Mylnitsa
How communication theory works in the field of design
Presentation for a general audience
Presentation for a professional audience
We’d like to introduce you to Mylnitsa — a platform that connects creators working with video content. Our goal is to show you how Mylnitsa can expand your professional environment, bring new projects, and create fresh creative opportunities.
What problem are we solving? Right now, many young musicians and creators find themselves in a situation where they can’t afford expensive production, don’t know whom to approach, lack experience working with visual specialists.
On the other side, there are you — motion designers, cinematographers, editors. You have skills, style, experience, but sometimes you lack: fun small projects, space for visual experimentation, quick, simple collaborations with real artists.
We have the solution: Mylnitsa. It is a creative community that brings together people who make video and those who need it — artists, musicians, and emerging creators. It’s a place where musicians find visual specialists, visual specialists find artists, quick creative projects are born, you can build your portfolio, experiment, and grow your visibility.
Why this matters to you?
Creative tasks without bureaucracy. Small, flexible, fast projects — perfect for testing ideas and exploring new styles.
New connections with artists. Musicians are actively looking for people who can turn their ideas into visual stories — even with limited resources. You can be that person.
Real portfolio, real cases. All projects created within Mylnitsa are real: real artists, real tasks, real outcomes.
Expanding your professional circle. New contacts, new opportunities, new paths for growth.
What values do we have? We’re building a space based on accessibility — low entry barriers, collaboration — people come together around ideas, experimentation — freedom from commercial constraints, support — both for newcomers and experienced creators, human warmth and openness — not competition, but collaboration.
How it works? 1. A musician posts an idea, a demo, or a request. 2. You browse projects that match your style or interests. 3. You connect, discuss references, define the scope. 4. You create — shooting, editing, motion design, whatever you prefer. 5. You end up with a portfolio piece, a satisfied artist, and a new relationship.
What you gain professionally? 1. Style development — try things commercial projects don’t always allow. 2. Personal brand growth — every new artist = a new audience for your work. 3. Flexible formats — music videos, verticals, motion visuals, teasers — choose what inspires you. 4. A creative network — a community of people who value collaboration and are open to new partnerships.
The core communication message: not a «platform, ” but an „opportunity“. Our main point is simple: Mylnitsa is not just a digital tool — it’s a creative environment. We don’t just match people like a service. We build a community where every member can be visible, valued, and in demand.
Why join Mylnitsa? To work on projects you want to create. To try things you’ve been postponing. To expand your professional network. To meet artists looking for your style. To grow your creative comfort zone.
Mylnitsa is a place where visual creators can be free, bold, and truly seen. If you want to grow your style, find new artists, and work in a flexible, collaborative format — welcome to our community.
How the communication theory presented in the online course served as the basis for creating these presentations
1. Dias (2016) — Motivations for Multi-Screening / Uses & Gratifications - How it helps present the project to a general audience: shows that people naturally consume content across multiple screens → emphasize convenience, mobility, and quick access to creative collaboration. Helps position the project as something that fits current media consumption habits. - For a professional audience: focus on how the platform enables fast responses, reviewing references, and sharing materials on the go. Highlights that the project integrates smoothly into real production workflows.
2. Griffith, Vecchio & Logan (1989) — Equity Theory - For a general audience: emphasize that the platform creates a fair space where everyone gets equal creative opportunities. - For professionals: essential argument: they must feel that the exchange is fair—their time and skills are valued. Helps frame messaging such as: «This platform ensures fair return for your work: reputation, projects, and career growth.»
3. Craig (1999) — Communication Theory as a Field - For a general audience: shows that the project is a communication platform, connecting people through collaboration and shared meaning. - For professionals: highlights the familiar professional communication model: brief — discussion — visual — result. Reinforces that the platform reduces communication chaos in creative teams.
4. Cabiddu, De Carlo & Piccoli (2014) — Social Media Affordances - For a general audience: affordances explain how features shape engagement. Useful for emphasizing tools like profiles, project proposals, team search, and creative feed. - For professionals: strong argument: professionals think in terms of tools.Show affordances such as file exchange, chat, team formation, and project boards to gain their trust.
5. Johnson & Johnson (2005) — Social Interdependence Theory - For a general audience: reinforces the value of cooperation and the benefits of working together. - For professionals: clear message: strong results come from team synergy. Shows that the platform helps form efficient micro-teams with defined roles.
6. Cropanzano & Mitchell (2005) — Social Exchange Theory - For a general audience: people join platforms when there is mutual benefit. Important message: «You contribute — you get something back.» - For professionals: very relevant: they need exchanges to be professionally beneficial — portfolio, money, skills, connections. Helps justify the project as a source of real career value.
8. Allison et al. (2017) — Persuasion (ELM) in Crowdfunding - For a general audience: ELM allows structuring the pitch into: central cues — usefulness, features, peripheral cues — visual style, emotional appeal. Helps create a well-balanced pitch that persuades broadly. - For professionals: they use central processing more often. Focus on workflow, tools, logic, value. But adding creative emotional cues also builds rapport.
9. Lee (2014) — Dialogic Theory in Social Media For a general audience: shows that platforms work best when designed around dialogue, not one-way broadcasting. - For professionals: strong argument: the platform reduces the gap between musicians and video creators by enabling efficient dialogue.
10. Einwiller et al. (2017) — Common Group Affiliation - For a general audience: people trust those who are «one of us.» This supports communication that positions the platform as a community of creators. - For professionals: when the platform speaks as part of their group, trust increases significantly.
11. Calhoun (2011) — Communication as Social Science - For a general audience: helps frame the project as a social tool—connecting people and creating new collaborative ties. - For professionals: helps explain the project as social architecture: workflow, roles, norms, coordination.
Lee, S. T. (2014). A user approach to dialogic theory in a Facebook campaign on love and marriage. Media, Culture & Society, 36(4), 437–455.
Einwiller, S. A., Laufer, D., & Ruppel, C. (2017). Believe me, I am one of you! The role of common group affiliation in crisis communication. Public Relations Review, 43, 1007–1015.
Calhoun, C. (2011). Communication as social science (and more). International Journal of Communication, 5, 1479–1496.
Dias, P. (2016). Motivations for multi-screening: An exploratory study on motivations and gratifications. European Journal of Communication, 31(6), 678–693.
Griffith, R. W., Vecchio, R. P., & Logan, J. W., Jr. (1989). Equity theory and interpersonal attraction. Journal of Applied Psychology, 74(3), 394–401.
Craig, R. T. (1999). Communication theory as a field. Communication Theory, 9(2), 119–161.
Cabiddu, F., De Carlo, M., & Piccoli, G. (2014). Social media affordances: Enabling customer engagement. Annals of Tourism Research, 48, 175–192.
Johnson, D. W., & Johnson, R. T. (2005). New developments in social interdependence theory. Genetic, Social, and General Psychology Monographs, 131(4), 285–358.
Cropanzano, R., & Mitchell, M. S. (2005). Social exchange theory: An interdisciplinary review. Journal of Management, 31(6), 874–900.
Brown, P. (2015). Politeness and language. In J. D. Wright (Ed.), International Encyclopedia of the Social & Behavioral Sciences (2nd ed., Vol. 18, pp. 326–330).
Allison, T. H., Davis, B. C., Webb, J. W., & Short, J. C. (2017). Persuasion in crowdfunding: An elaboration likelihood model of crowdfunding performance. Journal of Business Venturing, 32(6), 707–725.
