Over the past few weeks, I have dived into the world of motion design to create a short abstract animation. The start of my design project follows Ambrose and Harris’ 7-step design process (Ambrose & Harris, 2009). These steps being – define, research, ideate, prototype, select, implement and learn (Ambrose & Harris, 2009). Since I had a defined design brief, I began my research and found motion design offers various possibilities, aesthetics, styles and atmospheric environments. Keeping with the abstract theme, I explored the movement of block shapes and how they could be manipulated to create an engaging and compelling experience for viewers (Lupton & Phillips, 2008). Here are a few I liked and sought inspiration from….
In my ideation phase, I experimented with using an abstract colour palette, block shape forms and time to see what I could create. I utilised Abode After Effects and begin developing my skill and testing various approaches to conducting sequences. Here’s what I come up with.
I then evolved this into a pattern built from moving shapes with layers on a grid structure (Lupton & Phillips, 2008).
These shapes formed the primary motion, but I wanted to add another element of secondary motion. I thought, why not use secondary motion as a way of altering the perception of space so audiences see the primary objects as moving offscreen to the left like looking out a passenger seat window (Krasner, 2013). When the sequence was incorporated with this timed secondary motion the patterned structure and shape forms reminded me of a game-like environment like ‘flappy bird’. To build on this concept, I created two compositions. One as the phone screen resolution and the other a wide artboard with the shapes laid out horizontally and sometimes mirrored vertically. I then trialled putting this composition into the phone layout then repositioning the whole layout from left to right over time, as shown below. This created depth to my animation as factors of rhythm, pattern, colour, shape and motion all correlate to build one synergic motion and story (Lupton & Phillips, 2008). I was really happy with how this experiment turned out, but you be the judge. Check it out!
In this sequence, we see the shapes repositioning, rotating and scaling. However, it is important to note, that the contrasting abstract shapes and colours and play on negative space make these movements visible and effective in transmitting the game-like aesthetic; as the black dot in the middle stays within the negative space whilst dodging these structures (Leborg, 2006)(Lupton & Phillips, 2008).
When comparing my current work with the works of inspiration above, I felt the movement was more mechanic than organic (Krasner, 2013). I also felt a lack of depth in regard to layering moving shapes within other shapes. Going forward, I will revisit the ideating and prototyping stages to further develop the objects within my animation (Ambrose & Harris, 2009). I will do this through experimentation which requires greater investment in software techniques such as easy ease features and layering. I am eager to implement these changes as trial and error is a helpful tool, key to developing, learning and producing a product of high quality.
Stay tuned to see my final design outcome!
Reference List
Ambrose, G., Harris, P (2009) Design Thinking. AVA Publishing, Crans-pres-Celigny, CHE, UNITED KINGDOM.
Krasner, J (2013) Motion Graphic Design: Applied History and Aesthetics. Taylor & Francis Group, Oxford, UNITED KINGDOM.
Leborg, C (2006) Visual Grammar. Princeton Architectural Press, New York, UNITED STATES.
Lupton, E., Phillips, J.C (2008) Graphic Design: The New Basics. Princeton Architectural Press, New York, UNITED STATES.
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