader (Mirzoeff (2002)) discussing the vagueness of the subject and even questions its title. Broadcast design, therefore, is still in its youth. Free of constraining traditions it is a fast paced industry demanding equally quick development of high quality work. In this age of networking, trends flare with unbelievable speed giving rise to constantly fresh and new concepts where anything goes and nothing is taboo. Specialised channels are targeting increasingly defined markets generating an abundance of artistic directions, even the most mundane subjects are presented in an engaging and entertaining manner. “TV Design is creation at the highest level” (Bartholdy (2007))

Past

“For centuries man has labelled himself, has created an identity within which he can live and be known as he would like to be known. It is not a new phenomenon, but rather an ancient ritual, designed to express the differences between one group of humans and another.” (Booth (1980))

A condensed introduction to graphic design From the first basic symbols; circle, cross, triangle and square, to the initial move of utilising trademarks for commercial gain by Procter & Gamble, and on to our current world flooded with visual advertisement. We have developed our obsession with visual symbology and graphics to the point where it is “the most universal of all the arts” (Newark (2002)). Its uses range from the first known forms of communication to decoration, explanation of practically anything and identification of almost everything. As a result, graphics, symbols and the use of colour have been discussed, studied, analysed and employed for as long as there has been a record of history. This constant attention has distilled a hugely complex subject into a series of simple elements; line, shape, colour, texture, layout, and typography. The specific make up of these elements does vary depending on opinion but each view is essentially very similar if not the same. In whichever form they come or are presented, they now make up the study of graphic design.

The broad term ‘Graphic design’, currently used to describe a vast array of work, was first coined in 1922 by William Addison Dwiggins. His view of the role played by the graphic designer was somewhat constricted in comparison to our modern understanding. 3

‘Super-printing’ was an alternative term he occasionally used. “The printing designers whole duty is to make clear presentation of the message - to get the important statements forward and the minor parts placed so that they will not be overlooked.” (Newark (2002)) Dwiggins is describing the specific discipline of layout. The main aim of this, in his view, was to get the message across in the most efficient and effective way. This aim holds true to this day and is especially important in the development of motion graphics. Every element designed for broadcast must come from a consideration of the target audience and how they will perceive the message.

Dwiggins approach, developed through a career of commercial messages, contrasted that of Francis Meynell, a poet and printer who dealt with literature including that of Shakespeare. In a piece entitled ‘With twenty-six soldiers of lead I have conquered the world’ Meynells aesthetic leaning is reflected alongside an indication of the importance typography has within design.

“All the heights and depths and breadths of tangible and natural things - landscapes, sunsets, the scent of hay, the hum of bees, the beauty of which belongs to eyelids (and is falsely ascribed to eyes); all the immeasurable emotions and motions of the human mind, to which there seems no bound; ugly and terrible and mysterious thoughts and things, as well as beautiful - are all compassed, restrained, ordered in a trifling jumble of letters. Twenty-six signs!” (Newark (2002))

The opinions of these two men represent “the poles between which the graphic designer must choose a position.” (Newark (2002)). Function versus Aesthetic, an opposition of design philosophies which applies universally to any kind of creative endeavour. This 4

conflict has generated the more recognisable phrase, now an overused cliché; ‘form follows function’, derived from Louis Sullivans statement in 1896 of ‘form ever follows function’. Today we can see an interesting implication of function affecting aesthetic in the design of two types of networks. Larger generic channels like ‘BBC One’ and ‘Channel 4’ have no defined audience or content. They aim to please all with a wide range of excellence. The result is an array of abstract almost vague graphics forming their visual language. With such diversity of function the form has no clear target or starting point. Alternatively, there are specialist channels catering for very specific audiences with tightly controlled content. A clear form generates a clear message as seen in the graphics of those like ‘Reelzchannel’ and ‘FuelTV’. The clarity of their concept allows a more direct and controlled perception to form in the minds of the audience.

When considering the perceived message of graphics it is important to note a development in the early twentieth century by the Gestalt school of thought. This group sought to deconstruct the perception of objects into its elemental parts. The work of Kurt Kuffka, Max Wertheimer and Wolfgang Kohler was a step towards the practical application of aesthetic philosophy. John W Cataldo organised these theories into five practically applicable laws aiming to “provide the graphic designer with a reliable psychological basis for the spatial organisation of graphic information” (Graham (2008)). These laws set out clear definitions of the elements in design and the effects of their application, an attractive alternative to working through aesthetic philosophies. They are, briefly, as follows.

The first law: equilibrium. It describes the tendency of cognitive processes to simplify the perception of an object. Moving its constituent parts towards an equilibrium. It is similar to the second law of thermodynamics with objects tending towards a state of higher entropy.

Figure 1: Illustration of the first Gestalt law, equilibrium

The second law: closure. If a graphic figure is left incomplete, there is a desire to close it. This stems from closed areas as having a higher perceived stability. Incomplete or broken graphics portray instability, even hostility.

Figure 2: Illustration of the second Gestalt law, closure

The third law: continuation. A straight line can appear to extend past its physical constraints and a curve can form the image of a circle where one is not drawn. A common employment of this concept is the dotted line. It is also related to the stroboscopic effect of animation. Figure 3: Illustration of the third Gestalt law, continuation

The fourth law: similarity. What is perceived by the eye is constantly organised into patterns. Objects of similar size, shape, colour and direction will be grouped as one entity. This law is closely related to the fifth.

Figure 4: Illustration of the fourth Gestalt law, similarity

The fifth law: proximity. When objects are arranged in close proximity they will, again, be grouped as one entity. This law draws from a general gestalt principle that the character of an object is partially dependant on its surrounding field or context.

Figure 5: Illustration of the fifth Gestalt law, proximity

Throughout the twentieth century design has progressed through an ebb and flow of styles and movements. Through these shifts there appears to have been a pattern, each phase contradicting its predecessors attitude towards form vs function. The decorative design of Art Nouveau preceded Bauhaus philosophy. After a time modernism gave way to postmodernism, a reaction against impersonal blandness in favour of personal expression and variety. Now, in the wake of globalisation, the tide is turning again with a ‘modern’ take on ‘modernism’. Currently the most visible and influential force is Apple with a design philosophy being driven by Jonathan Ives and his aim to refine until there can be no more refinements. Finally, there are those that believe the future lies with more evolved and complex design that shall reflect the increasing awareness and education of audiences. When one also considers todays ‘convergence of media’ the development of motion graphics would seem to be so tightly interwoven with graphic design as to be almost one and the same. As a result, motion graphics might be described as an extension or progression of graphic design. It might also be seen as a collision between graphic design and animation. It is to this area, film and animation, that the focus of this study must therefor turn to in the next section.

A condensed introduction to film and animation The 19th century saw the development of many basic instruments that played with movement and animation. These include zoetropes, magic lanterns, flip books and other similar innovations. The content was predominantly hand drawn simple shapes, eyes moving to watch an object float across the view or a bouncing ball. With photography also making its appearance the combination of the two innovations was inevitable. Most examples of ‘moving images’ were looping scenes, their length increasing up to Edison’s Kinetoscope which held twenty seconds of film. The development of these looped presentations was cut short when photography became motorised allowing longer narratives. It is at this point that film and animation splits, or rather, hand crafted techniques were seen as inferior by film, and disregarded. “Twentieth century animation became a depose try for nineteenth-century moving image techniques left behind by cinema.” (Mirzoeff (2002)) This divide defined the characteristics of film and animation throughout the 20th century. Animation was a purely fictional medium and made no attempt to move outside this definition. Film on the other hand was seen as a presentation of the ‘real’, as Jean-luc Godard said “truth 24 frames per second” (Manovich (1995)). Every effort in cinema was geared towards removing any hint of production techniques that might betray its deviation from ‘reality’.

But, as would be expected of any statement, there was opposition to this view by those who saw film as an art form. In an academic context, film studies began importing applicable ideas from disciplines such as literature, linguistics and psychology. The subject continues to grow and evolve up to the present day.

Animation developed into an art of character performance. Gertie the dinosaur, a 1914 animated show by Winsor McCay, is one of the earliest examples of a character the audience can empathise with. It is here that Walt Disney makes his appearance, through his career he takes animated characters from small sideline entertainment to the red carpet with followings that could rival the top Hollywood actors. Perhaps the most important and relevant contribution of animation from this period is the development of the ‘Twelve Principles of Animation’. This is a conceptual tool set specifically for character performance but its relevance to any animation makes it a required element to consider in the analysis of motion graphics.

Both disciplines independently developed techniques and tools to improve quality, speed of production and costs. Any new form of technology or innovation was gladly incorporated leading to the 1990s shift towards computer media. By this time the scale of film effects created a spin-off ‘mini-genre’, short ‘The making of…’ documentaries. Clearly portraying the extent to which the ‘truth’ in cinema is manipulated was no longer a thing to be avoided, instead it became a source of pride for the studios. It is also through this shift that the division between film and animation vanished. Live action film became as much a raw material as hand drawn characters, both requiring refinement in post production along with painting, image 10

processing, 2D animation, 3D animation and compositing.

Animators and

cinematographers again share common ground. â&#x20AC;&#x153;Born from animation, cinema pushed animation to its boundary, only to become one particular case of animation in the end.â&#x20AC;? (Mirzoeff (2002)) It is from this convergence of disciplines that motion graphics began to take on momentum, almost as a spin off from visual effects developed for use in blockbusters.

Present

Today there appears a misconception that the mastery of software is in its self a mastery of graphic and motion design. Technical advances have overtaken and are leaving behind the basics of line, shape, colour and typography. “The computer has revolutionised the design process. It has made the act of designing easier, and in many ways it has improved the way we design things. Yet in other respects it has made design more formulaic, and it has standardised the act of designing” (Shaughnessy (2005)). The seemingly limitless potential of technology and the problems which accompany it increase the need for an understanding of design fundamentals. “The availability of technology and the advances in imaging and production techniques will not cover up what is essentially a bad design” (Hashimoto (2007)).

Every design discipline, from the classical to the modern, makes up a landscape through which a creative must make his way. A designer working in the broadcast industry must also, considering the convergence of technology and design tools, “command a baffling array of professional abilities that include, among others, the typographic chops of a print designer, the motion and timing smarts of an animator, the stylistic rendering talents of an illustrator, the narrative skills of a writer or editor, the music sensibilities of a composer and the cinematic and live action directing abilities of a film maker.” (Cooper (2006)). A second implication of this convergence is in the format of the design product. It must possess a flexibility that will allow cross platform application.

These challenges, holding onto design basics in the face of technical innovation, acquiring a diverse collection of professional abilities, and producing design applicable to a range of platforms, constantly test a studios ability and are becoming a crucial factor in its success. As a result, broadcast and motion graphic studios boast ever more diverse collections of creative talent.

Designer / Director studios are becoming increasingly common.

They hold an

advantage of knowing what is not only achievable but whether the creation of an effect is more economical in production or post-production. Also, the breadth of talent now contained within studios and their creative networks breaks down many constraints on the availability of technical skills. It is clear that the expansion of both a studioâ&#x20AC;&#x2122;s and individualâ&#x20AC;&#x2122;s creative skill set is a direct result of technological advance. This progression heralds many implications including an increasingly savvy audience demanding higher quality broadcast material. The challenge of motion design now lies almost solely in the conceptual development. This involves making a series of choices that will lead to a target audience perceiving the intended message. For a motion or broadcast designer it is these choices, faced on a daily basis, that will define the success or failure of a career.

Throughout the literature review conducted for this project, no single document was found to outline these choices or the skills required by motion designers. It is the intention of this dissertation to satisfy that need and propose an initial overview of guidelines for motion design. These have been drawn from the historical review of the disciplines from which the industry has grown, primarily animation and graphic design. It is hoped that they shall help inform and analyse the decisions made by motion designers in the development of a design. 13

Initial Proposal for motion graphic guidelines The first set of elements to consider have been drawn from the film industry and cover the underlying concepts of narrative and presentation in a motion graphic piece. As a result, film criticism seems a natural starting point for the development of guideline criteria. The advice published in “Dwight Macdonald on Movies” has been selected for inclusion as, in the opinion of Bernard F. Dick, “Macdonald’s guidelines are among the best that a contemporary critic can offer a student of film” (Dick (1998)). These are as follows.

“(1) Are the characters consistent, and in fact are there characters at all? (2) Is it true to life? (3) Is the photography cliché, or is it adapted to the particular film and therefore original? (4) Do the parts go together; do they add up to something; is there a rhythm established so that there is form, shape, climax, building up tension and exploding it? (5) Is there a mind behind it; is there a feeling that a single intelligence has imposed his own view on the material?” (Macdonald (1969))

As is true of any set of guidelines these may not be applicable to every example under analysis or development. Particularly, in this case, the second question which Macdonald goes on to highlight as being frequently redundant.

The second set of considerations come from graphic design and are concerned with the perception and appearance of visual elements. The specific elements under scrutiny at this point are line, shape, colour, texture, layout, and typography. A detailed study in their perception, mentioned earlier, has been conducted and formed into a series of laws by thinkers within the Gestalt school of thought, specifically John W Cataldo. These laws describe the influence of visual elements with reference to equilibrium, closure, continuation, similarity, and proximity.

The third set of elements are the twelve basic principles of animation developed by Walt Disney’s ‘Nine Old Men’. Their aim is to aid in the creation of a more believable animated performance and, although not a necessity for every animator to know, are extremely effective in their function. The principles are laid out with the details paraphrased from Frank Thomas & Ollie Johnston’s “Illusion of Life” in Appendix B, page 34. In brief they are as follows; squash and stretch, anticipation, staging, straight ahead action and pose to pose, follow through and overlapping action, slow in and slow out, arcs, secondary action, timing, exaggeration, solid drawing, and appeal.

in addition to these three sets, another quality of particular importance is the overall impression. From a new viewers point of view, what information might be perceived from the motion graphic? The analysis of this quality is a skill, or habit, required of every designer universally. It is the ability to step back and remove one’s self from the details of work to take in the thing as a whole.

Two more elements that must be taken into account but cannot be covered in the scope of this study are the quality of rendering and the sound, both music composition and effects. The musical composition and sound design of a motion graphic piece is a subject often ignored or brushed to the side. It must be noted that this subject is not one of little importance. In the creation of motion graphics the sound design is deserving of attention and development at least equal to that of visual design. The quality of rendering is a matter of talent and practice. Its judgement is up to the individual and is a discussion best held in a philosophical and psychological context. Although, the conclusions may be best summed up in a quote from Denis Dutton, a modern philosopher of aesthetics, “We find beauty in something done well”.

With these values in mind, seven channels have been selected; Fuel TV, Plug TV, KI.KA, ReelzChannel, Sundance, BBC One, and Channel 4. This selection aims to cover various audience groups and channel types; generic national channels, European and American youth culture, children’s TV, and specialist focus. These examples provide insight into various approaches to broadcast design. They should also highlight any areas in which there can be improvement in structure or definition of the guidelines. The full analysis of each channel can be seen in appendix C, page 38. Throughout these studies several examples of approaches to broadcast design have been explored. BBC One, Channel 4 and Sundance all tend towards an abstract and fairly clean look while Plug, Fuel and KI.KA have opted for a busy, loud and colourful approach. Additionally Fuel has grounded itself with a raw, handmade aesthetic. Finally ReelzChannel has taken a more literal approach made possible by its specialist nature.

The common factor across all seven channels and their design philosophies is the concept lying at the core of their visual identity. They have decided against using a strict set of rules to govern or restrict inappropriate use of colour, line, shape, texture, narrative or other purely visual elements. Instead, the channels have opted to create their own sets of loose guidelines to be followed by the creatives. These guidelines, although generally of a conceptual nature, help keep a sense of unity through the visual solutions, but it seems the ‘personality’ of each channel has a more powerful effect in playing this role. With a clearly defined set of values and aims followed by a network, the creative can find an appropriate mood, tone and concept for each design. From there the correct visual choices should become more apparent.

Among these studies there are examples of practical graphic rules employed through some of the visual languages. The circle is almost always present within the BBC One idents, Channel 4 uses its bespoke typeface almost exclusively and KI.KA does tend to stick with its colour system. These rules certainly play a big role in achieving a recognisable language but they are not the defining structure, each rule can be broken so long as the result holds true to the fundamental values of the channel.

It should be noted that these examples of motion graphics in broadcast design are of the highest calibre. The creatives involved in their development have the experience and confidence to proceed without a generic set of guidelines, as proposed in this dissertation. Instead, it is suggested that the main beneficiaries would be those without such extensive knowledge and skill. As for the guidelines themselves, the first set,

from film theory, are of great use although a significant level of interpretation is required. The second set derived from graphic design are the most consistently applicable and relevant. Finally, the third set of animation principles are almost ignored in the discussion of motion design. Although, they still remain a key element of success. Their lack of visibility is a sign of the skill with which they have been applied.

The media tests, conducted in parallel with the research and writing for this dissertation, demonstrate practical application of theories and techniques of motion design. The results of those efforts have taken the form of three broadcast motion graphics. Each is based on a fictional channel described in ‘The End of BABA’ (McCallum (2012)) pages 122 - 130, included on CD alongside the physical submission of this dissertation. A review of each design, based on the proposed guidelines, can also be seen in appendix D, page 53. These three motion graphic pieces aim to convey the ‘personality’ of their specific channel. To convey what is meant by this, short descriptions of the three channels are presented below:

Figure 6: the MONDO logo

MONDO is a channel dedicated to the ‘epic’. Action / adventure, science fiction, fantasy, extreme sports - be it a series, film or live event: MONDO will showcase anything that has ‘huge’ effects, story or achievement. Drawing together a surreal mix from blockbusters to viral independent ‘web film’, behind the scenes stories, and ground breaking events MONDO provides a constant ‘wow’ to its target audience of twenty to thirty year olds, predominantly men. The ident produced for MONDO is reviewed in appendix D, page 53.

Figure 7: the ARISEN logo

ARISEN is a channel dedicated to unveiling truth behind controversial issues, activities and events throughout the world. It creates a platform from which the voices of ordinary and independent people can be heard, specifically those directly affected by the subject under discussion. ARISEN aims to remain open to differing viewpoints and to present a non-biased outlet of information so that viewers may form their own opinions free from pre-conceptions. It is comparable to a news channel but delves deeper through a programming slate of documentaries, short (factual) films, educational and discussion shows. The audience is primarily made up by well educated, open minded individuals between the ages of twenty and forty nine although suitable for anyone with an interest in the current and controversial who is willing to hear more than one side to a story. The ident for ARISEN is revied in appendix D, page 55.

Figure 8: the PULSE logo

PULSE is an entertainment channel focusing on the playful side of life with a streak of daring. Shorter programming, tending towards ten and twenty minute shows, invigorate the channels schedule and fit the culture of todays fast moving youth. Series, reality, game, and award shows are mixed in with entertainment news and reviews. Its lighthearted and silly nature stands in contrast to an increasingly busy and stressful world. The target audience is primarily the younger generation: fifteen to twenty four year olds. The ident for PULSE is reviewed in appendix D, page 57.

Review and development of the guidelines

After extensive application of the proposed guidelines through review of the seven existing channels and the three idents developed alongside this dissertation, it was found that they still require significant development. The application of the first set of criteria, from film, has turned out the be influenced by factors outside film theory. First, as they are geared towards dealing with the underlying concept and not the appearance or practical technique of motion graphic design, their application has suffered a slight influence from the authors general design background. Second, due to this being the area with which the author has the least experience, it is possible that they are not the most effective or appropriate criteria, from film theory, to develop for the analysis of motion design. It is this area that would benefit most from future research and review of these guidelines.

Within the context of this study, the final development of the guidelines and the film theory devices shall be converged with general conceptual design considerations including those from the graphic design set. These guidelines, in order to be effective, must be discussed with two factors that should be at the origin of every design. The first: what is the message? The second: who are the target audience? The guidelines are as follows.

Overall impression - form vs function This stands apart and above the other elements individually. Initially considered an â&#x20AC;&#x2DC;extraâ&#x20AC;&#x2122; element, the practical design exercise of the three channels have highlighted its importance in the analysis of motion graphics. The overall impression is the sum of all elements. Depending on personal preference it may be considered first or last when employing these guidelines. Whichever order is chosen, it is necessary to consider its form and its function. It is proposed that it should be the designers aim to satisfy function before form. If, in watching a design, an audience can perceive the intended message the design has succeeded in fulfilling its function. This does not deny the possibility of achieving beauty in its form - this is the central challenge of design. If a broadcast graphic fulfils a function but to the detriment of its form it is clearly of less value than one that achieves both. Alternatively, if a graphic is perceived as beautiful but fulfils no function, it cannot hold the same value as one that delivers both. Although the history of design places form and function as opponents, they should in fact be seen as simultaneous goals to be strived for.

Delivery / narrative This element seems to have the most impact on the overall impression. For the concept or message to be clear, it must be told in a way that makes sense. In order to evaluate this, elements from the initial set of film theory devices will be employed. Do the parts go together? In coming together, do they add up to something or establish a rhythm or recognisable development? Is there a feeling of unity or are the parts disjointed and confused?

Hierarchy This element, although not directly drawn from film theory, is related. In considering which parts of a motion graphic design appear to hold the most importance or influence on perception, one must consider both their visual appearance and impact on narrative. Do the key parts of the design, if there are any, hold the most prominent places both visually and in the narrative? If they do not, is there a justifiable reason?

Layout or cinematography This element is perhaps the clearest example of overlapping disciplines. It draws from the initial set of film theory elements in that photography and cinematography is considered and also comes from the very early definition of graphic design through layout. Considerations such as the balance of contrast, focal points, angle, movement and order of perception (similar to hierarchy and narrative - the path taken by a viewers eye as a design is perceived) must be taken into account.

Visual language The following elements have been derived purely from graphic design, although some may also be relevant in other disciplines, their origin is from graphics in the early development of symbols. It may be more efficient to consider them as a single element in the analysis of motion graphics. In this proposal of guidelines they shall be gathered under the term â&#x20AC;&#x2DC;visual languageâ&#x20AC;&#x2122;. They are as follows: line, shape, colour, texture and typography. The Gestalt laws and an understanding of colour theory would facilitate an effective application of this element. This area, alongside

film theory, would be a beneficial area for further research and development. A full analysis of their individual components, influences and related theories could form the structure for several studies of this type.

Animation Finally, the last element of these reviewed guidelines. While reviewing the three channels developed for this study it was found that when considering the animated properties, the twelve principles do not necessarily apply. Although motion graphics, by their very nature, employ movement, it is often abstract in form. As are the graphic elements. Movement is either procedural or highly stylised. Only occasionally are characters involved in a design. After taking this into account only one of the principles appears to apply universally: slow-in and slow-out. Without it a motion graphic would appear lifeless and mechanical, occasionally this may be desirable but it would be advisable to first understand the rule before breaking it. The other eleven principles will aid in effective animation but only take on their true value and importance if a design includes a character of any kind, not necessarily human or animal but anything that portrays a personality or intelligence. As a result of this prerequisite it must first be asked, when analysing a design, if any element has personality or intelligence. If so, then the principles of animation and their application, or lack of, must be discussed or considered.

Conclusion: Guidelines summary

These are the proposed criteria for assessment of motion graphics:

How do the following elements contribute to the target markets perception of the designs message?

1. Overall impression 2. Delivery 3. Hierarchy 4. Layout 5. Visual language 6. If applicable, the principles of animation.

Now that the proposal of these guidelines, based in research of the past and review of the present, has been brought together. It is only natural that to consider any direction in which they may be developed, a loose prediction for the future of the industry must be hypothesised.

Future

With the combined availability and capability of software, hardware, and computing power, there is virtually no limit on what a designer can create for on-screen presentation. This removes any practical limitations for the creation of a design leaving only the brief as a set of conceptual guidelines. Additionally, and perhaps more importantly, the number of people with access to high level tools has now increased dramatically. Anyone with artistic training, even those who somewhat lack it, can create virtual products and designs comparable to a long-standing professional. Finally the global network connecting these individuals allows a new effect, or movement, to begin taking hold. This phenomenon has been termed ‘crowdsourcing’ by Jeff Howe in his article “The Rise of Crowdsourcing” for Wired magazine in June 2006.

‘Crowdsourcing’ is an online, and occasionally offline, distribution of problem solving and production to an undefined public. ‘Outsourcing’, although similar, differs in that it distributes to a specific entity. A web site like iStockphoto can be considered a form of ‘crowdsourcing’. Users may upload photos, videos or audio files to be bought and used almost anywhere without royalties for an incredibly small fee. This type of organisation was the next logical step from user-generated content sites and is partially responsible for swinging the market away from professional stock media portfolios. The next step has an even greater potential of affecting creative professionals and the way studios work.

InnoCentive, effectively described as ‘the research world’s version of iStockphoto’, takes this next step. Corporate R&D departments may post a problem that needs to be solved. This makes it available to any individual of the general public. Anyone with an interest is invited to find a solution. With this particular example financial rewards, usually between $10,000 and $100,000, are offered for the most successful entries. R&D costs are driven down and the number of researchers increases by several orders of magnitude. This example should make clear the possibilities of crowdsourcing for a broadcaster or motion graphic studio.

With the example set by InnoCentive a crowdsourcing broadcast design studio does not seem such a far flung idea. Forerunners of its existence have been design competitions, for example those held by e4 or SkyArts. These events result in a pool of completed entries only as adventurous or complex as each competitor. To harness the latent talent throughout the ‘crowd’ for a single purpose as opposed to playing the crowd against its self would generate results far greater than any individual could achieve. Enter ‘The New Kind’ a sci-fi web series airing in August 2012, in production at the time of writing this dissertation. Peter Hyoguchi, the creator, has gathered some of the formidable talent behind films such as Star Wars, Avater and Hugo. These professionals supervise the work created by a ‘crowd’ of anime enthusiasts. Since the project entered production a year ago, the spring of 2011, roughly $1 million of assets have been created free of charge. Being a web series the show is also planned to be free to view. Money will be made by charging $1 to watch an episode a week ahead of schedule.

Given the enormous savings offered by such a production model it is hard to see any other ways in which not only the broadcast design industry will proceed but many other industries able to utilise ‘the crowd’. The concluding statement of Jeff Howe’s article gives a perspective on just how much cheaper crowdsourcing actually is.

“Gupta turns his laptop around to show me a flowchart on his screen. “This is what we were paying $2,000 for. But this one,” he says, “was authored by one of our Turkers [a crowd sourced employee].” I asked how much he paid. His answer: “Five dollars.” (Howe (2006))

Final thoughts

It remains to be seen how and even if this future could affect the development of the guidelines set out here. What would seem apparent is their increased importance in a world more susceptible to the fragmentation of design studios, a result of â&#x20AC;&#x2DC;crowdsourcedâ&#x20AC;&#x2122; employees working from any location. These are considerations to be taken up by any who would seek to use and improve what has been proposed. A possible experiment in which further understanding of each section, and its importance, within the guidelines may be pursued would be for artists from the root disciplines to design and create their own motion graphic pieces. A grounded understanding of one rule set may turn out to hold more relevance than another in the success of motion design. This type of experiment may also prove fruitful in further clarification of an appropriate contribution from film theory. As mentioned earlier; film theory followed by the visual language would be the next logical areas for continuing research regarding their application to motion design. Whichever direction future progression takes, it is hoped that the contribution of this study will aid the creative development of any interested individuals and therefor, in a small way, the broadcast industry as a whole.

Appendices

Appendix A Explanation of the aims and objectives

1. Review and evaluate literature on graphic design and design theories Motion graphics has its roots in graphic design, animation and film. Understanding their theories is a necessity for the analysis stages and also for an understanding of motion design as a discipline. Being a newer medium there is not the same depth of knowledge available. This is initially covered in the research proposal for this dissertation. The â&#x20AC;&#x2DC;Pastâ&#x20AC;&#x2122; chapter of the dissertation serves as an introduction to graphic design, film and animation.

2. Investigate and analyse examples of motion graphics in broadcast design Up to this point there is only an explanation of the theories and historical context for motion graphics. This section will ground the theoretical discussion in reality with examples showing how design is applied in a practical scenario. Seven channels have been selected for research. The study of these examples provides insight into various approaches to broadcast design. The knowledge gained in developing this section is invaluable in its application to the final practice stage of the honours project, both in developing bespoke idents and in creating fictional channel identities within which to place the idents.

3. Conduct practice based research in the techniques used to create motion graphics Both the preceding sections concentrate on conceptual design, from theories to practical development. The final requirement for a designer is technical knowledge. This is essential in realising a design concept, without this knowledge there would be no physical product. A designer with a larger toolset will not be forced to compromise as much as the one with a smaller set. As a result, this section will explore a large range of techniques through a number of media tests. Each test will contribute a new skill and technique which may be used in the final section. Typography, stop motion, photography, particle effects, motion tracking and illustration are some of the areas covered.

4. Create and critically evaluate a broadcast ident using motion graphics and its associated techniques This is the focus point for each of the three preceding sections. The theory informs the concept, the case studies inform its development and the media tests inform its realisation. The results will stand as an exhibition of the combined knowledge and understanding gained from this project. Three broadcast identities have been developed to allow a variation in approaches (See Appendix D for the three channel descriptions, page 53). With these three identities in place idents will be produced for each, driven by the three sections. These idents are the final showcase pieces.

Appendix B The 12 principles of animation

1. Squash and stretch Think of a bouncing ball, when it is impacting the floor it compresses or squashes, just as it leave the floor (its fastest moment of travelling) it can be interpreted to stretch. This increases the sense of weight and movement. It is important, with realistic animation, that the object retains its volume.

2. Anticipation A kind of pre-movement. Imagine throwing a ball, you first reach back with your arm before launching the ball. Before you jump you will first bend your knees. These movements build anticipation of an intended movement.

3. Staging Similar to layout in graphic design. The purpose of staging is to direct attention to a desired area of a scene, this will show the audience what to pay attention to and can be useful in making sure a subtle but important detail is not missed.

4. Straight ahead action and pose to pose These are two different techniques in producing the frames of animation. Straight ahead entails drawing out the frames in order, this is more difficult but creates fluid movement more appropriate for action scenes with dynamic movement. Pose to pose involves setting up specific poses and is more suited to emotional scenes. With the introduction of computers, pose to pose is used throughout as is gives further advantage for planning, composition and organisation.

5. Follow through and overlapping action This refers to the variety of movement throughout a characters body. Different limbs are likely to move at different rates and different times. If a character sits down his hips will finish their movement first followed by the torso, shoulders then arms. This principle also refers to the movement of clothes, if loose they will take a frame or two to catch up with the characters movements.

6. Slow in and slow out If you imagine dropping a ball, initially its movement will be slow and accelerate towards the ground. Between bouncing and the top of its bounce this change of speed will be inverted, initially fast and slowing to the top of the bounce. This applies to most movement and creates more realistic motion when applied to a character.

7. Arcs Most natural objects tend to follow an arc in their movement. Projectiles will be affected by gravity. Limbs are attached to joints around which they rotate. The faster the object the wider the arc.

8. Secondary Action A movement that is not part of the main action. This gives more life, detail and interest to a scene. It is also important to ensure the secondary action emphasises the main movement rather than distract from it.

9. Timing Similar to slow in and slow out but taking into account the emotion or mood of the scene and what is trying to be portrayed by an action. A crazed, hyperactive chipmunk may have short, fast erratic movement whereas a chilled out turtle will have slower more fluid movement.

10. Exaggeration A tool for emphasising a scene. If animation were to follow reality directly it could come across as dull, emphasising the speed, path or squash and stretch within movement will remedy this. It is important to keep exaggerations proportional to each other to avoid confusion.

11. Solid drawing This covers several concepts. In classical animation, the animators ability to draw. Specifically the ability to understand three dimensions and the consistency of volume when moving through the third dimension. This also covers ‘twinning’ - the effect of both sides of the body mirroring each other, either in movement or appearance. It has been noted that animators working in a digital environment will benefit greatly from an understanding and ability to animate classically.

12. Appeal This is the interest a character holds for the audience, akin to charisma. Readable faces and poses will allow the audience to understand the character and interest will grow assuming the character has a well constructed personality.

Appendix C Review of the 7 existing channels

Figure 9: the Fuel TV logo

1. Fuel TV Aimed predominantly at a young male audience Fuel TV is the broadcast equivalent (or extension) of a teenage boys bedroom wall; posters, art, girls and other forms of self expression plastered everywhere. As a part of the channels ethos young talent is given opportunities both in front and behind the camera. The aim of this exercise is to discover new artists, designers and athletes and bring their passion for their own specific culture into the production process and visual aesthetic.

One of the main concerns of the team behind the channel is retaining a ‘trendy’ image, a big pitfall they must avoid would be the perception that the channel has become a ‘sell-out’. To avoid this problem and achieve their aim the programming and design 38

must embody the specific culture they are broadcasting without giving the appearance of a marketing-plan driven by profit and viewing figures. They must portray a passion and dedication to being a part of the culture rather than a description of it. One of the perils in targeting a trend orientated market is the risk of your audience turning on you. The youth of today is tuned in to an extent beyond anything their parents could have imagined. As a result, they can be quick to move against and avoid anything that becomes labelled as ‘lame’.

A study of Fuel’s design has revealed that there are no set rules by which the graphics are brought together, instead there is more of an intellectual aesthetic that is followed. At times ‘official fonts’ are used but these only appear when part of a graphic element that also contains the FuelTV logo. Rather than a strict rule set by the channel, this is most likely a result of what might be considered ‘good design’, the use of a recognisable logo and typeface throughout creates a visual unity within specific elements.

The graphics are influenced largely by street art and generally have a raw appearance giving rise to the thought that these visuals could have been produced by fellow ‘freethinking’ viewers. This is intended to reflect a DIY attitude prevalent through many of the sub-cultures covered by the content of their shows. Not all the viewers will aspire to the same visual aesthetic but they will tend share a desire for ‘freedom of expression’. FuelTV organises itself as an environment in which this expression can take place, its ‘rough’ and ‘whacky’ approach contrasts with the slick and sophisticated graphics of many other stations. This air of being ‘alternative’ will act as a strong force of attraction to their target group. 39

The visual aesthetic of FuelTV is the most diverse of the case studies. A brilliant example of this is their ‘Signature Series, of 100’. One hundred collaborators, artists, athletes and anyone willing to be creative, designed and produced, with the help of the broadcasters in-house team as necessary, an ident for the channel. The only rule to be followed: ‘there are no rules’. As a result there are opposite extremes of almost every graphic element throughout the channels design, an approach that appears to be working well. The lesson, it seems, to be learned from the design approach of Fuel TV is to become a part of your audience and their environment rather than an addition to it.

Figure 10: the Plug TV logo

2. Plug TV Plug TV is a channel aimed at predominantly male fifteen to thirty four year olds, and aims to be a generic, slightly crazy, alternative to other channels. The programming is made up with cult films, series and music shows in an attempt to draw in an audience looking for something a little different and sometimes controversial.

The design philosophy is loud and fun, a result of confidence in the founding team by the owners, the RTL group. RTL is one of the worlds largest broadcast production companies through ownership of a great number of smaller organisations, some of the more recognisable shows they are responsible for are ‘The X Factor’ and ‘Pop idol’. The whacky design aesthetic of Plug TV is surprising when considering that the RTL group is an organisation driven by profit.

The visual design of the station forms a universe with a diverse range of characters and graphic environments which interact in small humorous scenarios. These create more of an attachment to the channel, a viewer can feel empathy to the characters as opposed 41

to graphic shapes used by other networks. As the content evolves so does this surreal world. In a similar way to Fuel TV the visual style is defined by an abstract concept, rather than a set of graphic rules, which allows for an incredible variety and constant innovation. The similarities do not end there, each have an almost identical target audience and cultural awareness although separated by the Atlantic. This provides an interesting comparison of approaches between an American and European broadcaster. Fuel has opted for an aesthetic based on ‘freedom of expression’ that comes across as taking itself slightly more seriously than Plug which characterises itself as ‘deranged’, ‘cuckoo’ and ‘nuts’. Interestingly the baseline ‘Complement PLUG’ translates as ‘Completely PLUG’ and aims at creating a phrase that effectively means ‘Completely nuts’. The design studios sense of fun comes through strongly in their designs making it hard not to love what they produce, “After all, everybody has a twisted side” (Bartholdy (2007)) - Sven Mastbooms (Creative director of Seven).

Figure 11: the KI.KA logo

3. KI.KA KI.KA is a German public service children’s channel with an aim to inform, educate and entertain. Thanks to the combined input of ARD (a joint organisation of Germany’s public service broadcasters) and ZDF (an independent public broadcaster) the channel boasts some very high quality and varied programming.

The visual aesthetic is built on a very simple idea - collage. Objects from daily life are used but not the stereotypical things associated with children. The creatives try to be surprising in their choice with an aim to inspire the imagination of viewers. This works with the channels aim to inspire self-confidence and positive values in the young audience. Social, emotional, and cognitive development is encouraged - not brand awareness or products.

The programming is aimed at an audience of rapidly developing youngsters. To deal with the speed at which children ‘grow up’ the target audience has been divided into three categories: pre-school, school age and pre-teen. Each has its own variation

of the KI.KA aesthetic broadcast at specific times. As a viewer matures they will progress from one section to another allowing the channel to be a part of their lives for longer.

The youngest ‘pre-school’ programmes have a very simple and paced mode of address mainly presented in a light yellow and sunny colour scheme. School age graphics are based on a blue pallet. Pre-teen idents and presentation move into bright pink and also play with more action and humour. The colour scheme appears typical of design aimed at children - bright and vivid. Although the use of collage brings together much variation through the graphics there is always one clearly dominant colour. This is not necessarily always one of the colours specified for each of the three age groups, further variation seems to be acceptable within the design remit.

Amongst this colour graded collage the information must be clear and concise for children to understand. This is achieved with large font size and highly contrasting colours used in the writing. The typography reflects the collage aesthetic with a ransom note effect that tends to restrict variation within soft sans-serif fonts.

The design is clearly taken seriously with the involvement of research institutions and studies to inform and back up the choices made. As a result the design philosophy is a successful one, and has been proven so. Their logo, even amongst pre-reading age children, is easily identifiable. Taking heed from scientific research is evidently a logical thing to do.

Figure 12: the REELS Channel logo

4. REELZ CHANNEL ReelzChannel is a specialist broadcast about movies but does not show any movies. Instead its content is made up from the world surrounding film production; behind the scenes, reviews, interviews etc. Their target audience are adults, eighteen to forty nine year olds, who enjoy films and are interested in further knowledge on the subject. In the past century movies have grown to become an integral part of our culture and lives. They provide a conversational platform through which individuals can connect, share and debate interests and experiences. Reelz provides further insight to this ‘platform’ and so is a source of natural interest for many.

The design aesthetic is a fairly simple and clean one. Superfluous elements are eliminated leaving only that which contributes information or emotion. There are no 3D graphics and very little in the way of textures of patterns. The shapes are simple and the colours are bold. Sharp, highly contrasting sans-serif fonts are used throughout the graphics in keeping with the main logo although, as with any rule, there are occasional exceptions. The overall effect this builds is a simple, clean and fairly loud one. This 45

strict adherence to simplicity creates an environment within which design development must be accompanied by complex and creative thought processes, otherwise the design runs a risk of being catastrophically dull. For Reelz this is avoided with idents that tend to take film clichés and gives them an ironic twist or plays with them in a visually entertaining way.

Being a specialist channel there is more of a defined message or identity that is being conveyed. Films and ‘the movie business’ form a clear focus throughout the graphics. For general channels with a larger target audience there is less definition as shall be seen through some of the following studies.

Figure 13: the Sundance Channel logo

5. Sundance The Sundance Channel is a spin off from the Sundance Film Festival and holds the same values although a separate organisation. Entries to the festival are usually included in the programming of the channel alongside a diverse collection of films, documentaries and original shows. Sundance provides a platform for independent creative voices and looks to show the challenging and the unconventional. The tag line running through many of the idents is ‘For a change’. The audience is less defined than other channels but are described as sophisticated: “We think that they are open to arresting, innovative communication on all levels, including design.” (Bartholdy (2007)) - Sarah Barnett (SVP Branding, On-Air & Creative Services, Sundance Channel).

The channel design is very clean, free from clutter, predominantly 2D with occasional 3D manipulations giving further depth. Most of the design and production is undertaken by the small in-house creative agency with larger outside studios pitching for the bigger projects. The design team, in looking for an authentic way for design to work, has a 47

very minimal use of shapes. Plain blocks of colour form strings across the screen, occasionally one of these blocks frames a key image or piece of footage. There is a sub section within the overall graphics package dedicated to environmental programs. This uses, unsurprisingly, green as its key colour with illustrations of plant life growing out from footage of built objects. Interestingly, although most other channels seek ways of standing out, this is the only channel, of these case studies, that uses a serif font in its logo. A very small detail that does set it apart. As is shown by the overall aesthetic of this channel, sometimes the simplest form of communication can be the most effective.

Figure 14: the BBC One logo

6. BBC One BBC One is the flagship channel of the BBC, it aims to creatively enrich the lives of the public through entertainment, education and information. They have six public purposes set out in a Royal Charter; “sustaining citizenship and civil society, promoting education and learning, stimulating creativity and cultural excellence, representing the UK, its nations, regions and communities, bringing the UK to the world and the world to the UK, delivering to the public the benefit of emerging communications technologies and services.” (BBC (2012)) The channel provides individual services for Scotland, Wales, Northern Ireland and England - the visual identity is virtually identical through each service save the name of the country below the main BBC logo.

Since the first broadcast motion graphics began appearing in the fifties BBC One has been using the circle as its central emblem. This has an almost endless list of connotations being the most prominent of the primary shapes. An appropriate choice for the oldest channel in Britain. In the context of the BBC design it is used to represent ‘togetherness’. This refers to bringing families together as well as the British public and 49

extends to all who may be a part of its audience. In terms of the graphics, everything comes together around the circle and in many cases all the elements become the circle. Generally these elements are live action, or photo real effects, of people in surreal situations that form the circle. Occasionally animals are also involved. These bizarre scenarios must interconnect the widely varying material broadcast by the channel and so do not refer to any specific mood, genre or subject. The circle and logo are the only consistent elements along with connotations of collaboration and ‘togetherness’.

In 2006 BBC One had its own font developed by ‘Fontsmith’. This gives an almost subliminal recognition of BBC One graphics even without specific branding. The most notable point about the typeface is the circular nature of the ‘o’ exterior which reflects the circle theme running through almost every ident design. A very powerful sense of recognition is achieved when this is combined with the red signature colour of BBC One. Add a circle in any guise and the three block BBC logo and the elements making up the visual language are complete. This is one of the simplest and most effective graphic strategies employed by any broadcaster.

Figure 15: the Channel 4 logo

7. Channel 4 Channel 4 is a publicly owned UK broadcaster but does not receive a share of the licence fee like the BBC. Its primary purpose is the fulfilment of its public service remit: “The provision of a broad range of high quality and diverse programming which, in particular: a) demonstrates innovation, experiment and creativity in the form of content and programmes; b) appeals to the tastes and interests of a culturally diverse society; c) makes a significant contribution to meeting the need for the licensed public channels to include programmes of an educational nature and other programmes of educative value; and d) exhibits a distinctive character.” (Channel 4 (2003)). Over 300 production companies receive commissions from the channel, a far greater number than any other British broadcaster including the whole of the BBC. There are several channels broadcasting alongside the flagship service, E4, More4, FilmFour, and 4Music all of which are now free to view. 51

In a similar way to the programming, the graphic packaging for the channel is produced by a great number of different studios. This creates a diverse range of styles and ideas to satisfy the huge scope of the target audience. The remit, several design guidelines, and history of the channel play important roles in keeping a unified appearance to the range of idents. Unity is also held onto through the supervision of outsourced work by some core talent that has worked with the channel over an extended period of time. These are the creatives behind the current design which splits the logo in two referring to the channels ability to present many perspectives on any issue.

Like BBC One, Channel 4 has had its own font created and tends to stick with a limited range of colours. The most recognisable feature is the nine block ‘4’ icon designed by lambie-nairn in 1982. This has become a design icon that has stood the test of time with its core concept left intact even through thirty years of the channels development. The design of the channel, unlike many other business organisations, does not undergo large overhauls of its image. Instead there is a gradual evolution of the graphic elements, always guided by the remit but changing as the content and demands of the audience change. With the reliability of Channel 4’s popularity and the unchanged core logo the most powerful tool for the designers is the brands recognition.

Appendix D Review of the 3 Developed channels

Figure 16: MONDO ident frames

1. MONDO The concept: The first of the three Idents, MONDO is attempting to portray a sense of something â&#x20AC;&#x2DC;epicâ&#x20AC;&#x2122;. It moves from an eclipsing planet to a ball of energy that bursts out revealing the MONDO logo. The initial plan was to have the logo physically explode out of the sphere colliding with the smaller cube objects. Unfortunately, without the use of more powerful equipment, the required simulation was too complex. These technical limitations forced a compromise in the form of a flair effect.

The review: Is the concept consistently portrayed? The concept is apparent throughout the various phases although these phases may be too many in number which leads onto the second consideration: Does it have form / rhythm / clear development in the story? From the 53

designers perspective the story and its development are clear. A huge dormant mass is energised allowing it to full fill its potential: MONDO. To anyone attempting to decipher this, it could become apparent but to the casual viewer this may only come as a subconscious realisation. To return to the first point, the feeling of ‘epic’ may have been better portrayed in a slower single shot. Cliché or original? Cliché; the eclipse, the flair, the tag line ‘larger than life’. Does it have unity? This is an element that has been more successful through the design, dark bold shapes against light have been used throughout and alongside a controlled colour scheme. Colour: Built as a predominantly black and white piece red has been chosen as a tint over the active elements. This is intended to portray one of the more obvious connotations of the colour; passion. Line and Shape: Have been kept bold. Initially everything is curved (the planet, the wisps of energy escaping the light ball, and the path taken by the sparks.) Once the energy ball impacts the sphere it is revealed to be made up with cubes, after the flair the logo is also shown to be bold and angular in nature. Of the final considerations, texture and animation are less of a concern in this example. Everything is silhouetted and the movement is smooth and minimal. The typography has been discussed in detail as part of the logo development in ‘The End of BABA’, page 131, included on CD alongside the physical submission of this dissertation.

Figure 17: ARISEN ident frames

2. ARISEN The concept: The shards coming together are reflective of the channels intent to portray differing opinions on controversial subjects. They also represent the diversity of subjects covered. The projection of news footage onto their surfaces is intended to clarify both these concepts and the channels identity as a source of â&#x20AC;&#x2DC;newsâ&#x20AC;&#x2122; although the term is used loosely as current affairs are not the channels only focus.

The review: Is the concept consistently portrayed? As this ident has a much more minimal concept it is safe to say that there is consistency and unity throughout. This also serves to give a clear story for the idents narrative: things coming together. Again their seems to be elements of clichĂŠ here with the use of old, publicly available, footage. Colour: The 55

only colour shown is in the footage projections. They are also the source of more frantic movement which identifies those parts as the important elements until the final logo dominates the screen. Line and shape: These have been kept as clean and sharp as possible to aid in the perception of clarity from the ident. The acuteness of the angles is also representative of the highly emotional content. Texture: A very subtle texture has been added with the intention of aiding aesthetic interest. Reflections on the surface show its imperfections and add a slight air of realism. With this in mind an HDRI (High Dynamic Range Imaging) lighting map has also been used instead of manually setting up lights. This gives a more realistically lit scene. Again the movement throughout this piece is smooth and minimal, the direction and spin of the shards is procedural leaving the layout to be determined by camera angles. These angles give various views of the shards again reflecting the channels aim of representing all sides to any conflict.

Figure 18: PULSE ident frames

3. PULSE The concept: In contrast to the previous two idents and channels, PULSE has a far more light hearted outlook. Its variety of programming and less serious content is represented as an explosion of colours over the screen. The idea begins with a character in a blank, boring, plain environment. The arrival of PULSE gives him (or her) such excitement and joy as to explode with ‘emotion’.

The review: Unity and consistency are easily kept throughout this single shot piece, the least visually complex of the three. This is also, probably, the most original of the three mainly due to the character exploding as having the potential to be seen as ‘inappropriate’ in our hyper-sensitive public domain. Colour: A highly vibrant and diverse collection of colours attempt to make it more visually stimulating and attention grabbing. 57

The rest of the graphic elements are most applicable to the logo which has been discussed in the development of the channels identity, again in ‘The End of BABA’, page 134, included on CD alongside the physical submission of this dissertation. This is the only ident with a character and so the use of the principles of animation are more applicable. Most apparent is the use of ‘slow in’, and ‘squash and stretch’ but as has been mentioned in the main body of this dissertation, these principles only become interesting points when one or more has been broken, either by accident or intentionally.

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