Motion design

from Wikipedia, the free encyclopedia

Motion design ( 'məʊʃn - dɪˈzaɪn , dt .: " movement " - " design ", also motion graphics , film title design or title sequence ) is the audio-visual creation of moving images through typography and graphic design and a new dimension in the field of graphics -Design that is becoming more and more accessible to any artist with a computer. Motion design is a discipline in which presentations, film and television program openings, and advertising content come together with graphic design and gain movement. Of course, there was design for television and films before, but the capabilities of desktop video and animation software and hardware have finally become an accessible and truly new discipline, with its own stars and success stories, processes and customer requests. Motion graphic design is widely used in the film industry and has found widespread use in content marketing and advertising as well.

Motion graphics

Motion graphic design is an emerging field that combines both motion and graphic media. Motion media encompasses disciplines such as animation , film, and sound. Graphic media include disciplines such as graphic design, illustration, photography and painting. The defining quality of motion media is the change that takes place over time. Graphic media forms do not change. They appear statically through a defined viewing window. Because changes take place over time, motion design is often referred to as time-based media.

A motion graphic designer can be someone who is trained in traditional graphic design and has learned to incorporate additional elements into their existing design knowledge. However, motion graphics designers can also come from the film or animation industry and also use tools or training from these areas. The most widely used and popular motion design program is After Effects .

Scope of the term

The term "motion graphics" was a cumbersome, always pluralistic construction that was heavily used by filmmakers and broadcasters with roots that can be traced back to at least the 1960s. Although the term is still in use today, it is quickly making way for its more intelligent and important successor, "motion design". This simple change is a small one, but very effective. It has the power to quietly change communication practices in the various industries for decades to come.

The term motion graphics was derived from motion graphic design and therefore has a lot in common with graphic design. One of the first times the name was used was American animator John Whitney (1917-1995), often considered a pioneer of computer animation when he started his Motion Graphics Incorporated company in 1960 to do television commercials and title sequences with oneself to produce developed computers. Seen in this way, motion graphic design is about creating “graphics” that are used in connection with moving images. A helpful example: the design of a folder that appears over the shoulder of a newscaster during the nightly news. In television usage, the folder is a “graphic”, a composition of elements that are superimposed on a live stream.

history

Typography was already used in moving images as a dramaturgical element in films such as King Kong (1933) and Das Ding aus Another World (1951). Alongside Saul Bass, the pioneer of motion graphics as an independent discipline was the experimental filmmaker John Whitney Sr. , who published abstract short films in the 1950s in the tradition of Oskar Fischinger and Walter Ruttmann and developed the technical basis for creating such animations. To market his work for advertising and title design, he founded the company Motion Graphics Inc. in 1960 and is therefore also the namesake. At around the same time, Alfred Hitchcock used motion designs by Saul Bass for Vertigo - From the Realm of the Dead (1958) and Psycho (1960). In addition to other work for Hitchcock, Bass was also regularly hired by Otto Preminger and Billy Wilder and was so style-defining for the film opening credits of the 1960s and 1970s. Another milestone were the lavish title sequences by Maurice Binder for the first James Bond films , which were also retained in a similar style by subsequent designers as one of the most striking distinctive features of the film series.

In the course of the 1990s, the better technical possibilities enable a further development of the motion design (e.g. in True Lies (1994), Se7en (1995), Dead Man (1995) and Haunted Hill (1999)). Since MTV began broadcasting in the mid-1980s, new experimental clips have been produced time and again, which the music industry picked up and converted into video clips.

Beginning of motion design

The moving image in cinema occupies a unique niche in the history of twentieth century art. The experimental film pioneers of the 1920s had a huge impact on subsequent generations of animators and graphic designers. In the film industry , with the development of animated film titles in the 1950s, a new form of graphic design called motion graphics established itself.

The initial credits for starting motion graphics and animation cannot be given to a specific person because so many different types of animation projects were produced at the same time in the beginning.

Marcel Duchamp (1887–1968)

Marcel Duchamp, rotor relief No. 5 - Poisson Japonais (recto)

Marcel Duchamp had a great influence on the art of the 20th and 21st centuries. In 1926 Duchamp made an experimental film with Man Ray and Marc Allegrat called "Anemic Cinema". As part of Duchamp's spinning work, rotor reliefs (swirling animated drawings) were painted on flat cardboard circles and spun on a phonographic turntable. When the disks turned, they appeared 3-dimensional. The film shows the rotor reliefs alternating with spinning word games in French.

Walter Ruttmann (1887–1941)

Ruttmann was a German film director who mainly worked in experimental film . He began his film career in the early 1920s with the abstract films Lichtspiel: Opus I (1921), the first publicly shown abstract film, and Opus II (1923). The films were experiments with new forms of cinematic expression, showing shapes of different colors flowing back and forth and in and out of the lens.

Saul Bass (1920–1996)

Title sequences from The Man With The Golden Arm

Saul Bass is a big name in motion graphics and an important pioneer in developing title sequences for feature films . Although he has had a career as a graphic designer, it is his work on film titles and poster design that really sets him apart. His designs were simple, but they effectively conveyed the mood of the films. Some notable title sequences he created were for films such as The Man With The Golden Arm (1955), Psycho (1960), Carmen Jones (1954), and Casino (1995).

John Whitney (1917-1995)

John Whitney is considered to be one of the pioneers of computer animation . In 1960, he founded Motion Graphics, Inc. to create film and television titles through his invention of mechanical analog computers. One of his most famous works was the animated title sequence from Alfred Hitchcock's 1958 film Vertigo , which was created in collaboration with Saul Bass and featured swirling graphics that grew from small to large.

The evolution of motion design

Cave paintings

Motion graphic design has its own genre and can be associated with animation or film. However, the history of motion graphics is mostly linked to film and animation, as the roots of these three different arts are all based on the moving images. In the field of animation, probably one of the famous explanations for early movement design is the theory of Bob Thomas (1958), who believes that early examples of attempts to capture the phenomenon of movement in a still drawing can be found in Paleolithic cave paintings in which animals are often shown with several legs in superimposed positions, with a clear attempt to convey the perception of movement.

Not only is the application of motion graphic design skills limited in animation and film, but many television networks have developed a way to use motion graphic design to create a unique visual effect for promoting their brand or a show achieve. A common use is for designers to design or redesign the logo of certain brands and then use motion design skills to enhance that brand's graphic visual meaning or effect. During 1950, John Whitney created the title sequences for the television identity and commercials using technical animation.

One important processing of logo motion graphic design is that in the late 1960s Harry Marks, who worked for ABC, had the idea of ​​a moving logo and hired Douglas Trumbull to do the special effects in the 2001 film : A Space Odyssey (1968 ) as a pioneer to support him in his work. Trumbull developed the slitscan camera as an extension of the work of John Whitney. The slitscan camera was mounted on a rail and moved to a factory-lit work of art. In front of the work of art, an opaque screen with a thin vertical slit limited the camera's field of view to a narrow horizontal angle. This method makes the use of the camera compatible in motion graphic design.

Means of production for motion graphics

Drawing and illustration

The production of animation graphics depends on the time in which they are created. Saul Bass would have created the graphics for the man with the golden arm on the computer, and the job would have taken him only a few hours instead of days. Such a process, the process of creating motion graphics with dominant illustration , is represented by the production of hand-drawn figures, which are digitally transferred to one of the vector programs, where their contours are further adjusted and vectorized. Then the drawings are individually transferred to a program that controls the time component of the composition, and each element, such as the background car, fire, is animated individually and inserted into a larger whole. After the characters and other visual elements have been animated, the camera will also be animated. In this way we get the effect of moving through space.

photography

There are a number of methods that are used to create predominantly photographically moving graphics, starting with stop-motion , where moving graphics are created through photography in the literal sense of the word, by recording every single movement (change), to recording with the video camera and the use of video as a photographic element. We had to wait a long time for this type of motion graphics, as it required a large amount of memory and computing power.

Whether it is a series of photographs or a digital video, the input into the computer remains the same, and once entered into the software that processes this type of material, it behaves like a film , a video or an animation. Because of the number of colors, the resolution required for professional use and the high sound quality, the method requires a large amount of RAM in the computer.

typography

In Motion Graphics, typography becomes kinetic typography, on-screen text that moves or transforms in a certain way in time and space. In most cases, a word doesn't look like the idea it implies. The word has sound (when spoken) and physical existence (when seen). When the word is read, a mental picture emerges. Such typography brings with it elements of communication (emotions and expression) that were previously reserved exclusively for film and video (which deal primarily with image reproduction). The ability to convey emotions, complex character features, and the ability to better visually tighten attention contribute to the naturally strong communicative properties of the text. In the context of typographic sequences of moving text, it is important to have an understanding of how the words read are interpreted.

Motion design software

The physical tools needed to design motion graphics are a sufficiently powerful computer equipped with multi-core processors , a large volume of RAM, and graphics cards (often two), also with larger RAM and a newer chipset . For a more comfortable working environment, it is desirable to have several monitors connected to one computer. The data is entered by connecting peripheral devices such as the digital video camera, scanner or photo camera to the computer and transferring the data via one of the standards such as USB or FireWire .

Perhaps the most important tool is software, which has developed exponentially over the past decade. Today, 3D figures and animations are produced with Maya or 3D Studio Max , additional effects with Adobe After Effects or Apple Final Cut Pro , editing with Adobe Premiere, the production of vector animations with Adobe Flash and the pre-production of bitmap graphics with Adobe Photoshop . These are just examples of the most commonly used programs. Their total number is much larger and growing by the day, especially with the strengthening of the open source community.

Types of motion design projects

Design-oriented production companies serve a number of creative industries such as advertising, entertainment, film, and digital or interactive media. Types of motion design projects include commercials, movie titles, network branding, broadcast show packages, digital signage, projection mapping , video feature films , web banners, user experience design, and interactive motion design. There is also an emerging market for digital platforms like Instagram and Facebook. Less commercial motion design projects include exposure animation, visual texts, poetic movements, and visual art installations .

Motion design and other related disciplines.

Motion design needs strong designers who conceive ideas, create unique visual styles and tell interesting stories. Above all, however, motion design needs people who understand how to communicate effectively.

Graphic design

Graphic designers are trained to create effective visual layouts, work with typography, and communicate messages clearly. All of these skills apply to motion design, and Design for Motion is an excellent introduction to the industry. Graphic designers interested in getting their work moving can put their skills directly into motion.

illustration

Illustrators are very good at motion design. You are trained to create strong compositions in a range of visual aesthetics . They are the epitome of image makers in the creative world. Illustrators who learn the language of motion design or know how to think sequentially can play a very creative role in design-oriented productions.

Sequential art

As designers of drawings, graphic novels and hand-drawn storyboards , sequential artists are already thinking about images that change over time. They understand storytelling and cinematic changes that make visual narration interesting. These skills are essential to designing for motion and can be combined with digital illustration to create style frames and design boards.

photography

The creation of images is rooted in the frame composition. Photographers are trained to see and capture powerful compositions through the lens of a camera. They know how to frame a scene through a viewing window. They also have a strong foundation in terms of lighting and value, which is essential in any type of image creation. Composing live action or photography with design elements is a common aesthetic direction for many motion design projects. Photographers interested in exploring movement will find many ways to work with their images.

advertising

The advertising industry is one of the most important employers for design-oriented production studios. Advertisers work directly with customers to formulate strategies and big picture ideas for marketing campaigns. In advertising, motion design is used for everything from prototypes to executing commercial projects. Motion design and advertising are similar as both serve the purpose of giving shape to creative ideas. An advertising student or professional who would like to gain more practical experience can use design for motion in design-oriented productions.

animation

Motion design is a form of animation. However, traditional animation tends to focus more on character development and literary narration. Motion design focuses on the art direction and uses a wide range of design means. Also, traditional animation is typically long format while motion design projects are relatively short. Despite these differences, animators and motion designers work side by side in many design-oriented production studios. Animators who want to work in a fast paced environment and on a wide variety of projects are very good at motion design.

Creative writing

Writing is an extremely important part of motion design. Conceptual and narrative development relies on writing to capture ideas. As a time-based medium, motion design tells a narrative or story. This process requires the ability to write a script or treatment. For communication purposes , it is important that a designer is able to write descriptions of their work. Many design-focused studios employ writers to help brainstorm projects, prepare presentations, and develop scripts for larger productions.

Visual effect

Like animation, the visual effect has similarities with motion design. Many of the same tools and principles are used in both disciplines. The main differences are how they fit into the production flow. Visual effects artists bring an incredible attention to detail and mastery of technical skills. In the film industry, they tend to work on certain recordings for a project over a long period of time. Motion designers tend to work on many projects, in many different roles. You can conceptualize and design for one project and then work as an animator or composer on another project. Like animators, visual effects artists and motion designers often work side by side in design-focused production studios. Visual effects artists are very valuable because of their highly specialized skills in motion design.

Movie

Direction and cinematography are also essential for motion design. Even if motion designers rarely steer talent, they are always responsible for the movement and expression of visual elements. Some motion designers are very good at staging live action , moving fluently between live talent and digital media. Cameramen paint with light and take beautiful compositions through a camera lens . These skills translate directly into motion design, as an understanding of light and darkness helps a designer control the focus of a scene. Design for Motion draws heavily on the art and language of cinematic storytelling . Students and professionals of the film industry find motion design to be an accessible and alternative approach to filmmaking.

The difference between motion design and animation

The key to the difference between motion design and animation is purpose. The main purpose of an animated film is to attract and entertain. It may contain a meaning or a message, but there is an implicit understanding that the viewing experience is kind of fun. On the other hand, a motion diagram can be made using the same tools and methods, but its main purpose is to make sense of another thing. It can be interesting and fun, but most of all, informative.

While animation comes from the discipline of illustration , motion graphics come from the discipline of graphic design and are therefore aimed more at conveying information and visual design than at creating an emotional bond. This doesn't mean that a fuel can't contain characters or move emotionally; however, the primary motivation for a sprite is visual communication.

The benefits of motion graphic design

The benefits of motion graphics have been recognized for several decades, but the rich history of typography and film is still lacking. This lack of history, however, will not stop the amalgamation of this discipline with virtual and digital space (already occupying a segment of them), television, and film applications. The only factor currently preventing a full takeover of the digital space is the lack of a simple interface that would allow the (current) audience to create the content according to their needs. Once this is achieved, the general public will be able to design their email messages with typography that conveys emotions much more broadly and efficiently than the punctuation marks or emoticons used today .

Aside from being able to convey a large amount of information, moving graphics has created something entirely new in digital space. It offers the audience a different kind of interaction than "ordinary" static graphics. In some cases, the audience determines the appearance and other characteristics of the moving graphics, shifting the focus of attention and changing the means of communication .

Appreciation

There are now some special awards that recognize and honor the work of the motion designers. In 2012, for example, the TDC Title Design award was presented by the Type Directors Club . The motion design sequences in the films Final Destination 5 , Sherlock Holmes (2009) and The Green Hornet were honored there. The video platform vimeo is also offering a corresponding award for motion graphics as part of its vimeo Festival + Awards.

Several conferences and festivals around the globe celebrate the creativity and art of motion design. The best known are, for example, the Offf Festival and SIGGRAPH .

literature

Web links

Individual evidence

  1. ^ Daniel Jenett: Motion Design, Intro from the Book 'Motion Design' 2014, Gudberg . ( academia.edu [accessed July 9, 2020]).
  2. ↑ Wiki software Adana: Motion Graphics / 3D Animasyon Nedir? September 27, 2016, accessed on July 9, 2020 .
  3. ^ Daniel Jenett: Motion Design, Intro from the Book 'Motion Design' 2014, Gudberg . ( academia.edu [accessed July 9, 2020]).
  4. ^ Austin Shaw: Design for Motion: Fundamentals and Techniques of Motion Design . Routledge, 2015, ISBN 978-1-315-74900-6 , doi : 10.4324 / 9781315749006 ( pubhtml5.com ).
  5. ^ A b Austin Shaw: Design for Motion: Fundamentals and Techniques of Motion Design . XV edition. Routledge, 2015, ISBN 978-1-315-74900-6 , doi : 10.4324 / 9781315749006 ( pubhtml5.com ).
  6. ^ Ian Crook, Peter Beare: Motion Graphics: Principles and Practices the Ground Up . S. 10 .
  7. ^ Jon Krasner: Motion Graphic Design: Applied History and Aesthetics . ISBN 978-1-136-13381-7 , pp. 1 .
  8. ^ A b Michael Betancourt: The History of Motion Graphics . ISBN 978-1-4794-5023-7 , pp. 56 .
  9. ^ Michael Betancourt: The History of Motion Graphics . ISBN 978-1-4794-5023-7 , pp. 213 .
  10. ^ The History of Motion Graphics: Michael Betancourt . S. 215 .
  11. ^ Bob Thomas: Walt Disney, the Art of Animation . S. 8 .
  12. ^ Jon Krasner: Motion Graphic Design: Applied History and Aesthetics . S. 16 .
  13. ^ Jon Krasner: Motion Graphic Design: Applied History and Aesthetic . S. 21 .
  14. ^ Jon Krasner: Motion Graphic Design: Applied History and Aesthetics . S. 22 .
  15. ^ Austin Shaw: Design for Motion Fundamentals and Techniques of Motion Design . S. 294 .
  16. ^ A b Austin Shaw: Design for Motion Fundamentals and Techniques of Motion Design . S. 10 .
  17. ^ Austin Shaw: Design for Motion Fundamentals and Techniques of Motion Design . S. 280 .
  18. ^ A b c Pibernik, J. & Mrvac, N .: Motion Graphics. In: Researchgate. 2008, accessed July 9, 2020 .
  19. ^ Austin Shaw: Design for Motion Fundamentals and Techniques of Motion Design . S. 3-4 .
  20. ^ A b c d e Austin Shaw: Design for Motion: Fundamentals and Techniques of Motion Design . S. 11 .
  21. ^ A b Austin Shaw: Design for Motion: Fundamentals and Techniques of Motion Design . S. 12 .
  22. ^ A b Austin Shaw: Design for Motion: Fundamentals and Techniques of Motion Design . S. 13 .
  23. ^ A b Ian Crook, Peter Beare: Motion Graphics: Principles and Practices from the Ground Up . ISBN 978-1-350-03772-4 , pp. 12 .
  24. ^ Type Directors Club : TDC Title Design Winners , 2012
  25. ↑ vimeo Festival + Awards : Motion Graphics , 2012