ПРОЕКТНО-ХУДОЖНІЙ ІНСТРУМЕНТАРІЙ МОУШН-ДИЗАЙНУ (НА ПРИКЛАДІ РЕКЛАМНОГО РОЛИКУ)

Мурашко, Маріанна Володимирівна

ПРОЕКТНО-ХУДОЖНІЙ ІНСТРУМЕНТАРІЙ МОУШН-ДИЗАЙНУ (НА ПРИКЛАДІ РЕКЛАМНОГО РОЛИКУ)

Мурашко, Маріанна Володимирівна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2991

Date: 207

Abstract:

У дисертації представлені результати дослідження проектно-художнього інструментарію моушн-дизайну на прикладі рекламних роликів. У дослідженні надана дефініція поняття «моушн-дизайн», основні складові моушн-дизайну, а саме: композиційні, анімаційні та аудіоінструменти. Автором виокремлено найбільш поширені композиційно-пластичні й колірно-фактурні засоби. Виведено два типи побудови фінальної композиції в рекламному ролику. Обґрунтовано, що у моушн-дизайні через шрифт передаються аудіальні характеристики. Визначено засоби, принципи та прийоми анімації, які найбільш часто використовуються в рекламних відео для досягнення динаміки й гармонії відеоряду. Встановлено, що рух, створений засобами композиції, анімації та аудіо, несе в собі естетичне йінформаційне повідомлення. У роботі розглянуто нові інтерактивні засоби взаємодії глядача і реклами у просторі навколишнього середовища. Описано зв’язок озвучування реклами із засобами виразності анімації. Визначено основні принципи візуального сприйняття інформації в дизайні рекламних роликів. Доведено, що реклама, створена завдяки проектно-художньому інструментарію моушн-дизайну, поширює можливості реалізації нестандартних ідей. Результати дослідження відкривають перспективи подальшої наукової розвідки сфери моушн-дизайну у кіновиробництві, режисурі, веб-дизайні, медіа-арті й естетичних аспектах розміщення проекційної та інтерактивної реклами у навколишньому середовищі.

Description:

The dissertation presents the results ofthe research of art and design tools in motion-design on the example of commercials based on the design, animation and audio tools.The analysisof source of information has shown that motion-design remains one of the least studied areas in the modern scientific discourse. According to the research subject the range of literature guidelines were covered:theories of information perception; history and theory of design; culture; multimedia; directing; theory of animation; marketing theories and commercial communication. Into the scientific circulati onthe following definition of motion-design is suggested to be put: a type of design and artistic activities aimed to create audio-visual product with thehelp of design, audio and computer animation, where the unity of form and content is stipulated by the movement, which is associated with all the artistic and aesthetic characteristics. The place of motion-design, as a branch of multimedia design, has been specified in the modern design area. Unlike the modern English scientific thesaurus presupposing use of the terms “motion-design” or just “media” to identify multimedia and animation design, in the native science discourse as it has been defined multimedia design is more commonly and often used as a sphere representing objects of information design, and motion-design is one of its branches. Both composition development tools and their classification were worked out means of arrangement of visual row, means of strengthening the expressivity of visual environment, means of harmonization of visual row. Metre and rhythm, contrast and nuance, symmetry and asymmetry, statics and dynamics, dot, line, spot, area, volume and space have been specified as the designtools.As well as it has been discovered that the means of expression of an art image in motion-design are colour, shape, form and texture. Motion-design is characterized by the possibility of variation of colour and pattern throughout the video in order to manipulate the viewers’ sight, to emphasize information that is considered to be the main for the current moment, and to emend the emotional burden. It has been determined that the combination of graphics and animation allows making such parts of the video that are impossible to be created in reality.There have been traced two types of fonts in packshot (final shot) of commercials. The first one is a corporate identity font used to design slogan or additional information. The second one is a contrasting font that highlights the slogan. We have grouped means of visual representation of infographics of a promotional video. It has been proved that audio characteristics are conveyed by means of the motional capacities. Animation tools have been derived and divided into groups according to their types: transformational procedures and hot-shot rate. It is determined that the animation techniques vary depending on the nature of response; they have been divided into two groups. Spatial dependence is determined both by position of objects in frame space in relation to one another and to the virtual camera. Interactive dependencies are determined depending on the interaction of the elements. Specific animation techniques, which are formed due to the motion imitation dependency of real objects combined with the capabilities computer technologies, have been defined. The classic principles of Disney animation have been analyzed and improved and then divided into two groups according to their origin: soft and pliant ones deriving from the laws of theater, and engineering ones that derive from the laws of the physical world. It is determined that motion is one of the main factors of the motion-design affecting the emotional and visual characteristics of a video, and is responsible for the main message of one, providing a certain aesthetic impression on the viewer. It is described that the sound in commercials is divided into three groups according to their features: traditional, which includes music, voice of a narrator and sound effects; psychological, such as synesthesia and apperception. It was found that synchronization performs the main condition of the successful combination of videosequenceand sound design. Synchronization occurs between accents in animation and melodies, intent of graphics on the screen and the story that the voice tells, general mood of sound of the video and its visual sequence.In the research work, there have been distinguished new means of interaction between the audience and advertisement inthe external environment. It is indicated that the latest technologies, which are used to show videos in the space of external environment, allow to engage the viewers into a deeper contact with the commercial. Interactivity affectsthe character of animation due to its capability of developing in several proposed scenarios (linear, reactive, multiple or dialogue interaction). The advantages of the three-dimensional projections have been specified. It means that with the help of using a non-standard screen for displaying a video (architecture, interior, small objects), a manufacturer is able to demonstrate the product not only as apreview trailer but as an art project. There has been proved the importance of the concept for commercials in the identification of design-art tools. The age of the target audience is observed as the product or service influencing onto the commercial dynamics. The older audience gets information more slowly. On the contrary, the younger audience is capable of rapid assimilation of information. There have been determined the main principles of visual perception of information while designing commercials. It is proved that advertising makes connection between the product and the audience easier by means of art-design tools. There have been derivedprinciples of interaction of art-design tools for the creation of multimedia works, which are typical for motion-design, which in their turn may be attributed to the composite ones (principles of transformation, saturation) and audiovisual (principle of synchronization).The research results offer prospective for further study of motion-design in film production, directing, web design, media art and aesthetic aspects of placement of the projectiveand interactive advertising in the external environme.

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