Category: Design for Animation

For this critical report on motion design in title sequences, I first identified key concepts from my research—narrative construction, sensory thresholds, and emotional paratexts—and analyzed relevant examples from Elastic’s portfolio. I structured the report by breaking down four core design tools (metaphor, rhythm/sound, typography, and composition/color), using The Crown as a case of oppressive duty… Continue reading WEEK 12: Critical Report and Audiovisual Presentation

This week, we had online tutorials with Nigel, and we went through my proposal outline together. We discussed how to proceed with the readings, given that there were many, and how to read only the parts that interest me. Another thing mentioned was to include keywords such as ‘motion graphics’ or ‘opening graphics’. But he… Continue reading WEEK 11

During this week’s class, we continued with different writing approaches and viewed some guidelines for referencing. We saw a thesis, but it can also be applied in our case. As for my critical report, I started looking at examples of title sequences I liked and other media to complete my proposal. I will talk with… Continue reading WEEK 10

This week’s class explained the basics of developing our literature review. We went through diverse PowerPoint presentations on using citations and references, as well as tips on structuring this report. It was helpful, since writing a critical report in English is really daunting, especially since I haven’t done research this big in ages, and even… Continue reading WEEK 9

Since last week, I have spoken to Nigel. This week, I have had it free to work on my proposal correctly so that I can show it to him next week.After some research, I chose motion graphics for the title sequence rather than branding. For the following week I’ll be working on the proposal further.

In this class, we went through choosing a research topic and turning it into a clear argument. Nigel showed examples of how to use our own voices when making an argument, while still being truthful with the facts. After the explanation, I had a short 1:1 with Nigel since I knew what I wanted to… Continue reading WEEK 7: Choosing a topic

This week, we covered the basics of composition, staging, and screen direction. Mise-en-scène is a French term that refers to the visual elements placed in front of a scene or frame, providing essential information to the audience through the camera’s presentation. Elements such as setting & props, costume, hair and makeup, facial expressions & body… Continue reading WEEK 6: Mise-en-scene

This week, we explored animation in documentaries —in other words, cartoons with a true story behind them.   During class, we watched many different videos, one of which was ‘The Sinking of the Lusitania’ by Winsor McCay, which showed the event even though there were no live-action shots. During World War II, Disney used the same… Continue reading WEEK 5: Animated documentaries

This week’s class really took me by suprise by all the experimenral animation set for today’s motion graphics. We went back to the 20s, where artists began experimenting: painting, scratching or even burning individual frames to create their images. “Fire-packing” and hand-tinting every frame laid the groundwork for the digital colour grading and particle effects… Continue reading WEEK 4: Formarive & Conceptual abstraction

This week’s class examined three pillars of screen storytelling: film language, narrative structure, and character roles. We began with continuity editing, the “invisible” system that keeps viewers oriented through graphic, rhythmic, spatial and temporal relations; Hitchcock’s Psycho supplies a classic graphic-match example. We then studied alternatives that reveal construction. Kubrick’s cross-cutting in The Shining knits… Continue reading WEEK 3: Pillars of screen storytelling