MOTION OF LET TERFORMS
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MOTION OF LET TERFORMS
TABLE OF CONTENTS
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[00:04] MOTION OF LET TERFORMS
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MENTS
IN CRE-
AT EVEN
C A MER AS
M ULTIPLE
WITH
H ORSE
G ALLOPIN G
GR APHED A
PH OTO-
M UYBRID GE
EA D W EA R D
[00:06] MOTION OF LET TERFORMS THE SEQUENTIAL EXPERIENCE
THE SEQUENTIAL EXPERIENCE
A GALLOPING HORSE GAVE MOTION TO PICTURES AND PHOTOGRAPHS Kinetic // adjective // Relating to or resulting from motion // with movement //
Typography // noun // The art and the process of setting and arranging types and printing from them // the style and appearance of printed matter //
[01] ---------- With the advent of film and graphic animation, the possibility of matching text and motion emerged. Examples of animated letterforms appeared as early as 1899 in the advertising work of George Melies. Early feature films contained temporal typography, but this was largely static text, presented sequentially and subjected to cinematic transitions. It was not until the 1960s when opening titles began to feature typography that was truly kinetic. Scholars recognize the first feature film to extensively use kinetic typography as Alfred Hitchcock’s North by Northwest (1959). This film’s opening title sequence — created by Saul Bass— contained animated text, featuring credits that “flew” in from off-screen, and finally faded out into the film itself, and similar technique like the contrazoom was also employed by Saul Bass in, Psycho (1960). Since then, the use of kinetic typography has become commonplace in film introductor y titles and television advertisements. More recently, it has been a central feature of numerous television idents, notably Martin Lambie Nairn’s first ident for the British television network in use from 1982. ---------- [02] ---------Many people have proposed that it is important to distinguish between the properties of form (e.g. color and font) and of behavior (e.g. qualities of movement) in temporal typography. It is necessar y to make this distinction in order to classif y kinetic typography in ways that acknowledge their difference to static type (which may share properties of form, but not kinetic behaviors). Kinetic typography is therefore categorized according to behaviors or action, rather than appearance. In classification, kinetic typography is a form of temporal typography (typography that is presented over time). It is distinct from other forms of temporal typography including ‘serial presentation’, which involves the sequential presentation of still typographic compositions. Motion graphics are graphics that use video footage and/or animation technology to create the illusion of motion or rotation, and are usually combined.
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WITH THE A DVENT OF FILM
PROPERT Y OF FOR M A ND M OVEMENT
[00:08] MOTION OF LET TERFORMS
GR APHICS TH AT USE
THE SEQUENTIAL EXPERIENCE
FROM THE CINEMA TO ANIMATION TO THE MOTION GRAPHIC
VIDEO
Consistency // noun // Conformity to necessity // sake of logic // the way an object holds together // viscocity //
FR A ME BY FR A ME FO OTAGE A NIM ATIO N
THE TER M IS STILL BEIN G DEFINED
Design // noun // A plan or drawing produced to show the look and function or workings of a building // garment or other object before it is built //
[03] ---------- Motion graphics are usually displayed via electronic media technology, but may be displayed via manual powered technology as well. The term is useful for distinguishing still graphics from graphics with a transforming appearance over time without over specif ying the form. Motion graphics extend beyond the most commonly used methods of frame-by-frame footage and animation. Computers are capable of calculating and randomizing changes in imager y to create the illusion of motion and transformation. Computer animations can use less information space (computer memor y) by automatically tweening, a process of rendering the key changes of an image at a specified or calculated time. These key poses or frames are commonly referred to as key frames or low CP. Adobe Flash uses computer animation tweening as well as frame by frame animation and video, first of such kind. ---------- [04] ---------Since there is no universally accepted definition of motion graphics, the official beginning of the art form is disputed. There have been presentations that could be classified as motion graphics as early as the 1800s. Michael Betancourt wrote the first in depth historical sur vey of the field, arguing for its foundations in visual music and the historical abstract films of the 1920s by Walther Ruttmann, Hans Richter, Viking Eggeling and Oskar Fischinger. One of the first uses of the term “motion graphics� was by animator John Whitney, who in 1960 founded a company called Motion Graphics Inc. [05] ----------The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character. For a more complex example, consider a sequence in which a boy sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate no longer moves, although the boy continues to move as he draws his arm away from the plate. In this example, after the boy puts the plate down, the plate can then be drawn on a separate cel from the boy. Further frames feature new cels of the boy, but the plate does not have to be redrawn, as it is not moving; the same cel of the plate can be used in each remaining frame.
CAPTURING ALL THE MOMENTS OF A SINGLE MOMENT OF TIME
DIMENSIO NS
THREE
THE
OF
RENDERIN G
THE
TO
A NIM ATIO N
CEL
TO
FILM
FRO M
FIG.01
THE SEQUENTIAL EXPERIENCE [00:09]
[00:10]
THE EXPERIMENTS
MOTION OF LET TERFORMS
THE SEQUENTIAL EXPERIENCE
FIXING THE STILL FRAME TO ALLOW FOR THE MOVEMENT OF OBJECTS
TH AT LEA D TO ACHIEVEMENT
Vector // noun // A quantity having direction as well as magnitude // determining the position of one point in space relative to another object //
Scalar // noun // An object having only magnitude // not direction //
GR APHIC A NIM ATIO N SPREA D ACROSS THE M ODER N W ORLD
SQUA RIN G THE CIRCLE GIVEX M OTIO N
[06] ----------The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example the still plate would be painted slightly brighter to compensate for being moved one layer down. In T V and other low-budget productions, cels were often “cycled” (i.e. a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, especially in the early days of animation, washed clean and reused for the next film. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors. In ver y early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, and then photographed. Ever ything had to be redrawn for each frame containing movements. This led to a quite segmented appearance; just imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it. The pre-cel animation was later improved by using techniques like the slash and tear system invented by Raoul Barre, the background and the animated objects were drawn on separate sheets of papers. ---------- [07] ---------With the advent of film and graphic animation, the possibility of matching text and motion emerged. Examples of animated letterforms appeared as early as 1899 in the advertising work of George Melies. Early feature films contained temporal typography, but this was largely static text, presented sequentially and subjected to cinematic transitions. It was not until the 1960s when opening titles began to feature typography that was truly kinetic. Scholars recognize the first feature film to extensively use kinetic typography as Alfred Hitchcock’s North by Northwest (1959). This film’s opening title sequence — created by Saul Bass— contained animated text, featuring credits that “flew” in from off-screen, and finally faded out into the film itself, and similar technique like the contrazoom was also employed by Saul Bass in, Psycho (1960). Since then, the use of kinetic typography has become commonplace in film introductor y titles and the television advertisements. More recently, it has been a central feature of numerous television idents, notably Martin Lambie Nairn’s first ident for the British Channel 4 television network in use from 1982. Motion graphics are usually displayed via electronic media technology, but may be displayed via manual powered technology as well. The term is useful for distinguishing still graphics from graphics with a transforming appearance over time without over specif ying the form, which is beneficial. ---------- [08] ---------Since there is no universally accepted definition of motion graphics, the official beginning of the art form is disputed. There have been presentations that could be classified as motion graphics as early as the 1800s. Michael Betancourt wrote the first in depth historical sur vey of the field, arguing for its foundations in visual music and the historical abstract films of the 1920s by Walther Ruttmann, Hans Richter, Viking Eggeling and Oskar Fischinger. One of the first uses of the term “motion graphics” then was by animator John Whitney, who in 1960 founded a company called Motion Graphics Inc. The cel is an important innovation to traditional animation, allows some parts of each frame.
THE SEQUENTIAL EXPERIENCE
MOVEMENT BASED ON THE OBJECT AND THE CONTEXT ENVIRONMENT Frame-rate // noun // Rate of how many frames will be projected in a given unit of time // frames per second //
MIR ROR
THE
IN
SLITS
THROUGH
LO OK
A XIS
ON
SPIN
W HEEL
PIC TURE
M AGIC
Thaumatrope // noun // Victorian era // card or disk with different images on both sides when flipped both images merge //
[09] ---------- With two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character. For a more complex example, consider a sequence in which a boy sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate no longer moves, although the boy continues to move as he draws his arm away from the plate. In this example, after the boy puts the plate down, the plate can then be drawn on a separate cel from the boy. Further frames feature new cels of the boy, but the plate does not have to be redrawn, as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example the still plate would be painted slightly brighter to compensate for being moved one layer down. In T V and other low-budget productions, cels were often cycled (i.e. a sequence of cels was repeated several times over), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, things were changing especially in the early days of animation.
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WITH MULITPLE OBJEC TS OM SCREEN
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MOTION OF LET TERFORMS
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FIG.02
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MOTION OF LET TERFORMS
LIGHT PARTILES AND INK-PLOTS
LIGHT PARTICLES AND INK-PLOTS
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THE CAM
CELLS TRANSPARENCY LIGHT REACHING THE HUMAN EYE Particle // noun // A minute portion of matter // particles of dust or light //
Plot // noun // A graph showing the relation between two variables //
[10] ---------- The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character. For an even more complex example, consider a sequence in which a boy sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate can always be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate no longer moves, although the boy continues to move as he draws his arm away from the plate. In this example, after the boy puts the plate down, the plate can then be drawn on a separate cel from the boy. Further frames feature new cels of the boy, but the plate does not have to be redrawn, as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example the still plate would be painted slightly brighter to even compensate for being moved one layer down. In T V and other low budget productions, cels were often “cycled� (i.e. a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were well either thrown out or, especially in the early days of animation, washed clean and reused for the next film. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors. In ver y early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters.
THE CELL IS AN IMPORTA NT INN OVATIO N
FIG.03
[00:16]
MOTION OF LET TERFORMS
LIGHT PARTILES AND INK-PLOTS
LIGHT PARTICLES AND INK-PLOTS
HUES OF LIGHT CREATING VISIBLE PLOTS OF PIGMENT INK Motion-blur // noun // When an object in motion is given atmospheric properties //
Phenakistoscope // noun // Victorian era // spinning disk animation device viewed in mirror //
[11]---------- Items were drawn on a single sheet of paper, and then photographed. Ever ything had to be redrawn for each frame containing movements. This led to a “jitter y” appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it. The pre-cel animation was later improved by using techniques like the slash and tear system invented by Raoul Barre; the background and the animated objects were drawn on separate papers. ----------[12]---------Saul Bass is a major pioneer in the development of feature film title sequences. His work included title sequences for popular films such as The Man With The Golden Arm (1955), Vertigo (1958), Anatomy of a Murder (1959), North by Northwest (1959), Psycho (1960), and Advise & Consent (1962). His designs were simple, but effectively communicated the mood of the film. ----------[13]---------The term motion graphics originated with video editing in computing, perhaps to keep pace with newer technology. Before computers were widely available, motion graphics were costly and time-consuming, limiting their use to high-budget filmmaking and television production. In the late 1980s to mid-1990s, expensive proprietar y graphics systems from British-based Quantel was quite commonplace in many television stations. Quantel workstations such as the Hal, Henr y, Harr y, Mirage and Paintbox were done. [14]---------- Broadcast graphics standard of the time. With the reduced cost of producing motion graphics on a computer, the discipline has seen more widespread use. With the availability of desktop programs such as Adobe After Effects, Discreet Combustion, and Apple Motion, motion graphics have become increasingly accessible. Modern character generators (CG) from Aston Broadcast Systems and Chyron Corporation’s incorporate motion graphics. The term “motion graphics” was popularized by Trish and Chris Meyer’s book about the use of Adobe After Effects, titled Creating Motion Graphics. This was the beginning of desktop applications, which specialized in video production, but were not editing or 3D programs. These new programs collected together special effects, compositing, and color correction toolsets, and primarily came between edit and 3D in the production process. This “in-between” notion of motion graphics and the resulting style of animation is why sometimes it is referred to as 2.5D. Motion graphics continue to evolve as an art form with the incorporation of sweeping camera paths and 3D elements.
FROM PRINTMAKING TO TELEVISION BROADCAST TO LIVE STREAM Scope // noun // Extent of the area or subject matter // that something deals with or to which it is relevant //
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ITEMS W ERE DR A W N ON SIN GLE SHEETS OF PAPER
SAUL BASS IS A M A JOR PIO NEER M OTIO N GR APHICS ORIGINATED WITH VIDEO EDITIN G BROA DC AST GR APHICS
[00:18]
OPEN SOURCE PRO GR A MS
MOTION OF LET TERFORMS
LIGHT PARTILES AND INK-PLOTS
THE DRAWING OF SPACE AND THE RENDERING OF ATMOSPHERE Isometric // adjective // Having equal dimensions // Methods of showing perspective in principal dimensions are represented by three axes // 120° apart //
Perspective // noun // Solid objects // give the right impression of height, width, depth, and position in relation to each other viewed from a particular point //
L AYERIN G CELLS ALLO WS
TYPOGRAPHY WITHIN THE PERAMETERS OF DEPTH OF FIELD
FOR DEPTH A ND M OTIO N
[15]---------- There are also some other packages in open source panorama, which are gaining more features and adepts in order to use in a motion graphics workflow, while Blender integrates several of the functions of its commercial counterparts. The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one of the cels, while multiple drawings on multiple cels are used to animate the speaking character. For a more complex example, consider a sequence in which a boy sets a plate upon a table. The over table stays still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate will no longer moves, although the boy continues to move as he draws his arm away from the plate. In this example, after the boy puts the plate down, the plate can then be drawn on a separate cel from the boy. Further frames feature new cels of the boy, but the plate does not always move to have to be redrawn, as it is not moving; the same cel of the plates can be used in each remaining frame that it is still upon full the table. The cels were paints were actually manufactured in shades. [16]---------- To compensate for the extra layer of cel added between the image and the camera; in this example the still plate would be painted slightly brighter to compensate for being moved one layer down. In T V and other low-budget productions, cels were often “cycled” (i.e. a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, especially in the early days of animation, washed clean and reused for the next film. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors. In ver y early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, and then photographed. Ever ything had to be redrawn in for each frame containing movements. This led to a “jitter y” appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it.
Lens // noun // Glass or other transparent substance with curved sides for concentrating dispersing light rays //
[00:19]
FIG.04
LIGHT PARTICLES AND INK-PLOTS
FREED O M
WITH
SPACE
3D
WITHIN
M OVE
TO
OBJEC TS
ALLO W
SEQUEN CES
TIVE
PERSPEC-
FIG.05
[00:20] MOTION OF LET TERFORMS LIGHT PARTILES AND INK-PLOTS
[00:21]
FIG.06
LIGHT PARTICLES AND INK-PLOTS
[00:22]
MOTION OF LET TERFORMS
[00:23]
FIG.07
[00:24]
MOTION OF LET TERFORMS
MOTION IS OBSERVED IT IS NOT INVENTED
MOTION IS OBSERVED IT IS NOT INVENTED
CALCULATING THE FULL FRAME RATE OF THE PLANET EARTH Inertia // noun // The tendency to do nothing or to remain unchanged //act against to ease in or out motion //
Transform // verb // Thorough or dramatic change in the form // appearance or character of such transitioned objects //
Continuity // noun // The unbroken and consistent existence or operation of something over a period of time //
[17]---------- Many motion graphics animators learn several 3D graphics packages for working on according to each program’s strengths. Although many trends in motion graphics will tend to be based on specific software’s capabilities, the software is only a tool the broadcast designer uses while bringing the vision to life. Lending heavily from techniques such as the collage or the pastiche, motion graphics has begun to integrate many traditional animations techniques as well, including stop-motion animation, cel animation or a combination of both, which is now common. ----------[18]---------The multiplane camera is a special motion picture camera used in the traditional animation process that moves a number of pieces of artwork past the camera at various speeds and at various distances from one another. This creates a full three-dimensional effect, although not actually stereoscopic. Various parts of the artwork layers are left transparent, to allow other layers to be seen behind them. The movements are calculated and photographed frame-by-frame, with the result being an illusion of depth by having several layers of artwork moving at different speeds with the further away from the camera, the slower the speed. The multiplane effect is sometimes referred to as aparalla x, which is a now common process. An interesting variation is to have the background and a foreground move in opposite directions. This creates an effect of rotation. An early example is the scene in Walt Disney’s Snow White and the Seven Dwarfs where the evil Queen drinks her potion, and the surroundings appear to spin around her. ----------[19]---------Saul Bass (May 8, 1920 – April 25, 1996) was an American graphic designer and Academy Award winning filmmaker, best known for his design of motion picture title sequences, film posters, and corporate logos. During his 40 -year career Bass worked for some of Holly wood’s most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick.
[00:25]
W OR KIN G WITH 3-D GR APHICS
W ALT DISNEY A ND THE M ULTIPL A NE C A MER A
[00:26]
TITLE SEQUEN CES A ND
MOTION OF LET TERFORMS
MOTION IS OBSERVED IT IS NOT INVENTED
UNDERSTANDING THE MECHANICS OF NATURAL MOTION
FILM CREDITS
Animation // noun // The state of being full of life or vigor // liveliness //
THE CINEM ATIC EXPERIEN CE
ILLUSTR ATIVE TECHNIQUE
Ficker // verb // Light or a source of light) shine unsteadily; vary rapidly in brightness or value //
[20]---------- Among his most famous title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger’s, The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper that was in Hitchcock’s, North by Northwest, and the disjointed text that races together and apart in, Psycho. Bass designed some of the most iconic corporate logos in North America, including the Bell System logo in 1969, as well as AT&T’s globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines’ 1968 jet stream logo and United Airlines’ 1974 tulip logo, which became some of the most recognized airline industr y logos of the era, which is still used today. ----------[21]---------Bass became widely known in the film industr y after creating the title sequence for Otto Preminger’s, The Man with the Golden Arm (1955). The subject of the film was a jazz musician’s struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film’s controversial subject. He chose the arm as the central image, as it is a strong image relating to a big heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it had caused quite a sensation. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of some innovative, revolutionar y work that made Bass a revered graphic designer. Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinematic curtains, the curtains only being raised right before the first scene of the movie would be starting at. Many motion graphics animators learn several 3D graphics packages for use according to each program’s strengths. Although many trends in motion . [22]---------- Lending heavily from techniques such as the collage or the pastiche, motion graphics has begun to integrate many traditional animation techniques as well, including stop-motion animation, cel animation or a combination of both. The multiplane camera is a special motion picture camera used in the traditional animation process that moves a number of pieces of artwork past the camera at various speeds and at various long distances from one another. This creates a three-dimensional effect, although not actually stereoscopic. Various parts of the artwork layers are left. ----------[23]---------The movements are calculated and photographed frame by frame. with the result being an illusion of depth by having several layers of artwork moving at different speeds - the further away from the camera, the slower the speed. The multiplane effect is sometimes referred to as aparalla x process. An interesting variation is to have the background and foreground move in opposite directions. This creates an effect of rotation. An early example is the scene in Walt Disney’s Snow White and the Seven Dwarfs where the evil Queen drinks her potion, and the surroundings appear to spin around her. Many motion graphics animators learn several 3D graphics packages to be used with according to each program’s strengths. Although many trends in motion graphics tend to be based on specific software’s capabilities,
FORMATING MULTIPLE SEQUENTIAL IMAGES WITHIN A SEGMENT
MOTION IS OBSERVED IT IS NOT INVENTED
DEVELOPING KEYFRAMES THAT ALLOW FOR SCREEN PROCESS Backlit // adjective // Photography or of a graphic display // object illuminated from behind //
Dimension // noun // Expression for a derived physical quantity // such as mass, length, or time //
[24]---------- The software is only a tool the broadcast designer uses while bringing the vision to life. Lending heavily from techniques within such as the collage or the pastiche, motion graphics have begun to integrate many traditional animation techniques. including stop-motion animation, cel animation or a combination of both. The multiplane camera is a special motion picture camera used in the traditional animation process that moves a number of pieces of artwork past the camera at various speeds and at various distances from one another. This creates a three-dimensional effect, although not actually stereoscopic. Various parts of the artwork layers are left transparent, to allow other layers to be seen behind them. The movements are calculated and photographed frame-by-frame, with the result being an illusion of depth by having several layers of artwork moving at different speeds with the further away from the camera, the slower the ultimate speed. ----------[25]---------The multiplane effect is sometimes referred to as aparalla x process. An interesting variation is to have the background and a foreground move in opposite directions. This creates a different effect of rotation. An early example is the scene in Walt Disney’s Snow White and the Seven Dwarfs where the evil Queen drinks her potion, and the surroundings do appear to spin around her. Saul Bass (May 8, 1920 – April 25, 1996) was an American graphic designer and Academy Award winning filmmaker, best known for his design of motion picture title sequences, film posters, and corporate logos. During his 40 -year career Bass worked for some of Holly wood’s most prominent filmmakers, including Alfred Hitchcock, who is the best.
[00:27]
SOFT W A RE IS O NLY THE TO OL
THE PA R R ALEX EFFEC T
[00:28]
K EYFR A MES A ND SUBFR A MES
MOTION OF LET TERFORMS
MOTION IS OBSERVED IT IS NOT INVENTED
ADJUSTING THE QUALITY AND THE QUANTITY OF FRAMEWORK Relative // adjective // Considered in relation or in proportion to something else //
Image // noun // Visible impression // camera, telescope, microscope, or displayed on a video screen // A MERIC A A ND THEE IN VENTIVE SPIRIT
TR A DITIO N AL A NIM ATIO N
[26]---------- Bass became widely known in the film industr y after creating the title sequence for Otto Preminger’s, The Man with the Golden Arm. The subject of the film was a jazz musician’s struggle to overcome his heroin addiction, a taboo subject in the time mid-1950s. Bass decided to create an innovative title sequence to match the film’s controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut out arm of a heroin addict. As he hoped, it then caused quite a sensation. For Alfred Hitchcock, Bass provided effective, and ver y memorable title sequences, inventing a new type of new kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionar y work that made Bass a revered graphic designer. Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie. Saul Bass (May 8, 1920 – April 25, 1996). ----------[27]---------Saul Bass, American graphic designer and Academy Award winning filmmaker, best known for his design of motion picture title sequences, film posters, and corporate logos. During his 40 -year career Bass worked for some of Holly wood’s most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Among his most famous title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger’s, The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock’s, North by Northwest, and the disjointed text that races together and apart in, Psycho. Bass who designed some of the most iconic corporate logos within North America, including the Bell System logo in 1969, as well as AT&T’s globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines’ 1968 jet stream logo and United Airlines’ 1974 tulip logo, which became some of the even most recognized airline industr y logos of the era. Many of motion graphics animators learn several 3D graphics packages for use according to each program’s strengths. Although many trends in motion graphics tend to be based on specific software’s capabilities, the software is only a tool the broadcast designer uses while bringing the vision to life. Lending heavily from techniques such as the collage or the pastiche, motion graphics has begun to integrate many traditional animation techniques as well. ----------[28]---------The multiplane camera is a special motion picture camera used within the traditional animation with a process that moves any number of pieces of artwork past the camera at some various speeds and at various distances from one another. This creates a three-dimensional effect, although not actually within fully stereoscopic. Various parts of the artwork layers are left transparent, to allow other layers to be seen behind them. The movements are calculated and photographed frame by frame with the result being an illusion of depth by having several of layers of artwork moving at all different speeds - the further away from the camera, the slower the speed. The multiplane effect is sometimes referred to as aparalla x process. An interesting variation is to have the background and foreground move in opposite
MOTION IS OBSERVED IT IS NOT INVENTED
Axis // noun // An imaginary line about which a body rotates //
directions of the origin object. This creates an effect of full rotation. An early example is the scene in Walt Disney’s Snow White and the Seven Dwarfs where the evil Queen drinks her potion, and the surroundings appear to spin around her. Bass became widely known in the film industr y after creating the title sequence for Otto Preminger’s, The Man with the Golden Arm (1955). The subject of the film was a jazz musician’s struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass had decided to create an innovative title sequence to match the film’s controversial subject. He chose the arm as the central image, as it is a stronger image relating to heroin addiction. The titles featured an animated, white on black paper cut-out the arm of a heroin addict. As he hoped, it caused quite a sensation. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography. [29]---------- Bass became widely known in the film industr y after creating the title sequence for Otto Preminger’s, The Man with the Golden Arm (1955). The subject of the film was a jazz musician’s struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film’s controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper a cut-out arm of a heroin addict. As he hoped, it caused quite a sensation. For Alfred Hitchcock, Bass provided effective, yet memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of new revolutionar y work that made Bass a super revered designer. ----------[30]---------Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene. For Alfred Hitchcock, Bass provided effective, yet memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of new revolutionar y work that made Bass a super revered graphic designer. Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised at the beginning.
CREATING MOTION FROM STORED POTENTIAL TYPOGRAPHIC ENERGY Rotate // verb // Move in a circle around an axis center // designated anchor point //
[00:29]
THE LET TERFOR MS TH AT H AVE M OVEMENT
DUR ATIO NS
SIN GLE
OVER
CH A N GES
MINUTE
A BOUT
ALL
A RE
GR APHICS
M OTIO N
A ND
A NIM ATIO N
[00:30] MOTION OF LET TERFORMS MOTION IS OBSERVED IT IS NOT INVENTED
MOTION IS OBSERVED IT IS NOT INVENTED
MOTION TEXT //
THE M OVEMENT TH AT IS OBSERVED M OST OFTEN IS REPRODUCED M OST N ATUR ALLY // -- M OTIO N // -- FR A ME R ATE -- SEQUEN CE IN NUM BERIN G -- FR A ME A ND CO NTENT ---- C APTURE // ---- C A MER A LENSE ---- 3D NULL OBJEC T ---- 3D L AYERS ------ FO CUS // ------ LENS A ND R ACK ------ LIGHT SOURCE ------ EXPOSURE LEN G TH THE M OVEMENT TH AT IS OBSERVED M OST OFTEN IS REPRODUCED M OST N ATUR ALLY //
[00:31]
[00:32]
MOTION OF LET TERFORMS
[00:33]
OBJEC TS
TO
APPLIED
FORCE
OUTSIDE
AN
BY
A BOUT
BROUT
IS
NOW THAT T YPE IS NO LONGER FIXED TO THE PAPER
M OVEMENT
MOTION OF LET TERFORMS
INERTIAL
[00:34]
NOW THAT T YPE IS NO LONGER FIXED TO THE PAPER
GOING FROM MOVABLE TYPE TO MOVING-MOTION TYPOGRAPHY Sequence // noun // Particular order in which related events // movements / things follow after each other //
Cycle // noun // Series of events that are regularly repeated in the same order to view as a sequence //
[31]---------- Many motion graphics animators learn several 3D graphics packages for working on according to each program’s strengths. Although many trends in motion graphics will tend to be based on specific software’s capabilities, the software is only a tool the broadcast designer uses while bringing the vision to life. Lending heavily from techniques such as the collage or the pastiche, motion graphics has begun to integrate many traditional animations techniques as well, including stop-motion animation, cel animation or a combination of both, which is now common. ----------[32]---------The multiplane camera is a special motion picture camera used in the traditional animation process that moves a number of pieces of artwork past the camera at various speeds and at various distances from one another. This creates a full three-dimensional effect, although not actually stereoscopic. Various parts of the artwork layers are left transparent, to allow other layers to be seen behind them. The movements are calculated and photographed frame-by-frame, with the result being an illusion of depth by having several layers of artwork moving at different speeds with the further away from the camera, the slower the speed. The multiplane effect is sometimes referred to as aparalla x, which is a now common process. An interesting variation is to have the background and a foreground move in opposite directions. This creates an effect of rotation. An early example is the scene in Walt Disney’s Snow White and the Seven Dwarfs where the evil Queen drinks her potion, and the surroundings appear to spin around her. ----------[33]---------Saul Bass (May 8, 1920 – April 25, 1996) was an American graphic designer and Academy Award winning filmmaker, best known for his design of motion picture title sequences, film posters, and corporate logos. During his 40 -year career Bass worked for some of Holly wood’s most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick.
[00:35]
W OR KIN G WITH 3-D GR APHICS
W ALT DISNEY A ND THE M ULTIPL A NE C A MER A
[00:36]
SCREEN RESOLUTIO N
MOTION OF LET TERFORMS
NOW THAT T YPE IS NO LONGER FIXED TO THE PAPER
HIGH RESOLUTION IMAGING AND FULL-FRAME OF FOCUS
A ND D OTS PER IN CH
Kinescope // noun // Atelevision picture tube // Film recording of any television having been broadcast //
Variable // adjective // Not consistent or having a fixed pattern // liable to change // essential for movement //
LET TERFOR MS W HICH REFLEC T LIGHT
[34]---------- Among his most famous title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger’s, The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper that was in Hitchcock’s, North by Northwest, and the disjointed text that races together and apart in, Psycho. Bass designed some of the most iconic corporate logos in North America, including the Bell System logo in 1969, as well as AT&T’s globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines’ 1968 jet stream logo and United Airlines’ 1974 tulip logo, which became some of the most recognized airline industr y logos of the era, which is still used today. ----------[35]---------Bass became widely known in the film industr y after creating the title sequence for Otto Preminger’s, The Man with the Golden Arm (1955). The subject of the film was a jazz musician’s struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film’s controversial subject. He chose the arm as the central image, as it is a strong image relating to a big heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it had caused quite a sensation. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of some innovative, revolutionar y work that made Bass a revered graphic designer. Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinematic curtains, the curtains only being raised right before the first scene of the movie would be starting at. Many motion graphics animators learn several 3D graphics packages for use according to each program’s strengths. Although many trends in motion . [36]---------- Lending heavily from techniques such as the collage or the pastiche, motion graphics has begun to integrate many traditional animation techniques as well, including stop-motion animation, cel animation or a combination of both. The multiplane camera is a special motion picture camera used in the traditional animation process that moves a number of pieces of artwork past the camera at various speeds and at various long distances from one another. This creates a three-dimensional effect, although not actually stereoscopic. Various parts of the artwork layers are left. ----------[37]---------The movements are calculated and photographed frame by frame. with the result being an illusion of depth by having several layers of artwork moving at different speeds - the further away from the camera, the slower the speed. The multiplane effect is sometimes referred to as aparalla x process. An interesting variation is to have the background and foreground move in opposite directions. This creates an effect of rotation. An early example is the scene in Walt Disney’s Snow White and the Seven Dwarfs where the evil Queen drinks her potion, and the surroundings appear to spin around her. Many motion graphics animators learn several 3D graphics packages to be used with according to each program’s strengths. Although many trends in motion graphics tend to be based on specific software’s capabilities,
LIGHT AS THE MAIN FACTOR WITHIN THE VISUAL PROCESS
[00:37]
FIG.08
NOW THAT T YPE IS NO LONGER FIXED TO THE PAPER
FIG.09
[00:38]
MOTION OF LET TERFORMS
NOW THAT T YPE IS NO LONGER FIXED TO THE PAPER
FR A ME
WITHIN
SPACE
GR APHIC
T YPO-
OF
VIEWIN G
THE
FOR
ALLO WS
A N GLE
C A MER A
FIG.10
NOW THAT T YPE IS NO LONGER FIXED TO THE PAPER [00:39]
[00:40] MOTION OF LET TERFORMS
NOW THAT T YPE IS NO LONGER FIXED TO THE PAPER
NOW THAT T YPE IS NO LONGER FIXED TO THE PAPER
THE ANGLE AT WHICH LETTERFORMS ARE VIEWED
[38]---------- Among his most famous title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger’s, The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper that was in Hitchcock’s, North by Northwest, and the disjointed text that races together and apart in, Psycho. Bass designed some of the most iconic corporate logos in North America, including the Bell System logo in 1969, as well as AT&T’s globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines’ 1968 jet stream logo and United Airlines’ 1974 tulip logo, which became some of the most recognized airline industr y logos of the era, which is still used today. ----------[39]---------Bass became widely known in the film industr y after creating the title sequence for Otto Preminger’s, The Man with the Golden Arm (1955). The subject of the film was a jazz musician’s struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film’s controversial subject. He chose the arm as the central image, as it is a strong image relating to a big heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it had caused quite a sensation. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of some innovative, revolutionar y work that made Bass a revered graphic designer. Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinematic curtains, the curtains only being raised right before the first scene of the movie would be starting at. Many motion graphics animators learn several 3D graphics packages for use according to each program’s strengths. Although many trends in motion . ---------- [40]---------- Lending heavily from techniques such as the collage or the pastiche, motion graphics has begun to integrate many traditional animation techniques as well, including stopmotion animation, cel animation or a combination of both. The multiplane camera, which allows for a lot of freedom in that actual area well which is a good way to work around such problems is a special motion picture camera used in the traditional animation process that moves a number of pieces of artwork past the camera at various speeds and at various long distances from one another. This creates a three-dimensional effect, although not actually stereoscopic. Various parts of the artwork layers are left. ----------[41]---------The movements are calculated and photographed frame by frame. with the result being an illusion of depth by having several layers of artwork moving at different speeds - the further away from the camera, the slower the speed. The multiplane effect is sometimes referred to as aparalla x process. An interesting variation is to have the background and foreground move in opposite directions. This creates an effect of rotation. An early example is the scene in Walt Disney’s Snow White and the Seven Dwarfs where the evil Queen drinks her potion, and the surroundings appear to spin around her. Many motion graphics animators learn several 3D graphics packages to be used with according to each program’s strengths. Although many trends in motion graphics
[00:41]
VIE WIN G A LET TERFOR M FRO M ALL A N GLES
K EYFR A MES BROK EN DOWN INTO NUMERIC PL ACEMENT
[00:42]
MOTION OF LET TERFORMS
[00:43]
FIG.11
[00:44] MOTION OF LET TERFORMS
NO MORE READING ONLY WATCHING
NO MORE READING ONLY WATCHING
USING THE EYES TO INTERACT WITH THE STORY TELLING VISUALLY Ray // noun // Lines in which light // heat // stream from the sun or any luminous body // pass through an opening //
Segment // noun // Each of the parts into which something is or may be divided //
[42] ---------- The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character. For an even more complex example, consider a sequence in which a boy sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate can always be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate no longer moves, although the boy continues to move as he draws his arm away from the plate. In this example, after the boy puts the plate down, the plate can then be drawn on a separate cel from the boy. Further frames feature new cels of the boy, but the plate does not have to be redrawn, as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example the still plate would be painted slightly brighter to even compensate for being moved one layer down. In T V and other low budget productions, cels were often “cycled� (i.e. a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were well either thrown out or, especially in the early days of animation, washed clean and reused for the next film. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors. In ver y early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters.
[00:45]
DR A WIN G CO N CLUSIO NS VISUALLY
[00:46] MOTION OF LET TERFORMS
THE HUM A N EYE
NO MORE READING ONLY WATCHING
THE EYE WAS MADE FOR READING AND WATCHING TOGETHER
M A DE TO SEE SM O OTH M OTIO N
Keyframe // noun // An anchor point within a set motion // designated to portray intended action //
Project // verb // Sending or throwing forward or outward // in motion //
SO METHIN G GR A BS OUR AT TENTIO N EVERY SPLIT SECO ND
[43]---------- Among his most famous title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger’s, The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper that was in Hitchcock’s, North by Northwest, and the disjointed text that races together and apart in, Psycho. Bass designed some of the most iconic corporate logos in North America, including the Bell System logo in 1969, as well as AT&T’s globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines’ 1968 jet stream logo and United Airlines’ 1974 tulip logo, which became some of the most recognized airline industr y logos of the era, which is still used today. ----------[44]---------Bass became widely known in the film industr y after creating the title sequence for Otto Preminger’s, The Man with the Golden Arm (1955). The subject of the film was a jazz musician’s struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film’s controversial subject. He chose the arm as the central image, as it is a strong image relating to a big heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it had caused quite a sensation. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of some innovative, revolutionar y work that made Bass a revered graphic designer. Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinematic curtains, the curtains only being raised right before the first scene of the movie would be starting at. Many motion graphics animators learn several 3D graphics packages for use according to each program’s strengths. Although many trends in motion . [45]---------- Lending heavily from techniques such as the collage or the pastiche, motion graphics has begun to integrate many traditional animation techniques as well, including stop-motion animation, cel animation or a combination of both. The multiplane camera is a special motion picture camera used in the traditional animation process that moves a number of pieces of artwork past the camera at various speeds and at various long distances from one another. This creates a three-dimensional effect, although not actually stereoscopic. Various parts of the artwork layers are left. ----------[46]---------The movements are calculated and photographed frame by frame. with the result being an illusion of depth by having several layers of artwork moving at different speeds - the further away from the camera, the slower the speed. The multiplane effect is sometimes referred to as aparalla x process. An interesting variation is to have the background and foreground move in opposite directions. This creates an effect of rotation. An early example is the scene in Walt Disney’s Snow White and the Seven Dwarfs where the evil Queen drinks her potion, and the surroundings appear to spin around her. Many motion graphics animators learn several 3D graphics packages to be used with according to each program’s strengths. Although many trends in motion graphics tend to be based on specific software’s capabilities,
CHANGES WITHIN THE RANGE OF VISION ATTRACTS ATTENTION
[00:47]
FIG.12
NO MORE READING ONLY WATCHING
[00:48] MOTION OF LET TERFORMS
DR A WIN G A ND DR AFTIN G
NO MORE READING ONLY WATCHING
DRAWING LETTERS AND WRITING SHAPES INTO EXISTENCE
THE DESIGN
View // noun // Ability to see something or to be seen from a particular place //
Motion-path // noun //The course or line on which any object moves //
WE TO OK STILL IM AGES A ND G AVE THEM M OTIO N
WE LEA NRED FRO M CIRCUL A R M OVEMENTS
[47] ----------The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example the still plate would be painted slightly brighter to compensate for being moved one layer down. In T V and other low-budget productions, cels were often “cycled” (i.e. a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, especially in the early days of animation, washed clean and reused for the next film. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors. In ver y early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, and then photographed. Ever ything had to be redrawn for each frame containing movements. This led to a quite segmented appearance; just imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it. The pre-cel animation was later improved by using techniques like the slash and tear system invented by Raoul Barre, the background and the animated objects were drawn on separate sheets of papers. ---------- [48] ---------With the advent of film and graphic animation, the possibility of matching text and motion emerged. Examples of animated letterforms appeared as early as 1899 in the advertising work of George Melies. Early feature films contained temporal typography, but this was largely static text, presented sequentially and subjected to cinematic transitions. It was not until the 1960s when opening titles began to feature typography that was truly kinetic. Scholars recognize the first feature film to extensively use kinetic typography as Alfred Hitchcock’s North by Northwest (1959). This film’s opening title sequence — created by Saul Bass— contained animated text, featuring credits that “flew” in from off-screen, and finally faded out into the film itself, and similar technique like the contrazoom was also employed by Saul Bass in, Psycho (1960). Since then, the use of kinetic typography has become commonplace in film introductor y titles and the television advertisements. More recently, it has been a central feature of numerous television idents, notably Martin Lambie Nairn’s first ident for the British Channel 4 television network in use from 1982. Motion graphics are usually displayed via electronic media technology, but may be displayed via manual powered technology as well. The term is useful for distinguishing still graphics from graphics with a transforming appearance over time without over specif ying the form, which is beneficial. ---------- [49] ---------Since there is no universally accepted definition of motion graphics, the official beginning of the art form is disputed. There have been presentations that could be classified as motion graphics as early as the 1800s. Michael Betancourt wrote the first in depth historical sur vey of the field, arguing for its foundations in visual music and the historical abstract films of the 1920s by Walther Ruttmann, Hans Richter, Viking Eggeling and Oskar Fischinger. One of the first uses of the term “motion graphics” then was by animator John Whitney, who in 1960 founded a company called Motion Graphics Inc. The cel is an important innovation to traditional animation, allows some parts of each frame.
NO MORE READING ONLY WATCHING
[50] ---------- With two characters on screen, and there is any one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character. For a more complex example, consider a sequence in which a boy sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate which can then be used for whatever is on the table, the plate no longer moves, although the boy continues to move as he draws his arm away from the plate. In this example, after the boy puts the plate down, the plate can then be drawn on a separate cel from the boy. Further frames feature new cels of the boy, but the plate does not have to be redrawn, as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example the still plate would be painted slightly brighter to compensate for being moved one layer down. In T V and other low-budget productions, cels were often cycled (i.e. a sequence of cels was repeated several times over), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, things were changing especially in the early days of animation.
[00:49]
BRIN GIN G M OTIO N INTO VIE W A ND FOLLO WIN G THE AC TIO N
DUR ATIO NS
SIN GLE
OVER
CH A N GES
MINUTE
A BOUT
ALL
A RE
GR APHICS
M OTIO N
A ND
A NIM ATIO N
[00:50] MOTION OF LET TERFORMS NO MORE READING ONLY WATCHING
NO MORE READING ONLY WATCHING
MOTION TEXT //
THE GENER ATIN G PRO CESS OF ISO METRIC DESIGN IS THE BASIS OF A NIM ATIN G IN A NY 3D SPACE // -- GRID // -- 30 DEGREE A XIS -- CENTER PL A NE -- NULL OBJEC TS ---- DIGITAL L AYER // ---- WIRE FR A ME ---- D OT SCREEN ------ CO MPOSITE IM AGE // ------ M ULTI PL A NE ------ ROTATIO N ------ BRIGHT NESS / CO NTR AST THE GENER ATIN G PRO CESS OF ISO METRIC DESIGN IS THE BASIS OF A NIM ATIN G IN A NY 3D SPACE //
[00:51]
[00:52]
MOTION OF LET TERFORMS
[00:53]
[00:54]
MOTION OF LET TERFORMS
AM
[09:00]
THE CONFERENCE // SCHEDULE AT A GLANCE
REGISTRATION // OPENING DISCUSSION // WELCOME //
OPENING DISCUSSION 02 // SCREEN TYPE //
OPENING DISCUSSION 03 // CINEMA TYPE //
MORNING FEATURE 01 // DEVELOPMENT CINEMA //
MORNING FEATURE 03 // DEVELPMENT ANIMATION //
MORNING FEATURE 05 // VETERAN ANIMATORS //
[11:00]
MORNING FEATURE 02 // TYPOGRAPHY REASONING //
MORNING FEATURE 04 // MOTION GRAPHICS //
MORNING FEATURE 06 // VETERAN TYPOGRAPHERS //
------
BREAKOUT SESSION 01
[12:00]
LUNCH BREAK // FREE WORKSHOPS //
LUNCH BREAK // FREE WORKSHOPS //
LUNCH BREAK // FREE WORKSHOPS //
AFTERNOON FEATURE 01 // HAYAO MIYAZAKI TALK //
AFTERNOON FEATURE 03 // CHRIS BUTLER TALK //
AFTERNOON FEATURE 05 // PATRIC JEAN TALK //
TYPE WORKSHOP 01 // ANIMATION LAB 01 //
TYPE DESIGN WORKSHOP // ANIMATION LAB 02 //
TYPE MOTION WORKSHOP // ANIMATION LAB 03 //
AFTERNOON FEATURE 02 // DAVID O’REILLY TALK //
AFTERNOON FEATURE 04 // ADRIA GARCIA
AFTERNOON FEATURE 06 // MICHAEL LANGAN TALK //
DEVELOPER DISCUSSION //
ARTIST Q&A SESSION 01 // FULL PANEL SESSION //
ARTIST Q&A SESSION 02 // FULL PANEL SESSION //
SEQUENTIAL PROCESS DISCUSSION //
FOCUS WITHIN FILMS DISCUSSION //
ANIMATION AND MOTION GRAPHICS DISCUSSION //
DAY 01 CLOSE //
DAY 02 CLOSE //
DAY 03 CLOSE //
-----[10:00] ------
PM
-----[01:00] -----[02:00] -----[03:00] -----[04:00] -----[05:00] -----[06:00]
WELCOME TO THE MOTION TEXT CONFERENCE 2014 N OTED EVENTS A RE FEATURED // FREE W OR K SHOPS A ND BREA KOUT DISCUSSIO NS A RE OPEN THROUGH OUT THE ENTIRE 3 DAY CO NFEREN CE //
The Motion Text Conference welcomes its guests to the highest stacked discussion on kinetic typography and motion graphics. Bridging the gap between cinematographer and type designer, the goal of this conference is to give creative individuals, both personal and professional, to learn from tope type animators in the industr y. This year we are featuring some key figures in animation and motion graphics, who have developed the vissual language of what is now considered all of kinetic typography.
THE CONFERENCE // LANDMARK MAP
[00:55]
[00:56]
THIS BOOK //
MOTION OF LET TERFORMS
COLOPHON
PRINTED A ND B OUND BY JOR DA N LOUIE // T YPO GR APHY 4 // A AU-FALL-2013 // -- T YPEFACES // -- SWISS 721 [B ODY / HEA DLINES / TITLE] -- A NDALE M O N O [C APTIO NS / SECO NDA RY] -- K L AVIC A [QUOTES / C APTIO NS] ---- SOFT W A RE // ---- A D OBE CS-6 ---- ILLUSTR ATOR ---- IN DESIGN ---- FL ASH ------ PAPER // ------ C A NSO N 1557 DR A WIN G CREA M 90-LB. -------- PRINTIN G // -------- EPSO N R1400 PH OTO ALL DIAGR A MS A ND ILLUSTR ATIO N / ALL PH OTO GR APH RETOUCHIN G / BY JOR DA N LOUIE
[00:07]
MOTION OF LET TERFORMS