Week 4 Mastery Journal Process and Reflection
Connecting/Synthesizing/Transforming. This month has been educational, eye-opening, overwhelming and confidence-building. The big take-away from research has been the proliferation and technological advances of motion design: motionography, cinematography, motion posters and parallax techniques. We explored the power of storytelling and the need to connect with the audience emotionally in order to provoke a desired action. Motion graphics can be bigger than life when displayed large-screen in public places. They create an immersive environment where corporations can get their message out in a way that is memorable and sophisticated. Audiences can feel and even actively participant with some on-screen motion, designed to respond to movement in front of it.
The most important ingredient in motion, as with all design, is research. It’s necessary to form a deep understanding of the product or service one is hired to advertise or represent. It is necessary to research what other designers are doing within the industry—not to imitate it, but—to keep abreast of new techniques and where the industry is headed.
Within the research, I also learned about the technical aspects of screen resolution (16:9 and 4:3) and frame rates like 24 (film) and 29.97 (television). I studied different camera angles and techniques like zoom, whip pan, and freeze frame all of which bring variety and set different moods. Immersing myself in After Effects for the last few weeks has taught me the advantages of motion graphics and I have learned some techniques. By preparing elements in Photoshop and Illustrator and importing them into AE, I learned to add the motion effects and make them look as life-like as I could within the limited practice I had.
Finally, I learned the pros and cons of the different types of design employment: agency, in-house and freelance.
Problem-solving. I ran into some difficulties importing Illustrator layers into After Effects and was forced to settle for an infographic rather than a motion image. However, I had no problem importing layers from Photoshop. So for the Week 3 Design Challenge, I wanted to make the fingers of the kid with the balloon move convincingly, but settled for making the wrist and hand interact with the balloon. I was pressed for time and could not remember the correct effects to pull it off. It’s something to work on when time permits.
Innovative thinking. When I look at what other designers are able to accomplish with the technology, I am inspired. I know that only practice and immersion in the application will ultimately bring about the level of technique I have seen displayed. A tutorial I watched helped me to blow the hair and scarf of the woman with the basket.
Acquiring competencies. Below are some of the competencies I acquired this month.
- Parallax: Parallax gives me a way to add interest to still photographs by making them move (occupational, technical).
- Motion poster: Knowing how to create a motion posters presents yet other options for still photographs (occupational, technical).
- Research: The discipline of research will help me to be more competent when attacking assignments. (occupational, conceptual).
- Resolution: Knowing the correct screen resolution will help me to create sharp, crisp video (occupational, technical).
- Frame rate: Knowing the correct frame rate (29.97 for most commercial video) will help me in the production process (occupational, technical).
- Design employment: As a freelance designer, I am better able to navigate the pros and cons of my profession (occupational, conceptual).
- Profession of video editing: I will take the advice of one videographer to pay attention to and learn from good motion editors (occupational, conceptual).
- Storyboarding: Storyboarding will help me to better plan productions (occupational, conceptual).
- Inspiration: I will pay attention to the things that inspire me and get plenty of it so that I can be a better designer (occupational, conceptual).
Week 3 Mastery Journal
Concepts learned this week
This week, I learned the pros and cons that graphic designers can expect in their employment choices whether in an agency, in-house or freelance (Flavin, 2017) (occupational, conceptual). This learning is occupational because it directly relates to getting a job in the industry and conceptual because it adds to my understanding of the industry of which I am a part.
I also continued to learn technical skills in both After Effects and Photoshop in creating cinemagraphs, kinetic typography, parallax and motion posters (Brannan, 2017). The significance is that motion design will continue to be very much a part of media design and, for that reason, it will be advantageous for anyone pursuing a career in media design to learn it (occupational, technical). This learning is occupational because many jobs in graphic design will require it; and it’s technical because it requires knowledge and proficiency in After Effects and Photoshop.
The motion timeline is an example of what I have learned to create in After Effects. AE is a very robust program and I have only scratched the surface, but the career motion project is a good example of kinetic typography. The “Employment for Graphic Designers” infographic demonstrates the ability to boil down sometimes complex information and quantify it in a simple graphic.
References
Brannan, K. (2017, October 5). How to create a 2.5d parallax effect on images in Photoshop CC. Retrieved from https://blog.pond5.com/16853-create-2-5d-parallax-effect-images-photoshop-cc/.
Flavin, B. (2017, July 24). Where Do Graphic Designers Work? In-House vs. Agency vs. Freelance. Retrieved from https://www.rasmussen.edu/degrees/design/blog/where-do-graphic-designers-work/.
Week 3 Design Challenge
Connecting, Synthesizing, Transforming. In completing the cinemograph and parallax effects in this week’s Design Challenge, reference was made to the Lynda.com tutorial “After Effects CC 2019” (Demafiles, 2019). There is so much good information in this tutorial, but a lot to digest in one sitting. The research was to get help moving the fingers of the little patty cake girls to make the effect more natural and convincing, but in the end it was decided to move only the major joints in the arms. The time was better spent in the refining additional images and putting small nuances elsewhere, like the hair of the lady blowing in the wind.
Solving Problems. The first job was to go back and review images from Samaritan’s Purse, the charity explored in the Effective Copywriting course. The idea was to select images that could naturally work in this motion design challenge. Next, the selected images were further narrowed down for parallax and cinemagraph treatment, since it was decided to do both as an extra skill challenge. The Brannan video tutorial was especially helpful in achieving the parallax effect (Brannan, 2017). The de la Vega tutorial helped in the creation of the cinemagraph since it also involved blowing hair (de la Vega, 2017). After creating the movements, text and logos were added to the motion graphics.
Innovative Thinking. Again, motion is not a particular strength for this designer, but problem-solving is. So the decision to tackle more than one motion effect as an added challenge was a success in itself. The choice of the little boy with the balloon—though not in the original campaign two months ago—was perfect in that it lent itself to motion. Rigging the right hand to tip the balloon upward as it descended was an innovative idea (Demafiles, 2019). One of the services Samaritan’s Purse provides is cleft palette surgery for kids in developing countries. Children with this condition are often marginalized. The lighthearted movement of the balloon says, “Problem solved.”
Acquiring Competencies. The puppet tool in After Effects is a great addition to my motion toolset. Altering the pins and parameters within the wiggle effect and getting to know how to make objects move in an expected way was an accomplishment. Also, practicing moving the anchor points in imported Photoshop and Illustrator graphics was vital. Creating the parallax effect in Photoshop also required competencies never used before. For instance, the select>modify>expand command coupled with edit>fill>content-aware commands caused Photoshop to fill the parallax background layer with a convincing blend.
Reflection. Completing two effects was a real challenge. Cinemagraph proved very interesting both to view and create because of its combination of static and motion imagery. Going forward, this effect is both simple enough, yet arresting enough to become a regular part of this designer’s graphics toolset. As motion shows no signs of going away, getting to know it better is the only reasonable solution for anyone who plans to make a career in media design. This month, great strides have been made to acquire new competencies and those efforts are bound to be rewarded.
References
Brannan, K. (2017, October 5). How to create a 2.5d parallax effect on images in Photoshop CC. Retrieved from https://blog.pond5.com/16853-create-2-5d-parallax-effect-images-photoshop-cc/.
de la Vega, C. M. (2017, May 13). Retrieved from https://www.youtube.com/watch?v=v-Ly2hN8-sA.
Demafiles, A. (2019, August 12). After Effects CC 2019: character animation essential training. Retrieved from https://www.lynda.com/After-Effects-tutorials/Welcome/504062/2234216-4.html?autoplay=true.
References & Tutorials
Kinetic Typography
https://www.creativebloq.com/typography/examples-kinetic-typography-11121304
https://designshack.net/articles/typography/kinetic-typography-an-introductory-guide/
Cinemagraph
https://www.hongkiat.com/blog/cinemagraph/
2.5D Parallax Imagery
Davidson Belluso – https://davidsonbelluso.com/animate-parallax/
Make Productions – http://www.makeproductions.co.uk/portfolio/wwf-parallax-sequence?doing_wp_cron=1531703982.1003189086914062500000
Motion Poster
http://collider.com/tag/motion-poster/#page/2
https://www.motion-ads.com/What%20is%20a%20Motion%20Poster.html
Tutorials
Parallax Effect on Images
Kinetic Typography
https://www.schoolofmotion.com/tutorials/kinetic-typography-after-effects-part-1
https://www.lifewire.com/way-to-make-kinetic-typography-140335
Cinemagraph
Motion Poster
www.youtube.com/watch?v=v-Ly2hN8-sA
2.5 Mastery Journal: Learning Outcomes
Use motion to tell the story. All of the instruction this week drove home the power of storytelling. I know that I’m moved by stories, but I didn’t realize that they hold the same power over everyone. Used in motion design, stories can convince, inspire, motivate, move emotionally, engage, inform and connect with the audience in a strongly personal way (Huber, 2017)—as illustrated in the above infographic. (My idea was to have the petals appear and grow out of the center of the flower from behind the face, as though blooming. However, I was unable to import the layered Illustrator file into After Effects.) I also spent more time learning After Effects techniques like importing files, masking vector objects, and rigging character controls which will help me in future design work as I grow in proficiency (Demafiles, 2019). (Occupational and technical)
Put time into research. Before launching into any design project for a client, it’s critical that a media designer gather information. According to author Jon Krasner, “Diving into the creative waters too soon carries the danger of time and energy being wasted on concepts that may be irrelevant or inappropriate to your project’s objectives” (Krasner, 2013). Research what the competition is doing. Find out who the audience is, what’s important to them and how to best appeal to them. Think about what kind of story will draw them in. Time invested in research will save time down the road in dead ends and needless rabbit trails. (Occupational and conceptual)
Think outside the box. Reading the case studies in the book Graphic Design Process was quite inspirational. The designers studied this week used unusual techniques and materials to create award-winning designs. For instance, designers Melle Hammer and Yara Khoury used pasta to replicate Arabic writing for a 3D design project (Wedell & Skolos, 2012). What such examples teach me is to not simply settle for what immediately comes to mind or approach every assignment the same way. I need to free my mind to think . (Ocupational and conceptual)
References
Demafiles, A. (2019, August 12). After Effects CC 2019: character animation essential training. Retrieved from https://www.lynda.com/After-Effects-tutorials/Welcome/504062/2234216-4.html?autoplay=true.
Huber, A. (2017). Telling the design story. Retrieved from https://learning.oreilly.com/library/view/telling-the-design/9781351849210/10-9781315226132_chapter-chap1.xhtml.
Krasner, J. (2013). Motion graphic design, 3rd Edition. Retrieved from https://learning.oreilly.com/library/view/motion-graphic-design/9780240821139/019_9780240824703_chapter10.html.
Wedell, T., & Skolos, N. (2012). Graphic design process. Retrieved from https://learning.oreilly.com/library/view/graphic-design-process/9781856698269/08_chapter-title-2.html.
2.3 Design Challenge
Connecting, Synthesizing, Transforming. In addition to the video After Effects CC 2019: Character Animation Essential Training, I also researched another Lynda.com video. I ran into problems importing Illustrator layers into After Effects and sought other videos that might help me out of the problem. However, the video Importing to After Effects gave similar instructions and didn’t help much (Stern, 2019). Finally, I had to abandon my plans to create an AE motion project and settle for a static infographic.
Solving Problems. I carefully followed the instructions for parts 1 and 2 of the AE Design Challenge, step by step. It took a long time for me to complete this challenge because there was a lot of going back and forth. I would listen to part of an instruction, pause the video and do the instruction on my computer, then hit “play” again on the video, so as to keep the instructions fresh in my mind. Because this convoluted process took so long, I did not have time to complete more complex projects later in the series.
Innovative Thinking. This design challenge was successful in that it forced me out of my comfort zone, got me to follow complex instructions and try techniques that were very foreign to me. While motion graphics is probably not my strong suit, I do not consider all the hours of instruction and attempts at success wasted time. It helped me to open up myself to other creative solutions and gave me a healthy respect for all my creative counterparts who excel at motion graphics. It takes a lot of patience, but when one finds it intriguing, there is no creative limit to what is possible in motion graphics. For me, however, motion graphics, while very interesting, is very time consuming and frustrating.
Acquiring Competencies. This design challenge taught me to prepare and import Photoshop and Illustrator files, the power of shape layers and masks, rigging in animation, parenting, the puppet tool, setting up a slider and version master properties. Even a passing knowledge of After Effects gives me a powerful tool that I can resort to later. I can also steer others who are more gifted in this area to tackle it.
Design Challenge Learning Outcome
Shape layers vs. masks. I know Adobe Premiere Pro moderately, so I chose to complete the design challenge in After Effects because I wanted to continue to learn techniques that would really challenge me. One of the most interesting concepts I encountered in completing the challenge was mask creation. I use the mask tool in Photoshop quite regularly, but I am not nearly as adept at using masks in video or motion. The effect of using an oversized graphic and masking it with a shape so that the graphic can move around within the shape without the edges showing was revelatory. Making the man with the beard look from one side to the other is the result of shape and mask working in tandem. It’s a great way of creating the illusion of parallax (Demafiles, 2019).
Parenting character parts. Connecting one layer with others by sharing attributes is what’s called parenting. What I learned is that parenting saves a lot of time and effort by duplicating attributes like position, rotation and size. It’s a “one and done” proposition! In the lesson, I connected the office man’s head, arms, torso and legs with the chair in which he was seated using the parenting technique. By telling the subordinate layers to do whatever they see the parent layer do produces parts and pieces that are magically in sync. There remains enough latitude in the movement that each layer can still act independently, yet stay beautifully unified with its parent and siblings. Honestly, the way that I learn best is by doing. I learn by repetition. Since this is more of a fast, extremely compacted crash course, it will be interesting to see how much information I truly retain (Demafiles, 2019).
Useful effects for rigging. Movement in the rabbit ears for the final portion of the video was achieved by rigging the effects CC Bender and Grow Bounds. The start and end points within CC Bender had to be adjusted so that the bunny’s ears didn’t get cropped by the bounding box when moved too far left, right or vertical. Adjusting those points mitigated problem, but did not solve it. That’s where Grow Bounds took over and increased the boundaries of the ears even more. These two effects were first applied to one ear, then once adjusted to the proper measurements, the effects were copied and pasted onto the other ear (Demafiles, 2019).
References
Demafiles, A. (2019, August 12). After Effects CC 2019: character animation essential training. Retrieved from https://www.lynda.com/After-Effects-tutorials/Welcome/504062/2234216-4.html?autoplay=true.
Stern, E. (2019, January 28). Importing to After Effects. Retrieved from https://www.lynda.com/Illustrator-tutorials/Importing-After-Effects/800207/5025338-4.html.
1.5 Mastery Journal: Learning Outcomes
The Power of Motion Graphics in Media Design
Dorothy A. Batts
Full Sail University
The Power of Motion Graphics in Media Design
The development of animated film titles in the 1950’s established a new form of graphic design called motion graphics. Prior to and since that time many artists have contributed to the genre. Motion in animation can be traced back to cave drawings as prehistoric ancestors sought to capture the forms of animals or warriors in motion. Fast forward to people like Emile Cohl and Max Fleischer who were the first to mix live footage and hand drawn elements. Fleischer is credited as the creator of Koko the Clown, Betty Boop and Superman. Ivan Sutherland was another pioneer who in 1961 created the first vector-based drawing program called Sketchpad. And where would we be without Walt Disney and other lesser known people have contributed to this amazing tool (Krasner, 2013).
Motion in Public Spaces. Motion Graphics is a powerful tool that media designers are learning and employing with great results of late. For example, digital signage is one of the fastest growing marketing opportunities in the world according to Jon Krasner in Motion Graphic Design, 3rd Edition. Motion is used in everything from stadium scoreboards, to airport kiosks, to giant video screens in public places like Times Square in New York. They have become vital in establishing mood and atmosphere in all kinds of public spaces like hotels and public lobbies. This has led to what is called “augmented space” or augmented reality—physical space that is amplified with electronic, visual information to create an immersive environment. In augmented space, a computer picks up on movement occurring in the environment and mimics that movement graphically on a projection screen or responds and interacts with that movement somehow. Krasner goes so far as to say that “fine artists and designers have shaped the landscape of visual communication” through motion design. (Occupational and conceptual)
Motion in Corporate Identity. As far as corporate branding is concerned, motion graphics is becoming an indispensable medium. There are times when a designer may simply place a logo at the end of a television spot and that is perfectly sufficient. However, there are other moments when the designer wants to evoke certain emotions and bring forth a more powerful aesthetic. That’s where motion graphics finds its strength, according to motion designers Jeremy Cox and Brandon Parvini.
Media designers need to adopt motion as part of their repertoire because graphic design will never again be just two-dimensional. Designers will be expected to know motion to some extent. Cox and Parvini warn, however, that in their zeal to adapt to the new world of motion graphics, designers must not lose themselves or their sense of identity in the process. They caution designers to be sure to bring their own uniqueness to the medium. Otherwise, all the work begins to look alike (Cox, J. and Parvini, B.). (Occupational and conceptual)
Research in Motion Design. Research is a very important resource in the motion graphics industry, but don’t stop at studying other companies’ or individuals’ work. Yes, research and take inventory of what’s out there. Bring a rich knowledge of what can be accomplished with the technique, but also research outside of the medium. Designers should immerse themselves in other forms of creativity like architecture, sculpture, even the sciences (Cox, J. and Parvini, B.).
Secondly, before approaching a specific design project, immerse yourself in the subject matter. Learn as much as you can about the specific product, the industry and the competitors within that industry. (Occupational and conceptual)
The Power of Story Telling. Kinetic design is also a “powerful story-telling device when choreographed to communicate information, convey emotions and express pure aesthetic beauty” (Krasner, 2013). Motion brings an exciting added element to information delivery and conveys it in a way that is emotionally and visually pleasing to the audience—whether that audience is in a corporate lobby, standing on a street corner or sitting in front of their television or computer screen. In fact, the medium can become the message. Whether words or images fade onto the screen slowly or dance rhythmically to a musical score, motion design possesses the power to evoke mood, emotion and speak to the audience about how a certain product wants to be perceived. It relays a message to the world about how this new corporation desires to interact with them. (Occupational and conceptual)
Motion Techniques. Kasner introduced specific techniques that graphic designers can use to give two-dimensional objects three-dimensional qualities so that they appear to move beyond the screen: Techniques like stretch and squash which a ball might do when it bounces. Motion paths are “one of the most powerful devices that allow you to specify the course of travel that elements in a composition take over a give time interval” (Kasner, 2013). The paths can be straight lines, curves or a combination of the two. Anticipation is another technique wherein an object “prepares” to exert a movement in the same way that a baseball pitcher might wind up his arm before the pitch. Others involve timed choreography like pause, timing, acceleration and deceleration, primary and secondary actions. (Occupational and conceptual)
After Effects. Adobe After Effects brings motion to life. This past week, through various design challenges, After Effects demonstrated the use of layers, vector graphics, video, effects, animation and video correction in motion graphics. Learning how to use key frames effectively in choreophing the movements of these elements on screen will certainly, with practice, help media designers to use motion creatively and skillfully in their careers. With use, more and more of After Effect’s potency as a design tool will be revealed. Examples supplied from Leftchannel showcases the possibilities that can come to life with skill and an application like After Effects. (Occupational and technical)
Conclusion. Motion graphics is here to stay. Imagine how bland our world would be without the color and movement present now in things as utilitarian as the departure and arrival boards at our airports! Motion has and is likely to continue to grow and transform as new designers come into the industry and seek new ways to solve design problems. Within his or her design arsenal, media designers must have motion skills. However, in the mad rush to conquer this new ground, designers must seek to maintain their own sense of individuality. Study what others have done, but bring along your own sense of self. There is no limit to the new ground today’s designers will claim as they put these powerful tools to work.
References
Cox, J., & Parvini, B. (2014, June 20). Motion design insights with Jeremy Cox and Brandon Parvini: NAB 2014. Retrieved from https://www.lynda.com/Video-Motion-Graphics-tutorials/Motion-Design-Insights-NAB-2014/168701/178897-4.html?srchtrk=index:4 linktypeid:2 q:motion+design page:1 s:relevance sa:true producttypeid:2.
Krasner, J. (2013). Motion graphic design. Applied history and aesthetics. 3rd, rev. ed. Oxford: Focal Press.
Motion Graphics and Animation Work. (n.d.). Retrieved from https://leftchannel.com/motion-graphics-and-animation-work/.
Scirocco, A. (2014, February 21). The Creative Spark: Alberto Scirocco and the Motion Graphics of leftchannel – Preview. Retrieved from https://www.lynda.com/Video-Motion-Graphics-tutorials/Preview/153774/164030-4.html.
Show Reel: Motion Graphics, Animation, Integrated Production. (n.d.). Retrieved from https://leftchannel.com/leftchannel-montage-reel/.
Diegetic/Non-diegetic sound
(n.d.). Retrieved from https://www.youtube.com/watch?v=H_4hOY-9nKA.
Additional Resource
Storyboards and Sequence Design
Week 1 Design Challenge
- Connecting, Synthesizing, Transforming. In addition to the sources provided, additional instruction was sought and attained through the Adobe help menu on how to properly render Adobe After Effects compositions (Robinson, I., & Sengstack, J., n.d.). Initially, when sending the completed AE project to the render queue as one would a Premier Pro document resulted in a poor-quality video, additional research was needed. Whereas the first incorrectly rendered videos were very low resolution, pixelated and with an unrecognized codec, the properly rendered compositions resulted in sharp, high-quality video compatible with the chosen editing program—in this case, iMovie. Therefore, the compositions edited together in one video with titles added turned out to be a quality presentation.
- Solving Problems. Generally, each tutorial was viewed once. Then an attempt was made to duplicate the instructor’s outcome. Then when the outcome was not as expected, portions of the tutorial were viewed again and the techniques re-tried until success was achieved. As confidence in the process and the program grew, the steps were followed simultaneously with the video. Occasionally, portions of the video had to be reviewed and sometimes viewed yet again in order to duplicate the result. For example, in the “Add details with effects” tutorial in the “Work with compositions” set, the CC Tiler effect did not render as expected initially. After reviewing how to import the logo and then clicking on “Composition – Retain Layer Sizes” in the Import dropdown menu, the media was able to be imported correctly and the effect worked as intended.
- Innovative Thinking. As with approaching any new challenge, there was initially some intimidation when faced with the complexity of a program like After Effects. Fortunately, and partly because of experience with equally complex programs—when explained—many of the AE steps felt familiar and made sense. The Design Challenge was a success in that it unveiled some of the mystery surrounding motion design and provided the opportunity to put some of the instruction thus far in this course into practice. Any time one can subvert fear and begin to exercise a measure of control over the new, powerful tools they are given to work with, they can celebrate success. While it is far too early to claim dominance over motion design, jumping in and getting one’s feet wet is a triumph of sorts with expectations for great things to come with practice (Robinson, I., & Sengstack, J. n.d.).
- Acquiring Competencies. The After Effects Design Challenge built on the concept of layering made famous first perhaps by Adobe Photoshop. Still images, video, vectors and solids coexist on a timeline where innovative and often pre-built effects and animations are added to bring compositions to a new level. It marries many of the techniques we have used for decades with still images and adds movement through the use of key frames, borrowed from Adobe Premiere Pro. As Adobe After Effects continues to grow into a powerful addition to the overall design arsenal, it will bolster the ability to create new and unexpected visual solutions in television commercials as well as social media and websites. It just requires further exploration and concentrated experience with the program to develop the skills to make it an integral part of the overall design workflow. After Effects provides another great tool for this media designer to reach for.
Resources
Improve and enhance video quality. (n.d.). Retrieved from https://helpx.adobe.com/after-effects/how-to/repair-video.html?playlist=/services/playlist.helpx/products:SG_AFTEREFFECTS_1_1/learn-path:get-started/set-header:ccx-designer/playlist:ccl-get-started-1/en_us.json.
Robinson, I., & Sengstack, J. (n.d.). Basics of rendering and exporting in After Effects CC. Retrieved from https://helpx.adobe.com/after-effects/using/basics-rendering-exporting.html.
Dorothy Batts' Mastery Journal 