This Master’s dissertation focuses on the relationship between two worlds, branding and motion graphics, focusing on the element that probably embodies this connection the most: logo animations. The growing importance of social media in everyday life led to a growing number of audiovisual contents; even the companies that up until a few years ago did not rely on a proper kinetic translation of their content, now use motion graphics, albeit often in a superficial manner. The movements and animations of these contents are in fact often based on the shapes rather than on an accurate research and design according to the qualitative aspects of the brand. The objective of this dissertation is the synthesization of a specific project methodology that would allow the translation of a static logo in an audiovisual product coherent with the brand identity. In order to do this, we followed the inventive method described by Edgar Allan Poe in its 1846 essay “The Philosophy of Composition”. From its translation into graphs, adapting the techniques from poetry to motion graphics, we created a method that could be applied to the creation of an animated version of a logo. This dissertation is divided in three sections. In the first chapter we analysed the concept of motion identity (i.e. the terminology identifying the kinetic sections of a brand identity) and its applications, looking at the current audiovisual landscape and focusing especially on logo animations. The second chapter is dedicated to the creation of a methodology for the creation of animated logos, inspired by Poe’s essay. The third and final chapter is then devoted to the application of this methodology to two case studies: The North Face, a well-known brand with almost no motion graphics in its communication, and TelligWeb, a small web agency.
La tesi indaga la relazione che intercorre tra il mondo del branding e quello della Motion Graphics, con un focus sull’elemento che forse più di tutti incarna questo legame: le logo animations. La crescente importanza dei social media nella vita di tutti i giorni ha portato ad una rilevanza sempre maggiore dei contenuti audiovisivi; anche aziende che fino a poco tempo fa non necessitavano di una propria traduzione cinetica ora propongono contenuti in motion graphics. Questi però risultano spesso superficiali, con movimenti e animazioni dettate dalle forme, e non da un’accurata ricerca e progettazione a partire dagli aspetti qualitativi del brand. Il fine ultimo di questa tesi è stato la sintetizzazione di una metodologia progettuale in grado di “tradurre” un logo statico in un artefatto audiovisivo coerente con la brand identity nel suo insieme. Per fare ciò è stato indagato il metodo inventivo ideato da Edgar Allan Poe, esposto nel saggio “La Filosofia Della Composizione” del 1846. Dalla sua traduzione in grafi, e attraverso un processo di adattamento dalla poesia alla motion graphics, è stato definito un metodo applicabile a ogni tipo di logo per la creazione del suo corrispettivo animato. Il seguente scritto si struttura in tre aree principali: nel primo capitolo analizzata la motion identity (terminologia che identifica le sezioni cinetiche di una brand identity) e le sue applicazioni, fotografando lo scenario audiovisivo attuale con un focus specifico sulle logo animations. Lo scopo è quello di capire perché i brand necessitano di una propria traduzione cinetica. Il secondo capitolo identifica una metodologia per la progettazione di loghi animati, ispirata dal saggio di Edgar Allan Poe. La terza parte è dedicata all’applicazione di questo metodo, attraverso due differenti esempi: The North Face, un brand conosciuto ma con una motion graphics quasi assente, e TellinWeb, una piccola web agency.
Design logo animations. Definizione e applicazione di un metodo per il progetto
TASCA, MARCO
2018/2019
Abstract
This Master’s dissertation focuses on the relationship between two worlds, branding and motion graphics, focusing on the element that probably embodies this connection the most: logo animations. The growing importance of social media in everyday life led to a growing number of audiovisual contents; even the companies that up until a few years ago did not rely on a proper kinetic translation of their content, now use motion graphics, albeit often in a superficial manner. The movements and animations of these contents are in fact often based on the shapes rather than on an accurate research and design according to the qualitative aspects of the brand. The objective of this dissertation is the synthesization of a specific project methodology that would allow the translation of a static logo in an audiovisual product coherent with the brand identity. In order to do this, we followed the inventive method described by Edgar Allan Poe in its 1846 essay “The Philosophy of Composition”. From its translation into graphs, adapting the techniques from poetry to motion graphics, we created a method that could be applied to the creation of an animated version of a logo. This dissertation is divided in three sections. In the first chapter we analysed the concept of motion identity (i.e. the terminology identifying the kinetic sections of a brand identity) and its applications, looking at the current audiovisual landscape and focusing especially on logo animations. The second chapter is dedicated to the creation of a methodology for the creation of animated logos, inspired by Poe’s essay. The third and final chapter is then devoted to the application of this methodology to two case studies: The North Face, a well-known brand with almost no motion graphics in its communication, and TelligWeb, a small web agency.File | Dimensione | Formato | |
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2019_12_Tasca_01.pdf
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Descrizione: Testo della tesi
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2019_12_Tasca_02.pdf
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Descrizione: Tavola di progetto 1
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2019_12_Tasca_03.pdf
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Descrizione: Tavola di progetto 2
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https://hdl.handle.net/10589/151926