Media Study: Motion Graphics Niksa Babic, Jesenka Pibernik, Nikola Mrvac Faculty of Graphic Arts, University of Zagreb, Getaldiceva 2, 10 000 Zagreb, Croatia E-mail: jpiberni@grf.hr Abstract –The article examines the interplay of design, technology and interactivity shaping the production of motion graphics. It combines the perspectives on media technology and systems with an awareness of the creative process, the audience and the trends shaping content. Motion graphics is used as a means of expression for millions of people, a fact which, with all its advantages and limitations compared to static design, ensures it a place in recent history as no other means of creative expression or communication has had. Such a change in the relationship user/audience–producer/designer will surely result in another great change in the structure of digital space. Using the interpretative method of media analysis, the paper explores the genre, narrative and technological features of motion graphics. Keywords – Motion Graphics, Graphic Design, Digital Space 1. INTRODUCTION Technological advance with its accelerating pace has brought changes in design because the demand for graphic design on television, the Internet, video games, interfaces for electronic devices, and posters on cheap LCD screens and interactive posters is more and more dominant [1]. All the enumerated applications represent a logical evolution of static design in a manner like the evolution of film after the invention of voice recordings, TV after the invention of color TV or the Internet after a dramatic increase in the number of users of broadband connection. Regarding the opportunities for using motion graphics in learning, there is evidence that instructional animation is superior to static pictures with respect to learning outcome [2]. Growing demand by the public coupled with a thirst for attention demanded by advertisers will result in ever more attractive and sophisticated creations. 2. PROBLEM STATEMENT Motion graphics nearly always contains video, film, animation, photography, illustration, typography and music. The dividing lines of these forms are difficult to determine especially in multimedia works, but we are free to say that a video or film representing a mobile object, although it represents the object in movement and represents it graphically/visually, is not motion graphics unless it is integrated with elements of design like letters, shapes or lines, i.e. unless it uses elements of design in order to communicate a message [3]. Animation by itself is not motion graphics, but it becomes one when combined with a significant use of lettering or animated forms without a specific narrative element. Therefore, it is necessary to determine the parameters, which define motion graphics by genre (distinct from similar forms of animation), explain the role of interactive motion graphics as a new medium, and the means and technology of its production. 3. REPRESENTATION PRINCIPLES One of its first motion graphics productions was realized as an indirect experience, by a combination of pictures (illustrations) and text. In cognitive evaluation, the communication of an idea is maybe the most important component which motion graphics must fulfill; this is one of the criteria, which conditioned its creation. Although it is primarily the picture, which is the carrier of the idea, while on-screen text ensures the understanding of the transmitted content, typography also participates in design as shown in Figs. 1. and 2. The research has proven that in computer-based multimedia learning environments, which offer a potentially powerful venue for improving student understanding, the modality principle states that it is better to present words as auditory narration than as visual on-screen text [4]. Today, interactive, computer-vision based art installations are gaining popularity [5]. A good example of such a digital space is the interactive 7x15 ft. poster that reflects the creative license afforded by the new Adobe CS3 software package. Using Flash Video Encoder and Exporter, the system records the movements of passers-by by camera and simultaneously, according to an in-built software package, draws shapes and forms shown in Fig. 3. Interactive media technologies have transformed the mass media communication model,