The integration of Motion Graphics into the world of

The integration of Motion Graphics into the world of Advertising.

A Thesis Submitted to the Faculty of the Advertising in Partial Fulfillment of

the requirements for the Degree of Master of Fine Arts in Advertising

At

Savannah College of Art and Design

Gustavo E. Larrazábal Pineda

Savannah, GA

May 2015

Prof. Luke Sullivan, Committee Chair

Prof. Clark Delashmet, Committee Member

Prof. Art Novak, Committee Member

The integration of Motion Graphics into the world of Advertising.

Table of Content

CHAPTER TITLE

1. List of Figures..…………….………………………………………………….…..1

2.Abstract..……………………………………………………………………….…..3

3. Introduction…...………………………………………………………….……….4

4. Research (Methodology)...……...……………………………………….………6

5. Discussion………….…....………………………………………………….……32

6. Recommendation: The New Twitch.……….…………………………….…...41

7. Appendix A: Creative Brief……..……………………………………….……..44

8. Appendix B: Visual Thesis.……..……………………………………….……..45

8. Bibliography……………………………………………………………………..72

Gustavo Larrazábal 1

List of Figures

Fig. 1: Twitch Top Games for January 2015 ……………………………………………34

Fig. 2: Percentage of Americans who have played a.……………………………………35 videogame in the past 60 days by generation.

Fig. 3: Twitch Print Ad 1.……………………………………………….………………45

Fig. 4: Twitch Print Ad 2.……………………………………………….………………46

Fig 5: Banner Ad 1a..……………………………………………...….……………….47

Fig. 6: Banner Ad 1b……………………………………………...….……………..…47

Fig. 7: Banner Ad 1c……………………………………………...….……………..…48

Fig. 9: Banner Ad 1d……………………………………………...….…………….….48

Fig. 10: Banner Ad 1e.…………………………………………...….…………….…..49

Fig 11: Banner Ad 1f……………………………………………...….…………….….49

Fig 12: Banner Ad 1g……………………………………………...….……………….50

Fig. 13: Banner Ad 2a……………………………………………...….……………....51

Fig. 14: Banner Ad 2b……………………………………………...….……………....51

Fig. 15: Banner Ad 2c……………………………………………...….……………....52

Fig. 16: Banner Ad 2d……………………………………………...….……………....52

Fig. 17: Banner Ad 2e……………………………………………...….……………....53

Fig. 18: Banner Ad 2f……………………………………………...….…………….....53

Fig. 19: Banner Ad 2g……………………………………………...….………….......54

Fig. 20: Twitch AR 1a.……………………………………………...….……………....55

Fig. 21: Twitch AR 1b..……………………………………………...….……………..56


Fig. 22: Twitch AR 1c.……………………………………………...….……………..56

Fig. 23: Twitch AR 1d..……………………………………………...….…………….57

Fig. 24: Twitch AR 1e..……………………………………………...….…………….57

Fig. 25: Twitch AR 1f..……………………………………………...….…………….58

Fig. 25a: Twitch AR 1…………………………………….......................................59

Fig. 26: Twitch App 1a..……………………………………………...….…………..60

Fig. 27: Twitch App 1b..……………………………………………...….…………..61

Fig. 28: Twitch App 1c..……………………………………………...….…………..62

Fig. 29: Twitch App 1d..……………………………………………...….…………..63

Fig. 30: Twitch App 1e..……………………………………………...….…………..64

Fig. 31: Twitch Webpage 1a..………………………………………...….…………..65

Fig. 32: Twitch Webpage 1b..………………………………………...….…………..66

Fig. 33: Twitch Webpage 1c..………………………………………...….…………..67

Fig. 34: Twitch Webpage 1d..………………………………………...….…………..68

Fig. 35: Twitch Webpage 1e..………………………………………...….…………..69

Fig. 36: Twitch Webpage 1f..………………………………………...….…………..70

Fig. 37: Twitch Webpage 1g..………………………………………...….…………..71


The integration of Motion Graphics into the world of Advertising

Gustavo E. Larrazábal Pineda

May 2015

This thesis focuses on how motion graphics can be used to improve

advertising. The product chosen for this thesis is the live-streaming video

platform Twitch, a popular site offering the largest live video platform and

community for gamers. This thesis won’t emphasize the technical side but

instead the focus is on the collaboration between Motion Media Design; its

implementation and expertise on communicating a message through the use

of motion graphics, and advertising. The aim of the thesis is to study the

relationship between Advertising and Motion Graphics, and how Motion

Graphics can be used to improve the advertising of a product.

Keywords: Motion Graphics, Advertising, Branding, Live-streaming video,

Twitch.


Introduction

The world of visual communication has never been more important.

Motion Graphics has been used to enhance visual communication in an

energetic and effective way. Steve Curran explains on his book Motion

Graphics: Graphic Design for Broadcast and Film, “The relentless onslaught

of media messages, combined with a shortened audience attention span, has

raised stakes on developing effective and evocative communication design

and branding that cuts through the clutter.” 1

The aim of the thesis is to study the relationship between advertising

and motion graphics, and how motion graphics can help develop the

advertising of a product. However, in order to show how motion graphics can

improve the advertising, we have to focus on several points first.

First, the paper will present an overview of what Motion Graphics is

and a brief history, from the production of the first abstract films by the

futurists in 1900’s, to modern motion graphics in film and television.

Additonally, the paper will explain the role of Motion Graphics inside the

world of visual communication, as well as highlight some of the most known

techniques for the use of motion graphics in commercial advertising.

1 Curran, Steve. Motion Graphics: Graphics Design for Broadcast and Film, Gloucester,

Mass: Rockport, 2000.


And finally, the paper will tackle the relationships between Motion

Graphics and advertising, citing successful examples in commercial use. Such

uses include motion graphics in movie title sequences, trailers and in-film

graphics and animations.

After addressing the relationship of motion design and advertising,

the paper will identify the problems that product Twitch has had: why has it

not appealed to other audiences, what is the problem with their message,

among others.

Subsequently the paper will unravel how the application of the

theories and practices of motion graphics in advertising will solve Twitch’s

communication problems. After addressing them, the application of these

theories and the aspects discussed will then be applied to Twitch’s

developing campaign to further enhance and improve its advertising.


Research

A. HISTORY OF MOTION GRAPHICS

Motion Graphics is a relatively new field, dating just a little more than

a hundred years back. Its history is a combination of both graphic design and

fine art as they overlap with motion pictures and other areas of mass

communication.

Motion graphics began essentially as abstract images set in motion.

Prior to the popularization of motion design in the 1980s, the field was

almost entirely limited to art. It was an aspect of avant-gardism. Its history

shows how the ideas of abstract film, visual music, and kinetic typography

became one and it shows how the different sources of international and

domestic origins were involved to create and develop what is today motion

graphics.

Studying the history of motion graphics requires a close look at the

origins of its stylistic and visual basis in the early twentieth and twenty first

century. The broad range of artistic and commercial practices called motion

graphics (such as abstract animation, “visual music,” broadcast design,

kinetic typography, and title design) show a shared. For the purpose of this

chapter on the historical development of Motion graphics, the chapter will

begin with the development of “color music” as the first topic.


At the start of the twentieth century, the ideas of color music are very

popular in the visual arts. But starting with the availability of electricity

starting in the 1880s, there began a series of developments and inventions

the sole purpose of which was to enable the performance of color in the

same way as music: color music. Color music is the historical antecedent to

the visual music produced in the twentieth century.

Michael Betancourt states in his History of Motion Graphics, “In

considering the development of color music, the origins of the transcendent

meanings attached to this type of work emerge as a necessary component to

understanding the development and organization of the history of motion

graphics itself. The appearance of motion graphics in the twentieth century

came after centuries of earlier developments and a general cultural aspiration

to create a visual art comparable to music.

Color music established the ways in which sound and image can be

married in a visual medium like motion pictures. This allowed artists to

establish a connection to abstract art. “The connection caused the

development of color music to help understand the development and

organization of the abstract films, which in term ended up being the

foundation for motion graphics. The art historian’s term for this kind of

connection was defined as “synaesthetic”.2

2 Betancourt, Michael, The History of Motion Graphics: From Avant-Garde to Industry in the United States. Rockville, Md.: Wildside Press, 2013.


Synaesthesia, according to Betancourt, “as a term for connections

between sound and image, is used in both psychology and art history in

several ways:” 3

- In psychology, where it identifies a specific perceptual phenomena

where one sense simultaneously produces two sensations, most

famous as seeing colors when one hears sound.

- In art criticism and art history, to define art works where visual forms

are produced as an analogue to music: in synaesthetic abstraction;

these connections are made by the artists in their work.

Color music, or visual music, is part of a larger tradition that is not

limited to motion media or commercial entertainment. The synaesthetic idea

is an essential part of the early development of abstract painting, modernism,

and the avant-garde. There has been a consistent interaction between the

work of media artists and those in more traditional fields such as painting;

often artists who work with visual music also produce work in other media.

Abstraction emerged at the beginning of the twentieth century, and

was understood as an entirely new approach to making art. Early abstraction

3 Betancourt, Michael, The History of Motion Graphics: From Avant-Garde to Industry in the United States. Rockville, Md.: Wildside Press, 2013.


makes several claims about itself. Visual music claims abstraction is universal,

it reveals a deeper reality, it is basic, fundamental and primary, and has

religious meaning.

The connection that provides the foundations for the nineteenth

century argument about abstract art provide a more basic presentation of the

world than the realism of academic art.

Vassily Kandinsky was the best-known promoter of this variety of

abstract art, known as a “visionary abstraction.” However, it deeply

influenced abstract filmmakers such as Oscar Fischinger and the Whitney

Brothers, as well as many others.

Kandinsky's creation of abstract work followed a long period of

development and intense theoretical thought based on his personal artistic

experiences. He became inspired by the ideas of inner beauty, fervor of

spirit, and deep spiritual desire.

Abstract artists were rejecting the materialist approach by the

beginning of the nineteenth century. This trend included every major art

movement from Romanticism through Surrealism. It is immediately

recognizable in the elevation of irrationality and emotion. Its impact on artists

as being more sensitive, emotional and irrational is the direct result of this

history.

Betancourt asserts, ”Concerns with dynamism, movement and visuals


predicated on an analogy with music (what would become “visual music”)

provide the subject matter, aesthetic and impetus to create these early

works. By the mid-twentieth century, these concerns have become the

foundations for the language of abstract film, and by century’s end, one of

the essential bases of motion graphics as a field.” 4

The nineteenth century was a period of great discoveries and

inventions. The modern concept of photography dates to its discovery by

Joseph Nicephore Niepce and Louis Daguerre in 1820. Each photograph

required about eight hours of exposure. Jposeph Nicephore Niepce created

the first photographic process called “heliography”. By the end of the

century, this process was refined to the point that it could be used to capture

high-speed actions. This provided the basis for early motion study work by

Etienne Marey and Eadweard Muybridge. These artists’ work has been highly

influential on both motion pictures makers and painters.

After seeing Marey’s work in France, Thomas Edison developed a film

camera called the Kinetograph, and a viewing machine called Kinetoscope.

They used short rolls of 35 film spooled and then threaded through the

camera gate. The Kinetoscope required the viewer to look through the lens

on top of the machine at the film itself.

Films developed direct animations with two approaches, both

4 Betancourt, Michael. The History of Motion Graphics: From Avant-Garde to Industry in the United States. Rockville, Md.: Wildside Press, 2013.


depending on the process used to create the imagery and the artist’s worry

for the framing of their animation. There’s the approach, which is registered

to individual frames, and the later, which ignores the frames and relies on the

projector to create the framing.

Early films were usually created in black and white, but in the

nineteenth century, they utilized tinting, which was the application of a color

to the whole frame, and toning, the addition of color to selected parts of the

image. Tinting was the more common of the two techniques.

“The earliest motion graphics all share a common feature: they are

inventions, produced at a time when neither existing technologies nor

established aesthetic forms provided clear guidance for artists working with

motion pictures. The oldest fully abstract motion pictures still known to

survive are from Germany in the early 1920s. These films emerged from a

larger context where abstraction, concerns with motion, and a desire to

create a visual art analogous to music (visual music) had been developing for

more than twenty years. This context is not limited to Germany alone, but

was shared by all of Europe in this period.” 5

By the time of the Dada and Constructivist movements, there were a

lot of films produced by artists associated with those movements. Many of

5 Betancourt, Michael. The History of Motion Graphics: From Avant-Garde to Industry in the United States. Rockville, Md.: Wildside Press, 2013. 6 Betancourt, Michael. The History of Motion Graphics: From Avant-Garde to Industry in the United States. Rockville, Md.: Wildside Press, 2013.


the works done by those artists engage in adapting the visual language

Constructivism.

Dada doubts everything, including itself, which tried to be “art,” and

fought to destroy not only the past but the future, too. In contrast,

Constructivism sought a new set of rules to build a new future for “art.”

Constructivism sought a logical, organized structure for art where the result

was a “subordination of the object produced to the materials used” 6. Both

Dada and Constructivists rejected psychology, the ideas of inspiration and

originality, and the metaphysics of nineteenth century Romanticism. At the

same time, an alternative framework was being developed that thought up

the metaphysics of Symbolism and Romanticism, arbitrated by the avant-

gardism of Dada. This work, instead of rejecting psychology, sought to

redefine it in metaphysical terms. Among the most successful examples of

this art form in motion pictures was Walther Ruttmann.

Ruttmann’s work was extremely influential on the work of a lot of

artists of the time, including Oskar Fischinger; and clearly belongs to the

expressionist approach to abstraction. The influence of Kandinsky’s approach

to abstraction is clearly visible in the soft, hand-painted forms and their

organic motion. Both Opus I and Opus II (both works or Fischinger) were

made with a combination of cut-outs and oil smudges on plate glass that


were then loop printed to generate the full length of the film. After printing,

different sections were either tinted or toned to give variety to the

animation.” 7

By the 1930s, films explored various types of sound-to image

synchronization. The most common types of animated film employed singing

and dancing characters whose movements would move with the soundtrack.

Bethamcourt explains, “where montage treats the individual shot (or

frame) as the underlying unit of filmic langue, there are alternative systems

not based on the assemblage of individual sequences. In their place, it is the

synchronization between sound and image that works to build a film based

upon visual forms, their motion, and their relationship to the sounds heard. In

the case of these constructions, their meanings emerge not from the

juxtaposition of recognizable imagery (as in montage) but through the

consistency of the audio-visual relationship and in its elaboration across the

development of the whole.”8

One of the most successful examples of abstract animation in the mid

1920’s and early 1930’s was artist Oskar Fischinger.

Oskar Fischinger was a German-American artist who focused on

abstract animation, filmmaking and painting. He was one of the very first

7 Betancourt, Michael. The History of Motion Graphics: From Avant-Garde to Industry in the United States. Rockville, Md.: Wildside Press, 2013. 8 Betancourt, Michael. The History of Motion Graphics: From Avant-Garde to Industry in the United States. Rockville, Md.: Wildside Press, 2013.


artists to work with synchronized music and films at the same time and was

known for the synchronous forms in his films. Film Study #8, one of his most

iconic, was a large influence to current Motion Graphics.

Author Ian Gardiner said in “ Music Sound and the Moving Image”,

“Fischinger was a pioneer filmmaker whose work anticipates so many later

developments in music and moving image media. He was inspired by the

emerging abstract cinema movement in Germany in the early 1920s” 9.

Fischinger created several important and influential movies to modern

motion graphics; among them are Allegretto, Radio Dynamics, Kreise,

Motion Painting Nr. 1, Study Nr. 7, and American March. One of his most

famous works was Allegretto, which was a title sequence to the 1936 feature

film “Big Broadcast”. Referring to Fischinger’s Allegretto, William Moritz

states in “Optical Poetry: The Life and Work of Oskar Fischinger”, the visual

richness of Fischinger’s Allegretto owes a great deal to the complexity and

vibrant texture of the musical score, although, by that time several reviewers

described the Allegretto music of being “a monument to Hollywood

vulgarity.”10

Fischinger also patented a machine for visual performance called the

“Lumigraph”. It works by projecting a thin beam of colored light

perpendicular to a flexible screen. Images where produced by pressing

9 Gardiner, Ian. "Cover image: Oskar Fischinger." Music, Sound, and the Moving Image 1.1 (2007): 117-18. Omni File Full Text Mega. Web. 24 Apr. 2011 10 Moritz, William. Optical Poetry, Eastleigh, England, John Libber Publishing, 2004.


against the screen, causing it to create abstract forms by encountering the

beam of light.

Music was recorded before the films, and a timing sheet was then

drawn up with the beats and notes marked out in terms of number and

frames. Only then could the animation be done. This was the only production

process that could yield such successful results.

By the end of World War II, there was an embrace of highly abstract

art in the United States. The avant-garde design styles that developed under

the influence of European designers and educators who fled from Nazi

Germany in the 1930’s were already in use by the 1940’s. Only the major,

progressive markets, such as in New York, fully embraced the new design

before the war. The impact of these “foreign influences” became obvious by

the end of the 1950’s, by transforming traditional approach to art and design,

and replacing it to the modernist forms developed at the German Bauhaus,

in France and England.

It is this connection between Modernism from Europe and its

American adaptation that gave form to the very first motion graphics on

television at CBS in 1951. TV promoted and encouraged the acceptance of

Modernism through the sets and content of programming, as well as in the

design of show openings, network logos, and program advertising.

Despite the fact that television would provide one of the strongest


distributors of modernism, it was the avant-garde film that provided the

techniques and aesthetics used by television. The movement of the avant-

garde evolving from being called a marginal activity of artists, to a material

for mass audiences watching television became the central historical factor in

the emerging “film culture” that grew both in San Francisco and New York.

“The first of these screening programs, Art in Cinema, was initially

conceived as a museum-based historical survey of the ‘fifty year history’ of

cinema. Its effect was to create both an audience and venue for the work of

the contemporary avant-garde film makers, thereby beginning the process of

organization and community-building that defines the expansive second

phase of the avant-garde film in America”11

The Art in Cinema marks an important transition point for the

development of abstract film towards contemporary industry. It was the shift

from being the occasional commercial or avant-garde experiment, to a

specific genre of film whose style and form appeared unique and modern.

The third period of abstract film started at the end of the 1960s and

emerged during the 1970s. It emphasized the shift from marginal activity to

one that was recognized by all institutions. William Fetter states, “this period

underwent with the institutionalization and canonization of certain artists,

11 Betancourt, Michael. The History of Motion Graphics: From Avant-Garde to Industry in the

United States. Rockville, Md.: Wildside Press, 2013. 12 Betancourt, Michael. The History of Motion Graphics: From Avant-Garde to Industry in the

United States. Rockville, Md.: Wildside Press, 2013.


films, and the differentiation of video art from television—as well as the

dominance of a media critical practice that adversarially engages with both

television and Hollywood cinema. It was marked by the institutions

supporting the avant-garde shifting from a promotional and presentational

mode to a primarily historical understanding of artists and avant-garde

media. This historical invention was a side-effect of the embrace of the avant-

garde film by academic and museum institutions”. 12

On this period, some artists worked towards a formal medium for both

video art and avant-garde film that followed modernism, while at the same

time, other artists were working on overlapping spaces between video, film

and television. Part of this hybridization was known as “expanded cinema”.

Among them was the development of installation art, the experimental

presentations based on manipulations of projection, using multiple

projectors for presentations, among others.

William Fetter mentions in Computer Graphics in Communication,

“Contemporary motion graphics took shape based on a new technology that

emerged during the 1960s as the third, institutional, phase of the American

abstract film began. Computer graphics was invented during this period,

named by the Boeing Aircraft Company computer scientist William Fetter in

1960”. 13

13 Fetter, William A. Computer Graphics in Communication, New York: McGraw-Hill, 1965.


The creation of computer graphics would not have happened if it were

not for digital computers. As said in Andrew Utterson’s noted in his article,

“The digital computer had its foundations in technologies being invented

during the 1930s and used during World War II. In the 1950s new

developments made at IBM in their Military Products Division employed

computers to track and monitor aircraft: the SAGE system was an

improvement on radar systems built during World War II, but used computers

to model the real-time positions of aircraft and make predictions about their

future movement. By the 1960s this digital technology was finding

applications far beyond the limited range of military applications, and by the

1980s was ascendant as the new ‘technical marvel’ of the decade”.14

Digital computers helped transform all aspects of American life and

enabled the rise of dynamic control over animation, photography, and

typography, which are essential to the field of motion graphics. They enabled

the creation of animated imagery that was not possible by hand. This

direction towards better realism and complexity is a constant feature of new

innovations in computer animation, which has remained constant throughout

the years.

Computers and their programs would not have been created if not for

the earlier media works and the different medium used to create motion

14 Andrew Utterson. From IBM to MGM: Cinema at the Dawn of the Digital Age (London: British Film Institute, 2011).


animations (typewriters, drafting equipment, cameras, etc.). The software

used in computers was created in order to solve the problem of wanting to

use different tools to create a specific task. The movement was later called

convergence. This convergence of tools was the root of creating software to

help the artist minimize the amount of time into a work, yet finish with the

same results. This movement was the major accelerating trend during the

1980s and 1990s.

This digital convergence has become the main feature in

contemporary motion graphics in the 1990s. The problems that used to

occupy the designer’s attention shifted towards an easier form. Mindy

Lipschultz explains in her interview by the Compulsive Creative the transition

to the convergence movement. In the 1980s, “If you wanted to be more

creative, you couldn’t just add more software to your system. You had to

spend hundreds of thousands of dollars and buy a Paintbox. If you wanted to

do something graphic – an open to a TV show with a lot of layers – you had

to go to an editing house and spend over a thousand dollars an hour to do

the exact same thing you do now by buying an inexpensive computer and

several software programs. Now with Adobe AfterEffects and Photoshop, you

can do everything in one sweep. You can edit, design, animate. You can do

3D or 2D all on your desktop computer at home or in a small office”. 15

15 Lipschultz, Mindi, interviewed by The Compulsive Creative, May 2004, www.compulsivecreative.com/interview.php?intid=12, quoted in Lev Manovich, “After


The evolution of motion graphics, from avant-garde to complex

designs and visuals made in computers, has transformed the motion graphics

business to what is today. And thanks to its evolution there is no explicit limit

on what can, and cannot be done for any type of commercial project or

commercial production in this modern era.

Effects, or the Velvet Revolution” in Millennium Film Journal nos. 45/46, Fall 2006 pp. 7-8.


B. ROLE OF MOTION GRAPHICS IN VISUAL COMMUNICATION

As said in Mohsen Fathi’s article titled The Role of Motion Graphics in

Visual Communication, “The magic of motion has always been attractive for a

human and helped him have a better communication with his

environment”16. The art of animation is considered as a powerful and

effective factor in the process of visual communication. The requirement for

motion graphics in this era is becoming obvious for a more effective way of

communication.

The methods of motion graphics in communication, its influential

factors over motion graphics and visual factors of motion graphics, and the

role of motion graphics in communication are parts to be addressed in this

chapter.

Fathi states in his article, “Motion graphics' area of activity is an area in

which audience attraction is the first priority, while this matter is the second

priority for the field of brochures, posters, and other printed media. It is not

easily possible to estimate the amount of likeness of the audience and the

16 Mohsen Fathi Dare Shir ET Al, The Role of Motion Graphics in Visual Communication, School of Visual Arts, Department of Visual Communication and Photography, Tehran University, 2014. 17 Mohsen Fathi Dare Shir ET Al, The Role of Motion Graphics in Visual Communication, School of Visual Arts, Department of Visual Communication and Photography, Tehran University, 2014.


effects of the poster on the audience when they see a poster. Continuous

presence and effect are of the important characteristic of motion graphics.” 17

Each motion graphics designer has their own style according to their

personality and comfort. But these styles are not always the reason for

picking up the methods of producing a work, especially when the work is

intended for other businesses and products. It is usually not the case to

choose a production method in business works for the sake of personal taste

because the conditions under which the work will be produced are usually

not decided by the designer but by the business itself, as its common in

advertising campaigns.

Motion in picture may be created in different shapes and space. The

type of movement might be circular, zigzag, or direct. The direction of

motion can also be upward, leftward, rightward, etc. Each surface shows the

movement energy toward that side and under influence of the incoming

tensions, it will move toward the side, which has more length. The concept of

motion can be understood via other forms, for example, by the repetition of

a visual element in motion.

Motion Graphics are created by a compilation of animation and video

techniques to create astounding video pieces usually accompanied by sound.

There are different methods and techniques from which motion graphics


relies upon in sharing a message in the world of visual communication,

among them are flash animation, flat two-dimensional animation, virtual

three-dimensional animation, photo montage, collage, stop motion

animation, among others. The paper will highlight several of the most

influential and popular techniques and methods in order to help fix the

problem presented in the next chapter.

Animation has existed since the late 1800’s. It is divided into two

different methods: analogue media, recorded in flip books and motion

picture films, or digital media; which includes animated GIF, Flash animation

and digital video. Analogue media employs the method by which a rapid

display, or sequence of static images, slightly differ to another make the

illusion of motion.

I. Cel Animation

The most common form of animation is the classical, or cel,

animation, in which each frame is drawn by hand. It was the dominant form of

animation until the creation of computer animation. In the more traditional

animation process, the animators began by drawing using colored pencils

sequences of sheets of animation in transparent paper, each frame at a time.

Nowadays, animators draw directly into computers using graphic tablets by

overlaying layers of computer drawn images into the programs. In spite of


this, Traditional animation is not the same technique as the computer-

assisted 3D animations seen in movies such as Monsters Inc, or Toy Story.

II. 3D Animation

3D animation utilizes three dimensional computer graphics and CGI

animation (Computer animation). Computer animation has become the

successor to the stop motion techniques used in more traditional animations.

This technique is by far the most expensive; because of the amount

of staff that is hired to undertake the different roles in the creation of the

video. 3D animation tricks the eye into perceiving real and smooth

movement. Conventional hand drawn animation often uses 15 frames per

second in order to save the number of drawings needed, which is usually

accepted due to the stylized nature of cartoons; meanwhile, three-

dimensional animation rates above 75 to 120 frames per second. Films use

24 frames per second, which is enough to create the illusion of continuous

movement.

III. 2D Animation

2D Animation are created and edited in computers using vector

graphics. It has many applications in film and broadcast, and it is one of the

most common techniques in the world of Motion Graphics. Vector animation


often allows cleaner and smoother animation, because images are displayed

and resized using mathematical values instead of pixel values.

IV. Flash Animation

Flash animation method that is created in Adobe Flash or similar

software and usually rendered as a SWF file. SWF are an abbreviation for

small web format, which are used for multimedia, vector graphics and Action

Scripts. The term Flash animation not only refers to the format of the file, but

it also refers to the specific visual type and style of the animation taken from

it. Flash animation is one of the most limited animation styles of the list;

nevertheless, the creation of animation using Flash is easier and less

expensive than the traditional animation technique. It is usually used in the

Internet since Internet distribution is easier and less expensive than television

broadcasting. Many Flash animations started from the web and became

popular enough to be broadcasted on networks such as MTV in the 1990’s.

V. Stop Motion Animation

Stop motion, or frame-by-frame animation, is encompassed within

the realms of analogue media. This technique is made by physically

manipulating an object or persona to appear as if they are moving on its

own. The object is moved slightly between photographic frames, creating the


illusion of movement when the series of frames are played in a continuous

segment. It is best suited when doing complex animations in which images

change in every frame instead of moving across. Clay figures dolls, and real

life objects are usually used in stop motion; although, humans can be

involved in stop motion animations. Stop motion animation using clay is

called “clay-mation”.


C. MOTION GRAPHICS IN ADVERTISING.

As noted in Design is History, “The invention and success of motion

pictures, television, the internet and mobile devices has created a digital

medium for many forms of advertisement and design. The field of motion

graphics encompasses film titles, broadcast packages, music videos,

animation, television commercials, online video and outdoor and indoor

digital displays. A relatively new medium for communication, motion

graphics utilizes the element of time to its fullest potential in order to

communicate its message through visual and audio storytelling through an

ever-expanding variety of digital publication outlets” 18

Advertisers have been channeling the power of the Internet and

television to promote new brands in new ways and faster than ever before.

However, it does not mean that all other forms of advertising have been

abandoned in favor of other media. Some businesses like to increase the

exposure to their messages by doing a cross-platform between print and

digital, offline to online ads, among others.

Motion graphics can be used in several platforms, both online and

offline, making it a versatile tool to promote new brands and share a

message faster. Additionally, they make advertising more noticeable, they

18 Design is History, “Motion Graphics”, Design is History, http://www.designishistory.com/design/motion-graphics/, (Access on May 10, 2015)


allow you to widen your audience by sharing the message faster, and they

have unlimited creative potential.

Lets take for example Coca-Cola’s brilliant commercial created by

Wieden + Kennedy and production company Psyop entitled Man & Dog. Erik

Oster explains in his article in Adweek, “Man & Dog tells the story of a hyper,

happy dog and his mopey owner. We see both of their perspectives as the

dog manages to drag the man out of the apartment and to the local park.

With much effort, and with the help of a Coke machine, the dog is finally able

to change the man’s point of view. The spot utilizes hand-drawn animation to

evoke emotions and perspectives in ways that would be difficult to

accomplish with computer animation. Not only does the hand-drawn style

look good, but the way it switches the perspectives from the man to he dog

and back are really what make the ad work.” 19

Static image advertising might help attract new customers, but motion

graphics is more noticeable due to the illusion of movement accompanied by

music.

The use of sound in a motion graphics piece is fundamental in the

development of an advertising message. As noted by Fathi, “Visual effects

and graphic environments will not be effective if they are not accompanied

by appropriate sounds. Sounds and their masterful combination will not be

19 Oster, Erik, “W+K Portland tells story of “Man & Dog” for Coca-Cola”, Adweek, http://www.adweek.com/agencyspy/wk-portland-tells-story-of-man-dog-for-coca-cola/85783, Published on May 4, 2015, Web (Access 05/10/2015)


successful unless they involve the audience and they are listened to through

the right technology. Actually, 70% of the influence of a motion graphic

work, which is usually showed in the format of a commercial advertisement or

the same formats, is made by the sound. Music and appropriate sound can

help the transfer of influence. Music helps feelings be well expressed.”20

Motion graphics allows advertising to widen the market reach. It can

show campaigns in electronic billboards and screens on the streets. One

major example for this is the Cisco’s The IOE Machine, done by advertising

agency Goodby Silverstein & Partners, in collaboration with production

powerhouse Psyop and the fabrication studio Guild. The IOE Machine is an

installation powered by Cisco in order to promote “the internet of

everything”. The installation shows Cisco technologies through a simulated

journey through a city.

Psyop describes the installation in their webpage: “It was on display at

Cisco Live where people would select an event and watch the story of the

connected city play out on a massive 20′ x 10′ wall in the main lobby of the

Moscone Center in San Francisco.”21 The companies used a mix of CG

animation and 3D printed objects to make the installation come to life. By

utilizing motion graphics in the form of CG animation, the message for the

20 Mohsen Fathi Dare Shir ET Al, The Role of Motion Graphics in Visual Communication, School of Visual Arts, Department of Visual Communication and Photography, Tehran University, 2014. 21 Psyop, Cisco “The IOE Machine”, Psyop, http://www.psyop.tv/cisco-ioe-machine/, Web (Access 05/21/2015)


campaign was transmitted more easiy and quickly than from any other

medium.

Advertising companies utilize motion graphics in order to expand new

ad campaigns, such is the case of advertising agency Leo Burnett. The

agency launched a campaign for McDonalds entitled “Choose Lovin’. The

campaign refreshed the long-running tagline “I’m lovin’ it” and leaned

towards the idea of love. The brand wanted to refresh their campaign in

hopes of taking down the bad reputation that it has been acquiring from the

past years for serving cheap and unhealthy food. Tim Nudd, from Adweek,

explains that the campaign “features pop-culture foes suddenly finding

peace. We get cameos from Dorothy and the Wicked Witch of the West;

Wile E. Coyote and the Road Runner; Pacman and Ghost; Batman and the

Joker; Bears and Packers; etc.—all of whom are in a remarkably forgiving

mood.”22 They created several spots by using 2D and 3D computer

animations in order to explain the idea of the campaign faster and in a more

effective way.

Advertising has had unique ways in utilizing the innovations of motion

graphics to enhance a campaign. Motion Graphics can show a different

expression than other visual arts, and can result in better communication to

22 Nudd, Tim, “Ad of the Day: McDonald’s refreshed ‘I;m lovin’ it’ and suddenly feels a lot like oreo: Archenemier become friends in Leo Burnett’s launch spot”, Adweek, http://www.adweek.com/news/advertising-branding/ad-day-mcdonalds-refreshes-im-lovin-it-and-suddenly-feels-lot-oreo-162158, Published January 5, 2015, Web (Access 05/21/2015)


the work with the audience. Motion graphics convey more complex concepts

and meaning in simpler formats.


Discussion

A. WHAT IS TWITCH?

I. History

Twitch is a live streaming video platform owned by Amazon.com Inc. It

was introduced in June 2011 as a spin-off of the general-interest streaming

platform Justin.tv. The site focuses on video gaming live streams, including

playthroughs of video games by users, broadcasts of e-sports competitions,

and other gaming-related events. The content on the site can either be

viewed live, or viewed on an on-demand basis.

As stated on their webpage, “Twitch features the best gaming events:

large-scale gaming competitions that pack stadiums, community marathons

that raise millions of dollars for charity, and video game industry events

where the future of gaming is forged. Twitch is well known to tens of millions

of gamers, but still somewhat under the radar for everyone else” 23.

Twitch beta was launched officially in June of 2011. Its headquarters

are in San Francisco, CA. The company originated from Justin.tv, which was

launched in 2007 by Justin Kan and Emmett Shear. Justin.tv was first divided

into different categories. The gaming category became the most popular

content on the site. Afterwards, the company decided to call the content

twitch.tv, inspired by the term “Twitch gameplay” (a type of video game

scenario that tests a player’s reaction time. Action games and other vivid

23 Twitch.tv, “About”, Twitch, http://www.twitch.tv/p/about, Web. (Access 05/12/2015)


video game genres like it often contain elements of Twitch gameplay.). So

far, Twitch has attracted more than 30 million visitors a month.

Twitch acquired a partnership in 2013 with Microsoft’s XBOX One and

Sony’s Playstation 4, which enabled gamers to live stream, share and chat

about their playing experiences with others on their videogame consoles.

Social capabilities has always been an integral part in a gamers life, therefore

Twitch plays an important role in delivering a captivating connected

experience to fans.

In August 2014, Amazon Inc acquired Twitch for $970 million. Twitch

is now operated as a subsidiary of Amazon Inc. with Emmett Shear remaining

as the CEO for the company. Over time, Twitch became the fourth largest

source of Internet traffic in the United States, behind Netflix, Apple, and

Google.

II. About

In his article for the New York Times, Nick Wingfield describes how

Twitch “has attracted enough viewers to put it among the 15 most-trafficked

websites around the world, according to data compiled by Sandvine, an

Internet networking company. Twitch viewers flock to the site to improve

their gaming skills by watching people who have mastered a game or just to

get a closer look at games before buying them. Some of the biggest


followings on Twitch are of people who are simply amusing, rather than the

best players.” 24

Inside the Twitch webpage, broadcasters create an entertainment

hybrid for the Twitch community by merging live video and live video game

gameplay. Twitch offers a social video platform with every corner of the

video game industry represented, and a community to enjoy video game

content with. Even though the amount of people who play and interact with

content inside videogames is huge, there are a lot of people who don’t

actively play a game and interact, and enjoy watching inside the platform.

Biran Crecente noted “Twitch grew out of the desire by so many to

watch others play video games through live video streams was an untapped

demand that propelled Twitch's success and launched it onto mobile

platforms and two gaming consoles” 25, states Brian Crecente on his article

for Polygon.com. This platform has become a new way to interact with games

and has transformed this new gaming movement into a cultural

phenomenon.

Suffice to say, there have been other on-demand video and live

streaming video platforms in the web such as Youtube, Hitbox.tv,

24 Wingfield, Nick, “What’s Twitch? Gamers know and Amazon is spending 1$ Billion on it”, New York Times, http://www.nytimes.com/2014/08/26/technology/amazon-nears-a-deal-for-twitch.html?_r=0, Aug. 25, 2014, Web. (Access May 12, 2015) 25 Crecente, Brian, “A generational shift powered Twitch’s transformation into cultural phenomenom”, Polygon, http://www.polygon.com/2015/2/16/8046741/twitch-evolved-video-upstart-cultural-phenomenon, published on Feb 16, 2015, Web. (Access 5/21/15)


Gaminglive.tv, Ustream, StreamUp that have tried to do what Twitch has

done. Nonetheless, none of these are direct competitors to the brand. In

terms of size and scope, YouTube is obviously huge, but Twitch has a

symbiotic relationship with them given that they focus more on VODs than

live video. For example, Twitch users are able to export videos directly to

YouTube; while YouTube has permitted annotations that let people watching

VODs on their platform know when those content creators are broadcasting

live on Twitch. Twitch does have competitors, but they are primarily in other

countries.

There are over a 100 million monthly viewers that spend an average of

106 minutes daily watching live gaming. Over one million broadcasters share

their games live on Twitch monthly, inspiring viewers to become

broadcasters and discover new games. Twitch user engagement has already

surpassed other entertainment platforms. Broadcasters benefit from paid

advertising while contributing to their ecosystem of dynamic content, which

in turn attracts new viewers on their computer, consoles and mobile devices.

Users can also immerse themselves in live global ESport events such

as League of Legend Championship series, Starcraft World Championship

series, and Capcom cup; live industry events such as E3 Conference, Penny

Arcade Expo East, and community-created live charity events such as

Gamer’s outreach and Extra life.


While the competitive gaming scene known as E-sports is huge in the

website, there are also non-competitive games like Minecraft that attract

huge numbers of viewers. Here is Twitch’s top games list from January 2015:

Figure 2: Twitch Top Games for January 2015 (By Total Minutes Watched) 26

26Maestas Jason, Top Twitch Games for January 2015, Twitch, http://blog.twitch.tv/2015/02/top-twitch-games-for-january-2015/, Published Feb 3, 2015, Web. (Access 5/21/15)


II. Demographics

Referring to the company’s demographics, Lander Vu mentions in Ad

Age “Twitch appeals to an audience composed largely of gamers. According

to Quantcast, nearly 94% of Twitch users are male and 64% of them fall into

the coveted consumer demo aged 18 to 34. This millennial consumer is part

of an audience that prefers to be active participants in the content they

consume. Recognizing this, Twitch has customized its platform and content

specifically for the millennial male”. 27

In the United States, gaming has become a universal entertainment.

Gamers are actively using the latest technology to consume content and

connect to other gamers. A LifeCourse online survey states a “Percentage of

americans who have played a video game in the past 60 days by generation

are millenials 28

Figure 1: Percentage of Americans who have played a video game in the past 60 days by generation

27 Vu, Lander, “What Twitch can teach Brands about marketing to Millenials:four lessons in Content Marketing from Gaming Platform Twitch”, Ad Age, http://adage.com/article/digitalnext/lessons-twitch-marketing-millennials/298261/, published on April 28, 2015, Web. (Access 5/21/15) 28 LifeCourse online survey of 1,227 U.S. persons ages 13-64. Survey. March 12-30, 2014.


Twitch’s uses social media channels, their blog, newsletters, and

Twitch Weekly (the Friday show that focuses on things our community is

doing and things we they are doing for them) to involve sponsorships and

more creative programs to their viewers.


B. THE PROBLEM

Gamers make up a large percentage of Twitch’s population. They are

no longer a niche that needs to go beyond, yet they are indispensable for

the campaign that is going to be discussed further into the thesis. That being

said, there are still plenty of casual gamers who have yet to embrace the

platform.

Twitch reaches half of the millenials in America, and nearly half of

Twitch users spend 20+ hours a week on Twitch. Yet, the company finds new

viewers mostly by word of mouth, instead of advertising in places such as the

global ESport events, and gaming championships. This company doesn't

advertise beyond maintaining a presence at major gaming events. Top

publisher, developer, and gaming media outlet have a Twitch channel, so

they evangelize the Twitch platform daily, yet it seems as though the

company relies too much on outside sources to share who they are rather

than coming up with creative ways to advertise themselves.

Twitch is said to have a very casual and inclusive voice; they want

everyone to feel welcome in their platform, but, the website is not portraying

the voice they are trying to depict.


In terms of design aesthetic, the mobile application and webpage

seem to be lacking finesse. The look and feel should honor the target

platform, which users like for a reason.

A design should look aesthetically pleasing and interesting, while not

abandoning functionality. The oversimplification of the platform, where

everything looks the same, leads to difficulty in centering user focus for the

task or content at hand. The website and app should feel welcoming. First

time users should feel something special and valuable when they launch an

application. Subsequently, the users should discover more utility and deeper

functionality other than its simplicity. People using their website and

application should get a deeper functionality to make the experience a lot

meaningful.

With techniques including motion and transitions, Twitch can enrich

the user experience, and push the value to the user rather than force the user

to look at the content that is shown. The app has a lot of functionality that if

arranged and designed properly, would be easier to navigate.


Recommendation

THE NEW TWITCH

The first step of this advertising campaign is to transform and evolve

Twitch’s interface and increase its brand awareness with the help of motion

graphics. While still maintaining the website’s capabilities, Twitch will be able

to take full advantage of a more meaningful and immersive experience for

gamers while utilizing motion graphics to advertise their programming and

experience.

I. ”Reality Sucks, Gaming Doesn’t”

As a video platform, the primary goal is to attract as many users as

possible. Therefore, the consumer message is targeted towards the idea that

“Reality Sucks, Gaming Doesn’t.” This message addresses the idea that

reality as boring and limited, while gaming is more interesting and has no

boundaries. Gaming is a source of creativity; it allows us to be something we

are incapable of being in real life. It is an outlet for imagination that lets the

person do whatever he or she pleases without major consequences in the

videogame story. The idea of “Reality Sucks, Gaming Doesn’t” establishes an

attitude and personality for Twitch that is funny, snarky, and geeky; a

common trait in the gamers persona.


II. Print Ads, Banner Ads & Web

Pleasing aesthetics will have to be applied in the print ads, banner

ads, webpage and to appeal to all demographics. However, given the

advanced features of the platform, the launch will have to target the

technologically savvy demographic in the 15 - 25 year old range. The

campaign will maintain the same color palette from the Twitch logo, with the

addition of black and greys in the app, the website, and banner.

As a company, Twitch is experimenting, and pushing forward with new

product initiatives intended to make the platform more appealing to gamers

everywhere, and this campaign should help them show this.

The basis for the design will create a uniform look across the ads. The

main points of design were focused upon simplicity and functionality of the

message. The headline will help encompass the idea the ad is portraying.

Additionally, the print ad will be interactive. The interactive area of the

ad will come to life with the help of the Twitch AR in the Twitch App.

The application will be the culmination of the latest in mobile

technology, and augmented reality, and will be the center of the user

experience.


III. Twitch AR

The concluding section for this thesis will be the Twitch AR. It will offer

a full augmented reality visual display for the user, on which users would be

able to interact with the print and web advertising. By simply pointing the

camera in Twitch AR view, user would be able to view a print ad animate in

real time before their eyes.

Once they use the app to view the ad, the users can have save the

elements seen in the motion piece for later use. With Twitch AR activated,

users will then have the ability to place virtual elements within their

environment that can be seen only by the user.

Twitch AR also uses form-recognition software to allow the user to add

the elements taken from the prints and banner ads into real environments so

the elements can interact with the objects in the real world. The user will be

able to save their videos and submit them through the twitch portal in the

application. The videos created will then be placed in a competition on which

the most creative of them all would win a new Playstation 4 console or XBOX

ONE with three of the newest games in the market. Last but not least, Twitch

would be able to take the videos created by the users from the AR and re-

purpose them as 15 and 30 second TV ads for the company.


Appendix A:

CREATIVE BRIEF

Brand Overview

Twitch is a live streaming video platform owned by Amazon.com Inc. The site focuses on video gaming live streams, including playthroughs of video games by users, broadcasts of e-sports competitions, and other gaming-related events. Target Audience

Technologically savvy. Experienced and casual gamers. 15 - 25 years old.

Campaign Objective

Increase brand awareness and demand of Twitch.

Tagline

“Reality sucks, Gaming doesn’t”.

Advertising tone

The idea of “Reality Sucks, Gaming Doesn’t” establishes an attitude and personality

for Twitch that is funny, snarky, and geeky, a common trait in the gamers persona.

Medium

Print, web, banner, video, mobile

Elements

3 print ads, 2 banner ads, 3 videos, mobile application (including Twitch AR) and

webpage.


Appendix B:

VISUAL THESIS

Print Ads

Fig. 3: Twitch Print Ad 1 – The Ads will be the first start of the campaign.


Fig. 4: Twitch Print Ad 2 – The Ads will be the first start of the campaign.


Banner Ad 1

Fig 5.: Banner Ad 1a – The user can roll-over the banner to make it animate.

Fig. 6: Banner Ad 1b – The banner will take over the web page.


Fig 7.: Banner Ad 1c – The character from the banner will animate over the webpage.

Fig 8: Banner Ad 1d – The character will continue animating over the webpage.


Fig 9: Banner Ad 1e – The character will interact with the webpage.

Fig 10: Banner Ad 1f - A new part of the banner will show after the interaction of the

character with the webpage element.


Fig 11: Banner Ad 1g – Final part of the banner with the call to action.


Banner Ad 2

Fig 12: Banner Ad 2a – The user can roll-over the banner to make it animate.

Fig. 13: Banner Ad 2b – The banner will take over the web page.


Fig 14: Banner Ad 2c – The character from the banner will animate over the webpage.

Fig 15: Banner Ad 2d – The character will continue animating over the webpage.


Fig 16: Banner Ad 2e – The character will interact with the webpage.

Fig 17: Banner Ad 2f - A new part of the banner will show after the interaction of the

character with the webpage element.


Fig 18: Banner Ad 2g – Final part of the banner with the call to action.


Twitch AR

Fig. 20: Twitch AR 1a – First part of the Twitch AR describing what it is about.


Fig. 21: Twitch AR 1b – Main hub of the Twitch AR, where the user can film through their

camera

Fig. 22: Twitch AR 1c – Once the user shoots their video, the app will open up the editing

hub, from which the player can trim and adjust their video.


Fig. 23: Twitch AR 1d –Twitch AR uses form-recognition software to allow the user to add the

elements taken from the prints and banner ads into real environments so the elements can

interact with the objects in the real world.

Fig. 24: Twitch AR 1e – The user can save and export the video created. They can enter the

competition for a chance to win a videogame console with three of the most famous current

games in the market.


Fig. 25: Twitch AR 1f – Twitch can later re-purpose the content submitted by the users as 15

and 30 second TV Spots for the company.


Fig. 25a: Twitch AR 1 – By simply pointing the camera in Twitch AR view, user would be able

to view a print ad animate in real time before their eyes. Once they use the app to view the

ad, the users can have save the elements seen in the motion piece for later use.


Twitch App Design

Fig. 26: Twitch App 1a – Main Hub design for the Twitch AR showing the most viewed

games of the week and the most popular live streams inside those games.


Fig. 27: Twitch App 1b – Menu of the app.


Fig. 28: Twitch App 1c – Hub of the app inside of a game section, with the information, live

channels and video tabs


Fig. 29: Twitch App 1d – Hub of profile section, with the option to subscribe and follow to

said channel, the information tab, the video tab, and playlist tabs.


Fig. 30: Twitch App 1e – Hub of the games section, with the tabs for the different games.


Webpage Design

Fig. 31: Twitch Webpage 1a – Main page design showing the most viewed games of the

week.


Fig. 32: Twitch Webpage 1b – Continuation of the main page. The lower half shows the Top

live Channels and the Top upcoming games in the market.


Fig. 33: Twitch Webpage 1c – Twitch about page.


Fig. 34: Twitch Webpage 1d – Twitch Browse page, on which the user can go between the

Games, Channels and Videos Tab.


Fig. 35: Twitch Webpage 1e – Twitch Browse page continuation. Channels tab.


Fig. 36: Twitch Webpage 1f – Inside a Twitch channel, in this case, the gamer Destiny. Users

are going to be able to view the live stream while continue to be able to chat with the

player.


Fig. 37: Twitch Webpage 1g – Twitch Browse page continuation. The user will be able to

view the gamer’s information, his videos, and playlists.


Bibliography

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Documents

The integration of Motion Graphics into the world of