Communication Aesthetics

COMMUNICATION
AESTHETICS
(BV23B)
Prepared by
Dr. N. Bhuvana
Communication Aesthetics Dr. N.Bhuvana

CONTENT
❑ Topics to be covered
❑ Session Objective & Learning Outcomes
❑ Learning Resources & Methodology
❑Course Content
❑ Activity / Worksheet

TOPICS
UNIT I
• The role of Aesthetic Communication in Advertising, Design and
Communication
• Graphic Design versus Visual Communication Design
• The presence of designer in the design execution, the creative sense of
the designer
• Communication design problems, information, redundancy and noise
• Reality and creativity, Creativity and Communication
• Communication and Aesthetics
• 2D and 3D animation techniques

SESSION OBJECTIVE
• To understand the concept of aesthetics in communication, advertising,
and design
• To recall the elements and principles of art and usage in visual
communication design
• To examine the responsibilities of a graphic designer
• To analyze the problems in communication design
• To compare the reality and creativity in advertisements
• To explain the techniques of 2D and 3D animation techniques

LEARNING OUTCOMES
• At the end of the session, students will be able to understand about
• the concept of ‘aesthetics’ in communication, advertising, and design
• recollect the elements and principles of art and usage in visual
communication design
• the responsibilities of a graphic designer
• the problems in communication design
• compare the reality and creativity in advertisements
• the techniques of 2D and 3D animation techniques

LEARNING RESOURCES
• Sight Sound Motion Applied Media aesthetics, Herbert
Zettle, Thomsan Wordsworth Publications,USA
• Communication Design Principles, methods and
practice, Forge Frascara, Allworth Press, Newyork

METHODOLOGY
• Audio Visual and PPT

AESTHETICS
• Traditionally , AESTHETICS is a branch of philosophy that deals with

nature and expression of beauty.
• It explains how people perceive and access the meaning, importance
and purpose of art.
• In Visual communication design, aesthetics refers to an object or
design's overall visual effect created by the elements and principles of
design and/ or other visual components.

COMMUNICATION
• Communication is a unity of information, utterance and understanding and, when it is implemented , the
sender and the receiver decide what they then wish to do.
• Communication works with signs, so the sender , by giving form in a sense-based mediums, opens up an
imaginary world of meaning on which the sender and receiver agree, if the communication is to succeed.
They must have or be able to develop a common language.
• The sensual basis of language provides a surplus of meaning to communication, because its mode, the
special way in which the information is presented, can bolster or weaken it.
• It creates a gradation from the work to an invisible network of implied experiences, that are lost in the body.
• So, if you are interested in communicating and getting a message across, you must not only take an interest
in the information but in the way it is presented.
• Communication has a sensual dimension that has influence not only as meaning but as sensation, whether
the sender and receiver are aware of it.

SENSATION EVOKED – ‘SLICE’

AESTHETIC COMMUNICTAION
• An interest in aesthetic communication , arises when we focus on the way in which we
communicate, regardless of the fact that communication always and inevitably has both content
and mode.
• The same information can be put differently, and these differences may be important for the
success or failure of the communication.
• The opaque interplay between sensation and meaning make the aesthetic experience time-
bound.
• Focussing on a special way to communicate and at the same time with sensation and meaning is
aesthetic communication. The aesthetic effect consists of this duality, which make it impossible
for the sender and receiver to control the communication.
• Thus, Communication by means of aesthetic forms of expression is used to influence cultural and
social development is Aesthetic Communication.

SENSATION EVOKED ‘FAIR & LOVELY’

AESTHETIC COMMUNICTAION
• In aesthetic communication, communication strikes broadly and implicates
more than straightforward information.
• It also requires a special form of attention, so the sender must sense what ‘
works properly’ and the receiver what ‘ feels right’.
• It is often impossible to provide much more than vague words, when you
have to explain why you send or receive in a particular way.
• Both parties, must be fluid, and this both involves and goes beyond
language.
• In order to identify the aesthetic patterns, they must place themselves in a
state of what Freud called a ‘ free , flowing attention and put the quick
mode of the everyday observation out of service.’

AESTHETIC COMMUNICATION
• Aesthetic communication takes place through creative expressions of

art forms: music, dance, theatre, crafts, art, painting, and sculpture.
Ballet is a great example of this, as there is dance and music,
but no spoken or sung words.

HOW WE USE AESTEHTICS IN EVERYDAY LIFE?
• We use it to communicate criticism of religion/ religious beliefs,
dance, music and works of art and image.

WHY AESTHETIC COMMUNICATION?
• We need aesthetics to complement, appreciate, and fullfil elements of art
such as balance, colour, movement, pattern, scale, shape and visual weight.
• If not for aesthetic communication, anyone who thinks can sing or paint, or
even dance, would and think they are the best at it. Hence, aesthetics
allow us to tell people and they do not belong in this field.
• Knowledge of aesthetic communication enhances the ability to understand
and interpret messages conveyed in cultural life, the media and between
people.
• The subject of aesthetic communication covers communication processes
and exploration of how to interact with other people using aesthetic forms
of expression.

ADVERTSING
• Advertising involves publicity, sales promotion, paid promotion.
• The motive to which an ad is directed, designed to stir a person
toward goal the advertiser has set is known as APPEAL.

AESTHETIC COMMUNICATION IN ADVERTISING
• Through physical and digital form we derive an understanding about the
product, its function and history, and our relationship to it.
• Aesthetics inspires us to try a product, and influences our adoption of new,
unfamiliar products.
• It reveals content, usage, and function.
• It provides delight, instills pride, and inspires loyalty.
• Most importantly the themes and aesthetics that a company chooses to
embrace—especially with regard to its logo—will dramatically influence
how your audience sees your company.

PRODUCT PACKAGING WITH AESTHETIC APPEAL

AESTHETIC REPRESENTATION – MTR RAVA IDLI

DOMESTIC VIOLENCE CAMPAIGN AD
• A viral advertisement campaign that aims to increase awareness about domestic abuse in the
country depict images of bruised godesses like Lakshmi, Durga and Saraswati.

AN AD REPRESENTED AESTHETICALLY TO INSTILL POSITIVITY
DURING COVID THROUGH ITS PRODUCT
AN AD REPRESENTED AESTHETICALLY TO INSTILL POSITIVITY IN FAVOUR
OF CANCER SURVIORS THROUGH ITS PRODUCT
• A successful advertising imagery, from the aesthetic point of view, will
capture audience attention with its form and content.

CREATIVITY AT ITS BEST
• 32 Best Indian TV Ads of All Time - A Display of Sheer Creativity
(scrolldroll.com)
• Dabur Vatika Salutes Female Cancer Survivors - #BraveAndBeautiful –

YouTube

VISUAL MESSAGE IN ADVERTISING
• A visual message is any direct, mediated, or mental picture.
• The purpose of visual advertising

Visual imagery is used to attract attention, stimulate curiosity,
illustrate product features and benefits, create and develop a
personality for a product, associate the product with certain symbols
and lifestyles, and establish a brand's identity in the minds of the target
audience

VISUAL MESSAGE IN ADVERTISING

7 VISUAL ELEMENTS OF ART USED IN ADVERTISEMENT

7 VISUAL
Line Styles
ELEMENTS OF ART USED IN ADVERTISEMENT
• Lines can suggest speed, solidity and purposefulness. Lines are the basic building blocks of all art because
they are the visual basics of all reality.
• In general terms, horizontal lines suggest passivity, while vertical lines suggest power and activity.
• An ad might use jagged lines, broken lines, thin lines or thick lines to evoke a desired emotional affect.
• For example, an industrial ad in a farm magazine might use thick, vertical black lines to sell a tractor, while an
online catalog ad for lingerie would feature soft, curvy, wispy lines.
Dominant Shapes
• A shape can suggest anything.
• Curves suggest feminine voluptuousness, while angles suggest masculine practicality.
• Depending on the product, the dominant shapes in the ad can provide the impetus to build images and
associations based on these basic ideas.
• A circle can imply eternity and virtue, while a line, like a road leading to a horizon, suggests freedom.
• Triangles, squares and parallel lines all suggest different concepts and emotions.
• Triangles focus the mind upward, while squares often suggest practicality and usefulness.

Complex Forms
• Forms are more complex than shapes.
• They are the outward manifestation of inward content.
• A form is the synthesis of line and shape, and establishes the groundwork for all the other
elements.
• Sculpture is the most familiar example of form in art, Graphic artists may use two dimensional
forms to create the illusion of 3D forms for realistic or abstract representation of a concept.
Illusion of Texture
• Texture refers to the surface qualities of an object.
• An artist is challenged with creating a visual representation of a tactile surface that is normally
experienced through tactile sensation.
• Various techniques are used to create the illusion of texture on a flat surface.
• Textures may be be smooth, suggesting refined tastes, or rough, suggesting toughness.

Power of Color
• Colors are powerful image builders.
• Red is almost always used to depict youthfulness, power and action. Blue is often relaxing.
• Blue is often the dominant colors used in furniture or sleep-aid ads.
• Green almost always suggests growth, hope and the organic.
• Yellow and red together can suggest speed and power in a single object such as an automobile.
Value and Intensity
• Values refer normally to color.
• It refers to changes in the actual color in the "form" of an object, but also can change in intensity.
• Intense colors suggest speed, youth and virility.
• These are common in sports car ads and certain types of clothing aimed at youth.
• More cerebral ads focus on muted values, while ads aimed at youth often use bright,
overpowering values.

Creative Use of Space

• Space is the most comprehensive of all artistic elements.
• It is the synthesis of all other elements in the campaign.
• It is the stage on which all other artistic elements come together.
• It is not empty space, but is rather a spatial distribution of objects in a defined environment.
• An automotive ad stressing speed and freedom might use few objects in an ad campaign, and
stress the road and the horizon.

VISUAL ELEMENTS IN AD
• The elements that make up visual marketing are imagery, colors,

fonts, composition, repetition, humor, and a basic appeal to
humanity.
• The more you can humanize an advertisement, the more it will speak
to your target audience.
• Using clear, visual elements will accomplish that

AESTHETIC PRINCIPLES
• Design of the advertising imagery abides by a series of aesthetic principles:
Order, Proportion, Ratio, Equivalence, Size, Unity, Variety.
• Aesthetic principles are practical value being validated by its capacity to

capture audiences interest.
• Thus, the image’s content is more often symbolically moulded in

accordance with the aesthetic vision of the creative team; it’s symbolic
dimension, alongside the aesthetic one, manifests a psychological impact
on the audience.

AESTHETIC PRINCIPLES

AESTHETIC COMMUNICATION IN ADVERTISING
• A successful advertising imagery, from the aesthetic point of view, will
capture audience attention with its form and content.
• Thus, the content of the advertising imagery is relevant for the sent
message, object or product it advertises for, encoding more or less
complex significations, as social, economic, political, religious etc.
• The image’s content is more often symbolically moulded in
accordance with the aesthetic vision of the creative team; it’s
symbolic dimension, alongside the aesthetic one, manifests a
psychological impact on the audience

5 HIGH EFFECTIVE PERSUASIVE ADVERTISING TECHNIQUES

EFFECTIVE ADVERTISING


• Story Telling


• Cricket is undoubtedly India’s most loved sport and brands have time and again utilised this fact to their advantage.
• Cadbury’s has gone a step ahead and has reimagined a beloved old advertisement from the early 1990s in which a girl is
seen dancing on the cricket pitch to celebrate her boyfriend’s century.
• The revamped ad, out just as IPL resumes, has the gender roles reversed and netizens are simply loving it. The chocolate
manufacturer’s new advertisement recreates the vintage ad scene-by-scene, but this time it’s a female cricketer taking
the shot and a man in the stands is seen praying.
• While the nostalgia-evoking jingle ‘Kuch Khaas Hai’ plays in the background, the spectators think the ball will get caught
on the boundary, but the batswoman manages to pull off a six. Her jubilant boyfriend runs to the ground in celebration,
sneaking past the security personnel and recreating the iconic dance moves that had catapulted model
Shimona Rashi to fame as the ‘Cadbury Girl’.
• The two followed it up with the hug in the end, with the brand’s tagline “asli swaad zindagi ka”, this time with the
hashtag #GoodLuckGirls.

• क्या आपको ये लड़की याद है ? Old Nostalgic All Cadbury Dairy MilK
Ads | Kuch Khaas Hai Zindagi Mein – YouTube
• Cadbury Dairy Milk wishes #GoodLuckGirls to all those hitting it out of

the park. - YouTube

• Seeing is Believing


• Ambient Advertising

• Ambient Advertising

AESTHETICS IN DESIGN
• Aesthetics is a core design principle that defines a design's pleasing qualities.
• In visual terms, aesthetics includes factors such as balance, color, movement, pattern, scale,
shape and visual weight.
• Designers use aesthetics to complement their designs' usability, and so enhance functionality
with attractive layouts.
• Art and beauty are both subjective values, so instead of understanding aesthetics through
rationality, aesthetics is understood through the lens of our perception and appreciation for it.
• But on the contrary, for example, if we see a banana that’s shaped just right and looks perfectly
ripe and yellow, we automatically assume that it tastes good just by looking at it. Conversely, we
assume that misshapen or discolored bananas taste bad, so we end up not buying or eating them.

• Through aesthetics, you can add artistic elements to your design that can elevate its visual appeal.
• It can add character and personality to your design that purely functional design would not be able to do so.
• When designing with aesthetics, you can start by thinking about design elements that you think people will
find beautiful.
• What colors and imagery do you think they find appealing?
• What beautiful things do you think will attract your consumers?
• Because more than practical design, in the end, people still get pulled in by the things they find beautiful.
• You can make the most functional cupcake packaging design there is, but if people find another box of
cupcakes more appealing—say it has a color palette that looks more appetizing—then they will still be more
inclined to get that other box instead of yours.
• This brings us to the advantages that aesthetics can give to your business.

• Design in general is the intersection of functionality and aesthetics.
• It combines the objectivity of function and the subjectivity of aesthetics, resulting in a logical and creative
output.
• Graphic design indeed needs to be functional because design solves visual communication problems, after
all.
• Making a design look good for the sake of looking good can actually be a good thing, especially if you have
already achieved its functional objectives like clear text, proper layout, proper imagery, and so on.
• Surely, you can make a poster design that clearly displays essential information and be done with it.
• But why stop there when you can add artistic elements to make it look more interesting?

Why Aesthetics in design??
Your competitors are fierce
• Aesthetics can set you apart from the
competition by giving your brand and
your graphic designs a unique look.
Your new business finds it hard to
penetrate a new market
• Incorporating great aesthetics into
your graphic design can make your
brand leave a good and lasting
impression on consumers, eventually
turning them into loyal customers.
You need more customers
• Consumers tend to share aesthetically pleasing products with other people more frequently.
Consumers are becoming harder to please
• Aesthetics can reach your customers’ standards and expectations by appealing to their tastes through visually
appealing designs.
Consumers are having shorter attention spans
• Aesthetics can make your design grab consumers’ attention, even the ones that have the shortest attention
spans.
Consumers now have tighter budgets or stricter purchasing habits
• Aesthetics can make your product look more appealing to consumers, making it worth their money to buy.
Putting a lot of effort into making your graphic design look great can translate to putting the effort to ensure that
your product quality is great as well.

• This illustration comes from the
French Ministry of Health.
• They wanted to spread the word
about the growing problem of
childhood obesity, warning
parents that “obesity starts at a
young age.”
• The print ad campaign is plain but
effective: it shows an ice cream
with a fat belly on top of it.
• What thrills us the most about
this piece of content is that it uses
bright and cheerful colours, but
still manages to send a not-so-
shiny message to the kids and
their parents.
• KFC, one of the most popular fast-food chains
worldwide, ran out of chicken earlier this year.
• It was a colossal disaster for the brand that built
the whole empire on chicken, so they had to close
almost a thousand US-based outlets temporarily.
• However, their advertising agency used the
opportunity to play with the famous KFC acronym
and create one of the best print ads that simply
says FCK.
• It was a cool way to apologise but also a great
marketing trick that made the world talk about KFC
from a different point of view.
• Chupa Chups is a famous brand, while
lollipops remain their most important
product.
• However, when Chupa Chups decided to
follow the growing market trend and
create a sugar-free lollipop, they needed
an excellent print ad to spread the word
about it.
• Thus, Aesthetics deals with art, beauty, and taste and is needed in
great graphic design, along with functionality, to give your design
more character that will appeal to consumers. This will help your
business convert sales and drive profit to make it successful.

VISUAL COMMUNICATION Vs GRAPHIC DESIGN
• The visual communication focusses on communicating with the target audience
through any visual means available.
• Skills such as graphic design, illustration, animation, photography are considered
broad and comprehensive, and they prepare graduates to enter a number of
exciting fields within the communications industry
• Graphic design is narrowly focused only on making a visual representation of key
concepts within a visual method of communication like advertising or web
design.

GRAPHIC DESIGN
• A Graphic Designer communicates ideas and information through visuals concepts.

• Primarily using design software, they create compelling visuals that inspire and captivate
audiences.
• Graphic Designers strategically combine design elements to develop aesthetically appealing
layouts, advertisements, reports, logos, packaging, and more.

SKILLS TO BE POSSESSED BY A GRAPHIC DESIGNER
A graphic designer plays a key role in a creative company. Using elements like
typography, illustration, photography and layouts, a designer always has an
extremely creative mind that can absorb visual trends and deploy them in fresh and
exciting ways.
• Strong written and verbal communication skills

• A full and fluent knowledge of current design tools and software
• Confidence to be bold with their work
• Industry experience in the design field
• The ability to meet deadlines
• A background of working well as part of a design team
• The ability to think creatively and deliver impressive concepts

SKILLS TO BE POSSESSED BY A GRAPHIC DESIGNER
• Each designer’s role varies from employer to employer, but common
activities include:
• Staying up to date with industry trends to keep ahead of competitors
• Producing consistently excellent visual work
• Producing a host of ideas, selecting the best ones and selling them to
the other members of the team and to clients
• Encouraging others to share their ideas and nurturing creativity
• Communicating productively with management and clients to keep
them up-to-date with project milestones
• Creating direction for projects and guiding team members

CREATIVE SENSE OF A DESIGNER
It’s only when the things you come up with are both unique and valuable that they can
label them as being creative.
1. What makes the work unique?
2. What makes the work valuable
Combining uniqueness and value for design

• When you understand creativity for what it is — ideas that are both unique and valuable
— it becomes far easier to see how you can incorporate it into your designs.
• You’ll want to create something that offers clear value in a way that doesn’t trade-off
that value for originality. But you’ll also want your designs to not merely provide value
without offering any type of unique elements or attributes to the experience. You have
to find a balance for providing both.
• To incorporate creativity into design, you merely need to look at the problems you’ve
solving and the toolset available to you in order to see what can be done.

CREATIVE SENSE OF A DESIGNER
• If you want to be more creative in your design work, the answer isn’t
to incorporate art into it.
• Rather, the best thing you can do is familiarize yourself with the
available constraints, then look closely at the problem you’re
attempting to solve or improve through your designs.
• Once you’ve done that, the aesthetics and flare are added bonuses.

COMMUNICATION DESIGN PROBLEMS

• The Shannon-Weaver Model, also known as the Linear Communication Model and the Mathematical Theory
of Communication, demonstrates the process of communicating.
• The model contains 8 key components: Source, Encoder, Message, Channel, Noise, Decoder, Receiver and
Feedback.
• Source: The source of communication is an individual creator or group of individuals who have a message
they wish to be received by another individual or group. The source, or origin of the message, must also
have a definite purpose of initiating the communication model.
• Encoder: The encoder, also referred to as the sender or transmitter, puts the message into specific signals
that will later be interpreted. The encoder must choose distinct forms of signals to represent the meaning of
the message clearly.
A gesture of a handshake can be encoded as an image, but it would not work as effectively if it were put into
a text format.
• Message: The message is the content that is being communicated from one end of the model to the other.
Naturally you will send multiple messages that are precise, rather than a single message which has too many
meanings.

• Channel: The channel is the path on which the message travels. The encoder, while deciding how to best
transmit the message, must also consider the best path on which the transmitted message will travel. This
channel can be any medium such as magazine, radio, film, internet, etc,.
• Noise: Inevitably the channel is already filled with noise; anything that interferes with the transmission
of the message. This can be the radio playing too loudly in the background or the encoder’s own inability to
enunciate correctly.
• Decoder: The decoder simply does the opposite of what the encoder does. The decoder interprets the
original message in a way that the receiver will understand. Additionally, the decoder will act as a filter in the
sense that the message will have as much noise removed as possible.
• Receiver: The receiver is the individual or audience whom the sender had the intention to deliver the
message to.
Originally the linear model of communication had stopped there. It wasn’t until Warren
Weaver worked on the fundamentals of the model and added a necessary component. Weaver made the
effect of the model orbicular in the sense that he had attached feedback to the model. *See image above.
• Feedback: Feedback is the receivers response to the message. The feedback’s intent is to let the encoder
know exactly how accurately the message was interpreted as well as simply reporting whether the message
was received or not.

1. Entropy: the measure of uncertainty in a system
2. Redundancy: the degree to which information is not unique in the system
3. Noise: the measure of information not related to the message
4. Channel Capacity: the measure of the maximum amount of information a channel can carry
• In case of designing, unclear communication may lead to various problems

• 30 SHOCKING TRICKS ADVERTISERS USE TO MAKE FOOD LOOK
REALITY IN ADs
DELICIOUS – YouTube
• Indian Ads versus Reality feat. Ramona Arena - YouTube
Reality or Originality
• An original ad comprises elements that are rare or
surprising, or that move away from the obvious and
commonplace.
• The focus is on the uniqueness of the ideas or
features contained in the ad.
• An ad can diverge from norms or experiences by
applying unique visual or verbal solutions, for
instance.
• Many advertising campaigns are anything but
original.
• The prototypical detergent spot shows a homemaker
satisfied with an even whiter wash; perfumes feature
picture-perfect models; and cars cruise through
beautiful landscapes free of traffic.
• One campaign we studied that excelled in the
originality dimension was the surprising visualization
of the inside of a vending machine in the Coca-Cola
commercial “Happiness Factory.”

CREATIVITY IN ADs
• Creative advertising is when a team of creatives come together to
make a campaign or commercial that creatively and effectively tells
the story of a brand or nonprofit.
• Creative agencies can perform any number of functions for clients;
from strategy and design, to technology or media – all creatively or
expert lead.
• The work is often strongly defined by values or a particular guiding
philosophy – in other words, the work creative agencies produce is
much more conceptual and meaningful than any old promos.
CREATIVITY IN ADs
• An advertising campaign is a series of advertisement messages that share a single
idea and theme which make up an integrated marketing communication
• To assess the creativity of your ad campaign, ask consumer respondents to score
the ads on each dimension, on a scale of 1 to 7, by considering the questions
listed below. This will help you predict your Ad’s Effectiveness
Originality
• Is the ad “out of the ordinary”?
• Does it depart from stereotypical thinking?
• Is it unique?
Eg: Coca-Cola “Happiness Factory”
Coca-Cola - Happiness Factory (2006, Netherlands) - YouTube

CREATIVITY AND COMMUNICATION
Here are the four key reasons why we creativity is so important to be communicated
in advertising?
MEMORABILITY
• It may be a little disheartening for advertisers to read but research suggests that
only 16% of advertising is both recalled and correctly attributed to the brand,
suggesting 84% of ad spend could be going to waste
EFFECTIVENESS
• Creative advertising campaigns are proven to be more effective at getting results.
BRAND LOVE
• Creativity can help brands to create a following, as well as promote their products.

MEDIA SPEND
• Advertising which is creative requires less media spend because it is
more likely to be shared organically – increasing the opportunities for
audiences to see the ad.
• This is particularly true on social media, where a like or a share from a
friend is far more valuable than paid promotion, due to the way
algorithms prioritise content in the news feed.
• However, it’s also true of offline channels, where disruptive formats
can get earned coverage online too.


• Hamam’s campaign sought to promote the safety of women by enabling women
to safeguard themselves against all kinds of harm.
• Hamam has always positioned itself as a protector.
• It one of its early ads, a pregnant mother tells her son that she provides
protection to the baby inside her just like Hamam protects him.
• This time around Hamam added a twist to the brand positioning (Brand
positioning refers to the place that a brand occupies in the minds of the
customers and how it is distinguished from the products of the competitors and
different from the concept of brand awareness).
• Now, a mother enrols her young daughter in a self-defence class to make her self-
reliant.
Hamam #GoSafeOutside - YouTube

COMMUNICATION AND AESTHETICS
• Communication by means of aesthetic forms of expression is used to influence cultural and social
development.
• Knowledge of aesthetic communication enhances the ability to understand and interpret
messages conveyed in cultural life, the media and between people.
• Aesthetic Communication - This is the type of non verbal communication that takes place through
creative expressions: playing instrumental music, dancing, painting and sculpturing.

2D AND 3D ANIMATION
• In 2D, characters
look cartoonish and
unrealistic.
• In 3D, characters
can look cartoonish
but realistic at the
same time.

2D Animation
• In traditional 2D animation, pictures are hand-

drawn and every one showing subtle changes
from the previous.
• When played back sequentially, it creates the
illusion of motion.
• In stop motion animation, real-life models are
moved slightly and filmed.
• Stop-motion animation is a painfully tedious
process and involves tweaking the models bit by
bit!
• Again, the pictures will create the illusion of
motion when played back.

2D Animation
2D ANIMATION PROCESS
• The 2D animation process involves the creation of characters,
storyboards, and backgrounds in two-dimensional space.
• Objects in 2D animation move up, down, left and right, but they don’t
move towards or away from the camera, like in 3D animation.
• Most popular 2D animation software include Adobe Animate,
Photoshop, and After Effects.

2D Animation
• For 2D animation,
everything happens on a
2-dimensional platform.
• Pictures are flat, without
depth and offer only one
perspective.
• Objects and characters
are usually drawn without
the subtle soft shadows
we see in real life and
colours have few varying
shades.

2D Animation
• It’s considered a traditional animation style, known from the 1800s.
• Initially, it was created by pulling together the frames in which one
drawing was followed by another one that slightly differed from it.
• Every second included 24 frames.
• A frame is defined by a combination of the image to be displayed and
the time the image is to be displayed.
• Eg: The classic Disney animations - Snow White and the Seven Dwarfs,
Bambi, The Little Mermaid, and so on.

2D Animation
• https://youtu.be/qAuq_BNs6E0

2D ANIMATION
• With the development of computer technologies, this process was
also digitized through various 2D animation software with the option
of drawing the characters and backgrounds directly into the computer
and animating them.
• Now, let’s learn more about how 2D animation is created. The process
consists of 3 main phases: pre-production, production, and post-
production.

2D - PRE-PRODUCTION
• The pre-production process is the first stage of creating animations.
• During this stage, the animation team develops the story and writes the script of
the animation, designs the characters, creates a storyboard, chooses the color
palettes, prepares the backgrounds, and records the voice-over.
• This is a preparation stage for the main process, so it needs to be properly done.
• A well-written script should imply all the visual actions and storyline.
• The storyboard is based on the script, so it visually represents the sequence of
actions and events by showing how they are organized.

2D - PRE-PRODUCTION

2D - PRE-PRODUCTION
• The next step is creating the characters, outlining the backgrounds,
and preparing other visual elements of the animation.
• It starts from simple sketches and develops into detailed designs and
images.
• Then, it’s time to decide the color palettes of the animation, including
the colors of various objects and lighting.
• Another important part of any animation are backgrounds where
different actions come to life and the characters perform their
activities.

2D - PRODUCTION
• Production is the process of creating the animation by gathering all the created materials together and
producing the scenes.
• This includes painting the backgrounds, creating the individual scenes and character activities, making the
rough animation, cleaning up the animation (tracing), in betweening, coloring, and painting the drawings
with the help of computer software, compositing, and export.
• Inbetweening is the process of creating transitional frames between two separate objects in order to show
the appearance of movement and evolution of the first object into the second object. It is a common
technique used in many types of animation. The frames between the key frames (the first and last frames of
the animation) are called “inbetweens” and they help make the illusion of fluid motion.
• To pull everything together, animators create an exposure sheet that includes all the instructions on how to
make each scene. The exposure sheet is divided into 5 parts:
• Actions and timing
• Dialogues and music
• Animation layers
• Backgrounds
• View perspective

2D - PRODUCTION
• Once the rough 2D animation is created, it needs to be cleaned up
and polished. This process is also called tracing and can be done in
two ways: in a new layer or directly over the same layer with different
colors.
• Inbetweening is used to make a smooth animation by adding

additional drawings between two frames. For example, if you want to
create a bouncing ball scene, you should draw transitional frames
between the first scene where the ball is on the top and the second
frame where the ball is on the ground.

2D - PRODUCTION

2D - PRODUCTION
• After the frames are fully ready, they are scanned into a computer, if
they are not drawn digitally.
• Then, it’s time to combine all the visual elements based on the
exposure sheet.
• During the compositing process, the specialists add the backgrounds,
frames, sounds, and any other effects that are required.
• This is mostly achieved through different animation software. When

the compositing process is over, the animated scenes are rendered as
videos or movies.

2D - POST-PRODUCTION
• Post-production is the final editing process of 2D animation.
• During this phase, the animation is enhanced with additional sound effects
or recordings which increase the emotional impact of the animation.
• Once the final version is ready, it’s rendered and exported to different
formats.
• Rendering is the process of getting the final assembled animation scenes or
pieces out of the computer in the format of a sequence of individual
frames.
• The aim of rendering is to generate a series of individual pixel based frames
or a video clip.

2D ANIME
• We usually refer to Anime as a hand-drawn animation style that is
originated from Japanese artwork.
• It’s not that much different from traditional 2d cartoons, however, in
Anime the main characters have large doe-like eyes.
• In addition, Anime is the prevalent style in Japanese comic books or
manga.

3D ANIMATION
• 3D animation refers to the work of creating moving pictures in a
digital environment that is three-dimensional.
• In 3D animation, everything happens on a 3-dimensional platform.
• Pictures have depth and offer multiple perspectives just like in real life
and have soft subtle shadows cast on the objects and characters
within.

3D ANIMATION
3D ANIMATION TECHNIQUES
• 3D skeletal animation is a process wherein an object is animated by
combining two techniques: a surface representation of the object
where the animator draws the object or mesh and then adds
animations to that object using a set of interconnected bones in a
skeleton.
• In 3D animation, everything is done within the computer and
exported from the computer.

3D ANIMATION
The process of creating 3D animation can be sequentially divided into
three phases:
• Modelling – which describes the process of creating the 3D objects
within a scene,
• Layout and animation – which describes how objects are positioned
and animated within a scene, and
• Rendering – which describes the final output of the completed
computer graphics.
• Through the combination of the above phases and a few other sub-
phases, this completes the process of a 3D animation production.

3D ANIMATION

3D ANIMATION
1. Concept and Storyboards
2. 3D Modelling
3. Texturing
4. Rigging
5. Animation
6. Lighting
7. Camera Setting
8. Rendering
9. Compositing and Special VFX
10. Music and Foley
11. Editing and Final Output

3D ANIMATION
1. Concept and Storyboards
• The very first step involved in a 3D production pipeline is the
conceptualization of ideas and the creation of the storyboards that
translate these ideas into visual form.
• A storyboard is a sequence of illustrations that showcase your digital
story in two dimensions.
• The first dimension is time: what happens first, next, and last.
• The second is of interaction: how does the voiceover (your story)
interact with the images, how do visual transitions and effects help tie
together the images, how does the voice overs interact with the
musical soundtrack?
• Any element can interact with any other one, and the storyboard is the
place to plan out the impact you intend to make on the audience.

3D ANIMATION
2. 3D Modelling
• Modelling is the process of taking a shape and moulding it into a completed 3D

mesh.
• The most typical means of creating a 3D model is to take a simple object, called a
primitive, and extend or “grow” it into a shape that can be refined and detailed.
• Primitives can be anything from a single point (called a vertex), a two-
dimensional line (an edge), a curve (a spline), to three-dimensional objects (faces
or polygons).
• Using the specific features of your chosen 3D software, each one of these
primitives can be manipulated to produce an object.
• When you create a model in 3D, you’ll usually learn one method to create your
model, and go back to it time and again when you need to create new models.
• There are three basic methods you can use to create a 3D model, and 3D artists
should understand how to create a model using each technique.

3D ANIMATION
• 3. Texturing
• When a 3D model is created, 2D images can be overlaid on it to add colours,
designs, and textures.
• This is called mapping, and often the entirety of a model’s colour comes from
this.
• These maps can be created in programs like Photoshop, and the illusions of
textures can be brushed onto the models as easily as if you painted them
yourself; some animators even use real photographs of the textures they’re trying
to create, simply captured and then altered to make seamless repeatable
patterns.
• This is how many illusions of hair are created; rather than model individual
strands, instead of grouped locks of hair are modelled, before a texture is overlaid
with individual strands and details painted on.

3D ANIMATION
4. Rigging and Skinning
• Setting up a character to walk and talk is the last stage before the
process of character animation can begin. This stage is called ‘rigging
and skinning’ and is the underlying system that drives the movement of
a character to bring it to life.
• Rigging is the process to set up a controllable skeleton for the character
that is intended for animation. Depending on the subject matter, every
rig is unique and so is the corresponding set of controls.
• Skinning is the process of attaching the 3D model (skin) to the rigged
skeleton so that the 3D model can be manipulated by the controls of
the rig.

3D ANIMATION
• 5. Animation
• Animation is the process of taking a 3D object and getting it
to move.
• Animation comes in a few different flavors.
• There’s keyframe animation, where the animator
manipulates the objects on a frame-by-frame basis, similar
to old hand-drawn cartoons.
• Other methods of animation include placing objects on
splines and setting them to follow the path of the curve, or
importing motion capture data and applying it to a character
rig.
• Yet another way to animate is to use your 3D application’s
built-in physics engines, such as when your scene requires
that objects fall.

3D ANIMATION
6. Lighting
• Lighting, (in combination with textures, camera angle etc.) is
where a scene has the potential to come alive.
• Used improperly, light can wash out a scene, make objects appear
hard or flat, and destroy all the hard work.
• But skillfully applied, lighting can make a scene convincing, or if
realism is the aim, create (in combination with materials and
geometry), a scene that is virtually indistinguishable from real life.
• In 3D, lights don’t actually exist as they do in the real world.
• Lights in 3D are objects that are designed to simulate how lighting
works in real life, but in order to obtain the results you’re after,
you have to apply a number of settings, not only to the lights, but
to the materials.

3D ANIMATION
7. Camera Setting
• A camera is an amazing tool.
• In 3D, unlike the real world, physical limitations don’t
exist.
• You can create a scene where the camera takes you on
a journey inside the blood vessels of a human body, or
to be an eye-in-the-sky in your scenes, it can be used
to create impossible perspectives, to zoom and pan
and so much more.

3D ANIMATION
8. Rendering
• Rendering an image is typically the last step in the 3D production
pipeline (but not the last step in the overall production pipeline),
and is perhaps the most important part.
• It is a step often overlooked or glossed over by beginners, who are
more focused on creating models and animating them.
• There are many aspects to creating a good final render of a scene,
including attention to camera placement, lighting choices which may
affect mood and shadows, reflections and transparency, and the
handling of special effects, like fluids or gasses.

3D ANIMATION
9. Compositing and Special VFX
The renders are brought into compositing programs to edit,

touch-up and add on special effects.
• This is where the final renders are brought into compositing
programs to edit, touch-up and add on special effects.
• Compositing includes everything from what you probably
normally think of as special effects, where things explode,
evaporate, morph, etc.
• It also includes stage extensions (making the scene stage
larger digitally in post-production), to environment creation
(anything from buildings to complete worlds), to blue/green
screen replacement (shooting in-front of a blue or green
screen and then replacing the background with digitally
created footage or footage shot elsewhere).
• Basically, the art of taking live footage and blending it with
computer-generated footage would be considered
compositing.

3D ANIMATION
10. Music and Foley
• Music and foley (sound effects) are added to give
the animation the extra depth and boost in audio
enjoyment.
• A music composer will create music soundtracks
and accompaniment music to set the mood for
the animation.
• A foley artist ‘recreates’ sound effects for film,
television and radio productions.
• Using many different kinds of shoes and lots of
props – car fenders, plates, glasses, chairs, and
just about anything I find at the side of the road –
the Foley Artist can replace original sound
completely or augment existing sounds to create
a richer track.

3D ANIMATION
11. Editing and Final Output
• This is where it all ends!
• This is where the composited renders, music and foley are compiled
and edited to ensure that everything is in synchronization.
• Once satisfied, the compiled product is exported as one of the many
formats suitable for broadcasting standards and delivered to the
client!

WHAT IS THE DIFFERENCE BETWEEN 2D AND 3D ANIMATION?
• There are many similarities between 3D and 2D production.

• The stages of development and part of the pre-production are practically identical.
• The design stages, development of expressions and lip-sync, storyboarding, scene
planning and, more than anything else, the controlled production circumstances (the fact
that everything happens within the production studio) are very much the same.
• Recruiting, contracts, budgeting and scheduling are also identical processes in both 2D
and 3D productions.
• The real differences emerge when the main production phase begins.
• The computer takes over from the paper and pencil, and thus the process requires a
different production pipeline.
• This process begins with the construction of 3D computer-generated models of all
characters, props and sets.
• For example in 3d animation pipeline, we have different stages such as rendering, 3d
modeling, texturing. However, in 2d pipeline, these are mostly done by artists..

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COMMUNICATION

Communication Aesthetics Dr. N.Bhuvana

❑ Session Objective & Learning Outcomes

❑ Learning Resources & Methodology

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• Traditionally , AESTHETICS is a branch of philosophy that deals with

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• Aesthetic communication takes place through creative expressions of

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• The purpose of visual advertising

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Creative Use of Space

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• The elements that make up visual marketing are imagery, colors,

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• Aesthetic principles are practical value being validated by its capacity to

• Thus, the image’s content is more often symbolically moulded in

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