This book offers a comprehensive overview of techniques, processes, and professional practices in the area of motion design. From fundamental building blocks of organizing time and space in production to managing workflow, budgets, and client relationships. The authors provide insight into the production process from concept through execution.
This book offers a comprehensive overview of techniques, processes, and professional practices in the area of Motion Design, from fundamental building blocks of organizing time and space in production to managing workflow, budgets, and client relationships. The authors provide insight into the production process from concept through execution in areas as diverse as social media to large-scale projection mapping for events and festivals. Readers will learn through real-world examples, case studies, and interviews how to effectively use their skills in various areas of Motion Design. Industry professionals provide unique perspectives on different areas of Motion Design while showcasing their outstanding and inspiring work throughout. This is a valuable resource to students who aspire to work in a broad range of visual communication disciplines and expand their practice of Motion Design.
| Acknowledgments |
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xi | |
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xii | |
| Foreword |
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xiv | |
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| Introduction |
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1 | (2) |
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3 | (26) |
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5 | (6) |
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11 | (1) |
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Getting Started in Motion Design |
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12 | (1) |
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13 | (7) |
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Creative Brief: Basic Transformations |
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20 | (2) |
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Professional Perspectives: Orion Tait |
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22 | (7) |
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29 | (28) |
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29 | (3) |
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32 | (2) |
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34 | (1) |
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35 | (15) |
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Creative Brief: Audio and Non-Linear Interpolation |
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50 | (2) |
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Professional Perspectives: David Conklin |
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52 | (5) |
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3 Masking, Type, and Project Structures |
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57 | (22) |
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57 | (7) |
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Project Structure and Organization |
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64 | (1) |
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65 | (6) |
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Creative Brief: Type and Masks |
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71 | (3) |
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Professional Perspectives: Jordan Lyle |
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74 | (5) |
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79 | (21) |
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79 | (10) |
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After Effects Compositions and Pre-compositions |
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89 | (3) |
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Creative Brief: 2D Character Rig |
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92 | (2) |
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Professional Perspectives: Wendy Eduarte Briceno |
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94 | (6) |
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5 Z Space and Virtual Cameras |
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100 | (23) |
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100 | (2) |
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102 | (2) |
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104 | (4) |
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108 | (6) |
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114 | (2) |
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Creative Brief: Stills in Motion |
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116 | (2) |
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Professional Perspectives: Ariel Costa |
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118 | (5) |
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123 | (10) |
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123 | (1) |
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124 | (9) |
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133 | (12) |
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133 | (5) |
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138 | (7) |
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145 | (13) |
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145 | (1) |
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Twelve Basic Principles of Animation for Motion Designers |
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146 | (3) |
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149 | (1) |
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Easing With Frame by Frame |
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149 | (2) |
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Extending Frame-by-Frame Animation |
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151 | (1) |
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Making Frame-by-Frame Animation |
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152 | (1) |
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153 | (2) |
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155 | (1) |
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Frame-by-Frame Techniques |
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155 | (3) |
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158 | (10) |
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158 | (1) |
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159 | (2) |
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161 | (4) |
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165 | (1) |
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166 | (2) |
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10 Motion Design Production |
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168 | (16) |
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168 | (13) |
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Professional Perspectives: Boo Wong |
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181 | (3) |
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184 | (21) |
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184 | (1) |
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185 | (1) |
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Time Is the Link Between Motion and Audio |
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185 | (1) |
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Sound and Image Hierarchies |
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186 | (1) |
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187 | (1) |
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187 | (1) |
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188 | (2) |
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190 | (1) |
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191 | (1) |
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192 | (1) |
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193 | (1) |
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194 | (1) |
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194 | (1) |
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Professional Audio Production |
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194 | (2) |
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Creative Brief: "Everyday" Sounds and Images |
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196 | (3) |
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Professional Perspectives: Mitch Paone |
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199 | (6) |
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205 | (14) |
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205 | (2) |
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207 | (3) |
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210 | (1) |
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211 | (8) |
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13 Projection Mapping and immersive Media |
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219 | (12) |
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219 | (2) |
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221 | (10) |
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14 Professional Practices |
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231 | (10) |
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Hard Skills and Soft Skills |
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231 | (4) |
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235 | (2) |
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Professional Perspectives: Peter Pak |
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237 | (4) |
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241 | (25) |
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241 | (1) |
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242 | (2) |
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244 | (1) |
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244 | (2) |
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246 | (2) |
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248 | (1) |
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249 | (1) |
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250 | (1) |
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251 | (1) |
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252 | (1) |
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Delivery: Implement, Review, and Maintain |
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253 | (1) |
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254 | (1) |
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255 | (1) |
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256 | (1) |
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Copyright, Intellectual Property, and Work for Hire |
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256 | (1) |
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257 | (1) |
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258 | (1) |
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258 | (2) |
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Professional Perspectives: Erin Sarofsky |
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260 | (6) |
| Index |
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266 | |
Austin Shaw is an assistant professor of design at Western Washington University. Previously, he taught at the Savannah College of Art and Design in Savannah, Georgia, where he was a professor in the motion media department for ten years, and at the School of Visual Arts in New York City for three years. For nearly 20 years, and in tandem with teaching, Austin has worked as a motion designer for clients including Target, Ferrari, FedEx, McGraw-Hill, Ralph Lauren, and VH1, and as a creative director, designer, and animator for companies such as Superfad, Digital Kitchen, Brand New School, and Curious Pictures.
John Colette is a professor of Motion Media Design at the Savannah College of Art and Design in Savannah, Georgia, where he previously served as department chair. As a professor, he has led collaborative industry research projects for external clients such as BMW Technology Group in Silicon Valley, Samsung, Microsoft, and Adobe Systems.
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