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of design.
One of the most spectacular historical examples of the design process for a
the multimedia structure is a postproduction diagrammatic storyboard for Alexander
Nevsky, a 1938 film by Sergei Eisenstein, a Russian film director and one of the first
theorists of the medium. That storyboard is a timeline in which visual representation
of the film, components are precisely synchronized with a sequence of “audio-visual
correspondences” including film shots, music score, a “diagram of pictorial
composition,” and a “diagram of movement.” The “diagram of movement”
represents specifically the camera work resulting in onscreen motion. Choreographed
very precisely, in fact to a fraction of a musical measure, this “diagram of
movement” attests to how essential onscreen motion—and it's meaningful
integration with all other elements of his vocabulary—was the cinematographer.
The same challenge of integrating motion as a meaningful component of communication
design should remain the focus of research and practice for
Currently, the integration of motion and typography is perhaps the most
extensively exhibited practice of motion design. Kinetic logos and taglines very
successfully “scream” their brand names and services, even from the muted TV
screens. But a great potential of the type in motion is not limited to TV commercials and
film titles. Adding motion and time dimensions to typography is to add new
possibilities to the imaging of verbal language. Kinetic typography complements
traditional typography by exploring “real-time” visualization in a spirit of phonetic
properties of spoken language, such as spontaneity, intonation, etc. The dynamic
visualization of these properties, possibly codified at some point and customizable,
would promote the user’s personal preference of onscreen, typographical
“behavior” of words and lines in such cases as closed captioning, for instance.
The concept of the kinetic “behavior” of an onscreen design object—such as
typography, an illustration, or a diagram—especially the behavior triggered
interactively by a user, is one of the central issues of motion literacy. For a user, such
kinetic behavior may be perceived as a dynamic transformation of some spatial
properties of the initial object, which occurred as a result of pointing, dragging or
clicking. For a designer, to design a kinetic behavior means to define a matrix of
specific dynamic parameters of the transformation of that object mapped to specific
variables of input. Injecting motion into interactive design means entering the
environment of algorithmic thinking and that is why suddenly the language
describing it became very technical.
Integration of motion with information graphics has a tremendous potential
of contributing, through interactive visualizations, to various disciplines of science,
economy, and education. Dynamic diagrams, charts, and timelines seem to be the
only practical solutions for understanding complexity of large-scale information
structures. However, translating the complexity of data into the clarity of visual
information will not be easy on designers, since increasingly sophisticated
computational imaging requires new conventions and strategies for dynamic
visualization, and very often, the solutions adopted from traditional information
design, do not work successfully in an interactive
Interacting with complex data within hypertext structure is a special kind of
motion, involving the concept of multiple representations of information—
dynamically linked text, image, audio, video, etc. Multiple representations of
information is the real advantage for the user and a challenge for the designer since
in the context of interactive media, information is not fixed but fluid. According to
Lev Manovich, it is “something that can exist in different, potentially infinite
versions.” Therefore, interaction is supposed to give the user a sense of the unique
process of walking a personal path through databases to the most appropriate form
of content delivery, according to the user’s own individual preference or special
needs. And since this unique path to knowledge is a result of action and reaction,
a stimulus-response loop repeated ad infinitum, designers must always ask
themselves how much motion is appropriate to their audience, to the content and
context. After all, the motion is not the purpose for its own sake but a way of serving
the purpose of communication and since design requires equilibrium of no motion
and motion, the absence of motion is just a case of potential motion. And yes, the motion
is integral to