The aim of the dissertation was to investigate how a visual representation of an idea or message, such as an advertisement or direct-mail promotion package, can be represented using time-based graphic communication, rather than print based or ?static? imagery. My infatuation with both animation and graphic design led me to reconcile the two subjects in order to try and incorporate both forms of communication to improve the effectiveness of visual communication.
To facilitate the investigation, I needed to find a suitable methodology to evaluate my research proposal. Exploring the question to a great degree was of fundamental importance: Why would animation be a better means of achieving its goal in the field of Graphic Design rather than static imagery? One problem that I was faced with was that, because there are many different forms of animation, finding the best one to use, and when to use it, was complicated. Likewise, finding the best research methodology and applying it here to test this theoretical hypothesis was not an easy task, because this theme is indeed a unique one and has not been given the stimulus it deserves.
It eventually became evident that the advantages of incorporating animation, once a non-graphic design subject, into still imagery, an area which dates back to the birth of original graphic design, were paramount. With the purpose of exploring the significance of this, the research model that I chose to use was named ?Context-Definition.? This is when the designer attempts to gain a better understanding within the field of the brief and the project focus is defined in response to an identifiable need within that area. Initial work in this model usually involves a thorough analysis of a broad range of secondary research, mapping the territory to be investigated and determining the range of work which has already been done within the target context.
Thus, through search of literature, a sound knowledge of time-based and still graphic communication was profitably explored and evaluated. Additionally, in order to find out what implications this has on related Art and Design industries, an open-ended questionnaire was carefully devised and given to practising professionals to elicit further information. The interviewees included Nick Perry, a distinguished graphic designer, and Glyn Wadbrook, a web developer.
I found that using animation, in replacement of still imagery, has immense potential to open doors to new thoughts and innovative ideas.
Contents Page
Introduction 4
Literature review 7
Case study 12
Evaluation of research 13
Conclusions 15
Appendices 17
Questionnaire 19
Reference list 21
For further reading 22
Introduction
This project will investigate how the preparation of a visual representation of an idea or message, such as an advertisement or direct-mail promotion package, including illustrations, can be represented using time-based graphic communication, instead of print based, or ?static? imagery. In other words, how animation can be incorporated into still images to enhance their effectiveness.
While exploring this question, we shall investigate the various animation techniques used and exactly where they are used, whilst elaborating on how the media uses animation to portray a particular message, and how it can influence both our thinking and imagination.
Many designers, however, initially viewed the general career aspect of animation as a tawdry environment?too defined by its restrictions for real expression. They felt stifled by frames, the limited colours, and multiple other things that were always changing, especially the softwares, due to the increasing demand of sophistication and competition with other products; thus, making it both a frustrating and daunting medium. We shall explore Bonsiepes? opinions in more detail later.
Nevertheless, recently, animation is not seen merely a single subject of bringing cartoons to life, but rather a diverse field with a multitude of topics?topics that are used everywhere and are not just for entertainment purposes only but also there to shape the way we think.
Svankmajer (1996), a Czech Surrealist animator, states: ?Animation enables me to give magical powers to things. In my films, I move many objects, real objects. Suddenly, everyday contact with things which people are used to acquire a new dimension and in this way casts a doubt over reality. In other words, I use animation as a means of subversion?
Quite rightly said. Animation can indeed redefine the everyday; challenge our conventional notions of ?reality? and can defy the orthodox everyday understanding and acceptance of our existence. I may be slightly overstating here but animation can also, in a way, defy the laws of gravity, challenge our perceived view of space and time and convert inert images into pulsating movement bursting with life. Wells (1998) states: ?This was well understood by pioneer film-makers like Georges Melies and early animators like J. Stuart Blackton, Emile Cohl and Winsor Mcay.?
Therefore, a question of fundamental importance needs to be evaluated here: Is animation a better means of achieving its goal in the field of Graphic Design than still images, if so, why? There are many different forms of animation; what would be the best one to use and when? Moreover, what is the best research methodology that can be applied here as a means of testing this theoretical hypothesis? We will profitably explore this in what follows; however, we first need to mention the various terms and definitions that will be used, to distinguish and clarify the specific differences in order to avoid confusion in terminology.
To begin with, computer graphics, a sub-field of computer science, is concerned with digitally synthesizing and manipulating visual content. Wikipedia (2009) has a good definition of computer animation. ?Although the term often refers to three-dimensional computer graphics, it also encompasses two-dimensional graphics and image processing. Computer graphics is often differentiated from the field of visualization, although the two have many similarities.?
Therefore, animation can be seen as a branch or subfield of computer graphics, along with: rendering, geometry and imaging. Moreover, another subject which overlaps with its definition is motion graphics. This uses either video or animation or both, wherein an illusion of motion is created. Motion graphics can thus be used to distinguish still images with that of a transforming appearance that is conveyed over time, without over-specifying the form. (Answers, 2009) Although motion graphic design is not the same as animation, it nevertheless lies within the context of computer animation, along with video or film, and is thus of major significance in this discussion.
The words ?Digital?, ?graphic?, and ?design? are now widely used within our day-to-day conversations. All?if to most?people in the developed world has been exposed and influenced in some way by information and design technology. Due to this daily contact with the digital world, it has become easier to spread a certain message through visual communication. The digital graphic designer is responsible to convey this information in the best possible way.
The emphasis of this project is, therefore, on motion and digital graphic design, whilst the term ?animation? will be used in its broadest sense?that is, time-based graphic communication. Digital graphic design is of particular interest here as it is a field created by the development not of the computer itself but of the ?graphical user interface? (GUI)?the means by which users can interact with graphic symbols on the screen. The Apple Macintosh in particular, by adopting a GUI in place of text-based operation, allowed the innovation of a graphical screen display to be exploited for the creation of graphical content, and thus digital graphic design was born.
It is inevitable, therefore, to at least briefly explore defined areas of surface graphic design. These include: Design for print, Packaging, Signage, Advertising, and exhibition of Display Design. Moreover, we need to pay particular attention on web design for the internet, intranets, multimedia and games.
We are now gradually realising the advantages of incorporating, to a greater degree, a once non-graphic design subject?that is, animation?into still imagery, an area which dates back to the birth of original graphic design. The complex array of overlapping and ?tangled? definitions and subject related softwares ineluctably brings the various subjects mentioned into a unity: ?unity in diversity? so the saying goes.
In order to explore the significance of this, the research model that will be used in this study is termed ?Context-Definition.? This is when the designer attempts to gain a better understanding within the field of the brief and the project focus is defined in response to an identifiable need within that area. ?Initial work in this model usually involves a thorough analysis of a broad range of secondary research, mapping the territory to be investigated and determining the range of work which has already been done within the target context.? (Nobel & Bestley, 2005, p.58). We shall then critically appraise a case study related to this topic, which will help us to select the most appropriate research methodology for our own research.
Moreover, preliminary primary research will be done in this study, where self-devised questionnaires are sent to professional designers to elicit their personal opinions.
Therefore, through search of literature, a sound knowledge of time-based and still graphic communication will be explored and evaluated. Moreover, in order to find out what implications this has on related Art and Design industries, a questionnaire will be given to practising professionals to elicit further information.
Literature Review
Artists, who were traditionally limited to mere still imagery, have adopted multimedia as a new medium for self-expression, from on-site exhibition installations to Internet delivery. The internationally acclaimed video artist Bill Viola has a respected ?tradition? of embracing new media and technology in his work. His work can be seen on his website: www.billviola.com, and many of his exciting videos can be seen on Youtube.com. The web artist Bill Barminski, an accomplished Flash, Shockwave and After Effects designer, exploits the full power of sound and animation to present his idiosyncratic view of popular culture using Macromedia?s Shockwave. In fact his very entertaining website: www.barminski.com was awarded ?Flash Site of the Day? by Macromedia, because of his continous updates and constant ?tweaking? (Artscenecal, 2008).
We exist in an environment where our senses are constantly bombarded with sounds, words, and images. Designers, artists, and developers are responsible for the many forms of information and entertainment that we experience, but must constantly reset their working parameters to keep abreast of new developments. Multimedia designers may well be musicians, fine artists, film- and video-makers, writers or editors. Graphic designers especially, however, find that their visual language, together with their experience in managing words and images, provides them with an excellent basis for multimedia work.
Bonsiepe (1994) argues that graphic design as a whole runs the risk of not covering new phenomena that result from technological innovations, particularly computers and computerization. As new concepts, such as audiovisual means, multimedia and information management, arise, the limitations of the traditional concept of ?graphic design? become more apparent.
Bonsiepe further contends that he wants to reinvent graphic design to help expand the skills and professional attributions of the designer, as many people have not realised the advancement in this field. Traditional concepts of a graphic designer have, he states, strong implications on predated technology, like ?printing?. However, it is time we reclassified what it means to be a graphic designer, as in our fast-moving technological world, graphic design has greatly evolved, incorporating many other subject areas.
It can be argued that graphic design has its origins in the late 19th century which was utilised as a tool for advertising; however, when graphic design is associated with marketing, advertising or capitalism, it can diminish the graphic designer?s self-esteem. Steven Heller (1995) speculates wittily about the future of graphic design?and designers?as he traces the changing perceptions of its role from the 1980s onwards.
Stephan Bundi, meanwhile, examines the place of individuality and imagination in a digital age in which computers have taken over many of the designer?s traditional tasks. Stephan Bundi began his career as an apprentice at Young and Rubicam, before setting up his own studio in 1975 in Berne, Switzerland, where he also teaches at the Hochschule fur Gestaltung (Design Academy). A dedicated and demanding graphic artist, he emphasises the power of the hand in the age of computers. Bundi states that computer technology has had an impact on design and reproduction techniques and has significantly changed visual communication. Moreover, designers ?have come to rely on computers, peripheral devices and software. (Bundi, 2000)
One may wonder if this dependence on computers has caused further complications in things rather than made things easier and productive. It is often said that the role of computers should be to relieve humans of the need to undertake tedious chores, and there are certainly some repetitive chores involved in traditional animation. Whether the fresh chores brought by the use of computers are preferable to the existing ones is a matter of personal opinion, but their use pushes forward the creative and production horizons of the medium.
Computers can be used in animation in two main ways: as tools to improve the application of traditional methods; and as a means of generating material not possible traditionally. Between these two poles lies the possibility that computers may sometimes be able to improve on the speed, cost or accuracy of traditional animation techniques to the extent that projects which were previously technically possible, but impractical in scale, could be attempted. An example of this is the computer control of a motion-control rig, where camera movements of much greater precision and flexibility are possible, and with the major advantage of total repeatability. By storing a complete record of all parameters digitally, any sequence can be repeated, in whole or part, with the total accuracy vital for multiple exposures.
The production of program titles and credits is particularly suited to computer assistance. 2-D typography can be produced by a paint system and 3-D letter forms by a modelling system, with all the consequent advantages of scaling, positioning and colour changes being made simple by the computer. Text can be ?wrapped? around objects with an ease that encourages experiment, rather than with the labour that discourages subsequent change. Most applications have their own built-in range of fonts, and specialised machines exists just to produce captions electronically, having up to a thousand different fonts included and the ability to accept fresh ones created by the graphic designer.
In a book of a collection of essays by leading photographic and film theorists, Stillness and Time: Photography and the Moving Image, Green & Lowry (2006) has shown the changing relationship between the still and moving image in contemporary culture. It is emphasized that it is often desirable to produce animated images. The motive may be entertainment, scientific clarity, commercial persuasion or other, but the means is to present a sequence of images, called frames, at a rate such that the observer will accept the succession of discrete images as being one of continuous movement. The rate at which this illusion of movement is considered adequate is normally between twenty and thirty frames per second, and will often be determined by a secondary medium onto which the animation is saved?that is, film or video.
The ability of the viewer to construct the illusion of movement from discrete images is strong, and if the movement being watched is understood at an intellectual level then relatively few visual clues may be needed to support the illusion. For example a walking figure is so familiar that a few frames from the gait cycle may be ?padded out? by the viewer's experience to match the known experience. The frequency of these frames maybe low enough for them to be recognised as being separate without the illusion being lost. The illusion is particularly easy to sustain if the frames are synchronised to the tempo of the ?real life? experience.
The increasing ability to produce computer animation at an acceptable cost and speed, and to employ it on a wide range of machines, is opening up many new opportunities for the medium. Almost everyone in the western world is being regularly exposed to the medium through commercial and entertainment uses on television, with dreaded ?flying logos? swooping past the eyes at frequent intervals. This increased exposure leads, of course, to increased familiarity and then, as the medium is accepted alongside more traditional ones, to increased demand. Things in the real world are constantly moving, and the ability to mimic or simulate that quality breathes life into the inanimacy of the frozen image. A single image can capture ?the decisive moment?, which might have become lost during a sequence, but many situations demand greater truth to turbulent reality.
In science, business, entertainment and education, frontiers are being pushed back through the insights which computer animation alone can offer. Finding visual form for impenetrably large collections of numbers has offered revelations to mathematicians, doctors have been led to new diagnoses and treatments, space missions have been rehearsed in safety and TV graphics has been revolutionised. Some phenomena in the world are only visible when they are moving, a fact demonstrated by a square of dots seen against a field of dots (where the square is invisible until it moves). Although this might seem an obscure example, it shows how much information could be hiding in a stack of data, and how animation could provide the vehicle for extracting it.
TV graphics can be taken on board so readily by producers and designers, wanting their programme introduction or promotion to have more punch than its rivals that it has almost become the de facto standard. As a spin-off, it has unfortunately brought to millions of people, in the privacy of their homes, some of the most vulgar and needlessly expensive images of the century. The best examples of the genre have, however, become minor classics which enlighten and contribute to the discipline of graphic design. It will be interesting to see what effect the imminent proliferation of satellite TV stations has on the cost and quality of computer animation.
One of the most well known and enduring examples of computer animation on British television is of the Channel 4 ?ident? (station identity): a brightly coloured figure "4" breaking into sections which fly and tumble past the camera before reforming. This logo was ?brought to life? in a major new art commission in the run up to Channel 4's 25th anniversary (Dexigner, 2007). (Please refer to figure 1 in the appendix.)
Certainly the work of Martin Lambie-Nairn, and with many other people claiming part of the credit, the piece has a simple elegance which has endured since 1983 (University College for the Creative Arts, 2008). The apparent simplicity of the image does not mean that it was easy to create, and, just seven years ago, it was not possible for all the work to be done in this country. The rate of development of systems, however, means that many home micros today could match the choreography, if not the resolution, of that sequence. (An interesting detail is that the Channel 4 logo is shown in orthographic projection, which means it has no perspective. Since it needed to be shown in a perspectival projection in order for its flight to make visual sense, it was necessary to "cheat" a little in the opening and closing frames to move from one system to the other.)
?Animation has been very popular in television commercials, both due to its graphic appeal, and the humor it can provide. Some animated characters in commercials have survived for decades, such as Snap, Crackle and Pop in advertisements for Kellogg?s cereals. The legendary animation director Tex Avery was the producer of the first Raid ?Kills Bugs Dead? commercials in 1966, which were very successful for the company. The concept has been used in many countries since.? (Wikipedia, 2009)
It is hard to generalise about the use of computer animation on television as its function and form will vary according to the context, but there are several areas where it is currently popular. Station idents, programme title sequences, information graphics and advertisements all make heavy use of the medium and it is almost universal, at the moment, for news programmes to employ computers in the production of their introductions. News programmes are something of a flagship for the stations, and are an important part of establishing their house-style. The graphics may need to evoke qualities of honesty, seriousness, topicality and grittiness, define the relevant locality, reinforce the station's image, and be accompanied by a matching soundtrack. The images used are usually iconic (the globe, the parliament building), the typography prominent, the movement smooth and pacey, and the overall feel often symbolic (reaching out across the airways, flying to the nation's pulse).
Moreover, when we see Graphic Designers use animation in advertising, there is nothing unique about the computer animation techniques used, which distinguishes advertisements from material produced in any other context. Their existence is justified by their ability to sell their product, and very large budgets may be available for very short animations. It is an area where art directors have to be responsive to stylistic fashions, and where the sensitive balance of cost and creativity is in the client's hands. A production is likely to be handled by an agency using designers and facilities which may be found both in, and out, of house. Specialists firms may be brought in to deal with motion control, rendering, post-production, etc., or one company may deal with everything from design to final tape. The brief may be tightly defined by the client, or the design team may be given a great degree of freedom.
Case Study: Report Body
Unfortunately, there are no case studies directly related to this research proposal. Thus, a pilot research study was constructed to gain a better understanding of the most suitable research methodologies to use for our main research.
Two creative practitioners responded to the self-devised questionnaire that was sent to them (please find the questionnaire attached in the appendices). As they specialise in two different design fields, where disparate opinions are likely to exist, it was interesting to note their responses. Glyn Wadbrook is a web developer and programmer; whilst Nick Perry deals with print graphics?that is, still imagery.
It was obvious that both the creative practitioners found my central question intriguing; however, the claims I make regarding my theoretical hypothesis are not totally agreed upon. Firstly, Glyn argues that in terms of websites, ?Animated gifts are not popular anymore, and make things look unprofessional.? I can understand the notion of reducing a website?s credibility by packing it with informal animated gifts, as can be done for a bank website for example. However, I certainly do not agree that it is ?out of date.? Animated gifts are still being used by even the major websites: Facebook, Myspace, Youtube, to name but a few. Nick Perry further adds to this: ?Time-based graphics has more advantages, more people have broadband (quicker download speeds), time based graphics can work through the Internet!?
There is another important point to mention here, even though time-based graphics can work through the internet, it has several limitations?in that, the Internet is limited when it comes to multimedia products?maybe this is why Glyn Wadbrook?s points differ. For instance, multimedia is often delivered over a closed network using a powerful central computer to send the work to smaller satellite machines. This is much more efficient than using the Internet, because data is transferred across a high bandwidth local area (LAN)?whether cabled or wireless?rather than meandering around the Internet. This kind of set-up can be used for ?Intranet? systems, company data, training workshops, in-store information points, and similar restricted environments.
Multimedia products usually offer a broader, richer and more expanded range of outcomes than web products, which by their very nature are anchored to the more stifling constraints of the Internet, Interactive television, although barely out of its infancy and currently burdened by low screen resolution, provides a particularly exciting prospect for multimedia designers over the next few years.
The fact is that we will always be challenged to change and adapt as long as we remain involved in designing for this medium.
Evaluation of Research
I would like to begin by analysing the methods used for my preliminary research. The first step I took in the research process was to review the available evidence in the field. Because there was not sufficient evidence from a previous research that has already satisfactorily clarified the problem, it was essential to draw out my own. However, drawing upon others? ideas did help to clarify the issues that were raised.
I found that although there are various topics in the field of animation which no doubt have positive implications, complications and difficulties are still present in most of them. For instance, televised entertainment; this includes TV shows that use 3-D animation and composited effects as part of their weekly fare. This is probably a very expensive market, but it is still possible to create low budget shows. For example, Mike Judge did that with Beavis and Butt-head (Figure 2); he used primitive 2-D cell animation instead of sophisticated 3-D computer techniques. Nevertheless, the biggest expense is usually the voices; this is why Mike Judge did several of his own.
Animation in relation to game consoles also has complications since they continually increase their capabilities to emulate real 3-D, photo-realistic action (Figure 3). The market for 3-D animation in the gaming community is always growing and highly competitive. Skills that are seen to be more prominent include character and creature development, achieving photo-realistic playback with minimum memory allocation, understanding moving camera dynamics, and, of course, good teamwork. This increasingly develops the player?s expectations for new consoles and ultimately enhances their imagination and thus their senses of perception.
Business communications is probably the largest market for 3-D animation, especially videos and DVDs that are made to explain the hidden intricacies of medicine and high technology. Such an example is the ?Inner Life of a Cell? by Harvard University (Figure 4). To view the full video visit: http://www.youtube.com/watch?v=jjexZ88wIno. This has given students in the field of medicine to visualise cellular functions. It was perhaps much more difficult for medical students in the 1940s to imagine this themselves!
Indeed, perhaps one major, and rather obvious, point raised by Nick Perry was that by ?doing a broacher, time-based graphics has no use.? Maybe, then, still imagery should not entirely be replaced by time-based graphics as it certainly still has many important roles in our modern graphic design era. In his book, Design Basics Index, Jim Krause, a graphic designer who has produced award winning work for Microsoft, McDonald?s, Washington State Apples including others, emphasizes this point. However, beyond reasonable doubt, animation in terms of graphic design is highly more sophisticated and thus more effective in expression of visual communication.
Animation, usually tailor made to fill today?s commercial requirements, make available to advertisers and film producers a great number of techniques and effects. ?The amount and variety is limited only by the collective imagination of the talented men and women who plan and produce the commercials.? (Levitan, 1962)
Animation can convey many different messages or meanings just by the way it is perceived?much like the other fields of graphic design. For example, if something zooms across the screen, it communicates "fast" or "urgent." And if it was a slow move, it can communicate "calm" or ?gentle?. It is really about timing, or rhythm, and we can all relate to that language.
However, it's one thing to recognise that motion and rhythm as universal forms of communication, but to take it a step further?communication through motion is deeply embedded in our culture in other ways. Although not entirely to do with animation, an example I can think of is the common saying: ?this movie is too MTV?. This refers to the quick edits which are typical of music videos and have become a property of the MTV brand. By establishing a particular motion-based style, MTV has added a huge attribute to its brand.
In the more distinct realm of the graphic designer, motion design has even more of an influence and an impact. For instance, I can easily recommend to a designer on my team, "This should have more of a Kyle Cooper look." (Kyle and his company's work can be viewed at http://www.imaginaryforces.com.) The designer would, (or should) understand that I was referring to a darker, portentous, more distressed text approach. (Though Kyle and his company have designed film titles and commercials of many different styles, he is best known for his ground-breaking work on film titles from movies like Seven and The Island of Dr. Moreau.) (Figure 5)
In these examples, the content is mostly irrelevant to the perceived message. It's the impact of the motion that conveys the high energy of MTV, or the chaotic, darker style of Kyle Cooper. It is through techniques like these that animation can affect our senses of perception.
Conclusions
It is inevitable that this project will have raised more questions than it answers, and that it?s discussion of many complex questions need to be followed through in much greater detail and to a greater depth.
This work has aimed to introduce some of the evidence currently available to suggest that time-based graphics is a better means of visual communication than mere still or ?static? imagery. However, at the point of actually doing the research, unforeseen practical difficulties did crop up. It proved impossible to contact some of those whom the questionnaires were due to be sent; I also found that some creative industries, such as Russ James Design Ltd, were unwilling to participate in answering the questionnaire. Thus, it proved difficult to gather information from creative practitioners than was originally envisaged.
The material gathered, though small, had to be analysed and brought to bear on the problem. Working out the implications of the data collected, and relating back to the research problem, wasn?t as easy as I thought. While it is possible to reach a clear answer to the question with which the research was concerned, the investigation in the end is not fully conclusive as many people have different opinions.
The type of questionnaire I choose for the pilot study was an open-ended one. This gives opportunities for the respondents to express their views in their own words: they are not limited to ticking fixed-choice responses. Open-ended questionnaires are more flexible, and provide richer information than standardized ones. It is possible then for the researcher to follow up answers and probe more deeply into what the respondent thinks. However, there are limitations to this as well. The lack of standardization can mean that the responses are more difficult to compare.
In the ?context-definition? model chosen to carry out the research, along with questionnaires it would have probably been beneficial to carry out a visual experimentation to test appropriate visual languages?that is, devise a piece of work in time-based graphics and still imagery that conveys the same message, and test the responses from audiences to determine which is a better method of visual communication.
We know that 80% of the information we receive comes through our eyes, sight is our key sensory medium and computer hardware is now able to support highly detailed and sophisticated visual imagery and will become universally available.
Although there are some advantages for still images, animation provides an extra dimension, for without diminishing their information content it allows them to be discursive (in the same way as spoken language). Film, television, and now multi-media, have led us to subsume the moving picture into our vocabulary of communication. Computers allow us to bring all this together to provide one of the most powerful tools yet devised for education, communication and dissemination?that of computer animation.
Appendices:
Figure 1: Channel 4 Brings Its Logo to Life to Launch Big Art in 2008 (Dexigner, 2007)
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Figure 2 : Beavis and Butt-Head (Kompaktkiste 2008)http://images.google.com/url?q=http://www.kompaktkiste.de/cd/_abc/_g/ged24613.jpg&usg=AFrqEzcP7-c65vJyqqQqw-Lu-u6wkOUhww
Figure 2: Autodesk Maya 3D animation: Fall of Man (VFXTalk, 2008)
http://www.cgnews.com/images/articles01/fallofman_hires.jpg
Figure 3: Screenshot of the animation, Cellular Visions: an Inner Life of a Cell. (Youtube, 2008)
http://rmfo-blogs.com/lsw/wp-content/uploads/2006/10/inner_cell.gif
Figure 4 ? The Art of Kyle Cooper. (Filmmaker, 2008)http://www.filmmakermagazine.com/fall1997/kyle_seven2.gifhttp://www.filmmakermagazine.com/fall1997/kyle_mimic3.gifhttp://www.filmmakermagazine.com/fall1997/kyle_seven1.gif
Questionnaire
My research proposal will be exploring the question: Is Animation, In Terms of Graphic Design, a Better Means of Visual Communication than Conventional Still Imagery? In other words, what are the relative advantages and disadvantages of using time-based graphic communication compared to ?static? or still imagery?
Graphic design is an immensely exciting and vibrant activity in which to be involved and, as such, is a rewarding profession to follow. But it requires vision, stamina, and good humour combined with creativity, innovation and analytical and methodical ways of working. Designers need a working knowledge of budgets, manufacturing, and reproduction processes. Successful graphic designers aim to devise inventive solutions to visual communication problems in response to clients? needs, and in order to do so often work closely with clients in formulating a brief and working strategy prior to starting any visual work. Therefore, a good understanding of human nature and the cultural environment is required for this project, and needs to be evaluated. Moreover, sound knowledge of how animation, or motion graphic design in multimedia, affects the way we perceive things is expected. Thus, gathering information from creative practitioners for my research is of major importance. I am expected to elicit information from those who have been working in the creative design field in order to analyse the various viewpoints.
Name: Glyn Wadbrook (glyn@glynw.com)
What is the creative area you specialise in?
Web developer/Programmer
Do you think time-based communication (animation) should replace traditional still imagery?
No, it should not replace it, especially not in its entirety, as still images are sometimes preferred to convey a particular message.
3. What advantages do you think this may have?
You can have parts of the website with flash animations (flash gifts) to make it look appealing, particularly when certain things intentionally want to be eye-catchy.
4. What disadvantages, if any, do you think would arise in today?s multimedia world?
Animated gifts are not popular anymore, and make things look unprofessional. For instance, a bank site would not be taken seriously if it had animated gifs everywhere. In addition, gifts are un-cool, tacky, and out of date.
5. What graphic-based softwares are of major importance to you in your creative field?
In terms of animations, I use Ajax (Asynchronous JavaScript and XML) and sometimes Flash. I also use Dreamweaver, as JavaScript out runs animated gifts in my opinion.
6. Are there any apparent limitations or areas for improvement for these softwares?
I often use Ajax instead of Flash, due to convenience. It is much easier to use, and saves a lot of time. Flash has many facilities with can sometimes make it daunting. Also, websites that use Flash, has a high bandwidth so it takes longer to load.
Name: Nick Perry (Nick@perryduke.com)
1. What is the creative area you specialise in?
Print graphics, deals with corporate clients
2. Do you think time-based communication (animation) should replace traditional still imagery?
Depends on what context?that is, if your doing a broacher time-based graphics has no use.
3. What advantages do you think this may have?
Time-based graphics has more advantages, more people have broadband (quicker download speeds), time based graphics can work through the Internet!
4. What disadvantages, if any, do you think would arise in today?s multimedia world?
Download speeds of certain browsers
5. What graphic-based softwares are of major importance to you in your creative field?
For print based graphics: adobe-illustrator, Photoshop, Indesign. For website development: flash, after effects
6. Are there any apparent limitations or areas for improvement for these softwares?
Recently they've got better. CS3 is out now with so many things to do with it. No limitations. Limitations only with the person using it.
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