1 Design Investigation
For my final piece for this project I decided to make 5 short animations to make up the whole motion graphics piece. The was inspired by animations like ‘30 Motion Tests in 30 Seconds’ by Steffen Knoesgaard, ‘Procrastination’ by Johnny Kelly and the ‘Five Second Projects’ run by Nick Campbell. These animations are based on small motion graphic experiments, two of which were to encourage learning and development of skills, which was a big factor in choosing this direction for my project. It was a bit selfish on my part as I wanted to try all the techniques I had researched rather than just one, so I thought this was a great way to do it. Another reason I chose to do my project in this way was, firstly, when I initially started researching and, secondly, when trying to explain what Motion Graphics is (mainly to friends or family who don’t have a clue). When I first started researching Motion Graphics I went to the typical things of getting it’s definition and found that there wasn’t a universal definition which, to me, makes it a lot harder to sum up quickly and clearly. Also, if I’m asked by family or friends what Motion Graphics is, I find it hard it to explain it clearly, as motion graphics is animation, but animation isn’t necessarily motion graphics (and most people
2 Design Investigation
associate animation with cartoons of Pixar films).
happy with how it turned out.
When I thought about this, I was thinking about making an animation that highlights what motion graphics is. I then thought about the title of my animation being “Motion Graphics is Hard to Define”, which I then changed it to ‘Motion Graphics is Hard to Explain”. I thought that this would be a good way to try out the techniques I wanted to learn, while also showing the diversity of Motion Graphics.
The second experiment was digital 3D. I have used Cinema 4D quite a few times before, so once I had the idea it didn’t take too long to build in 3D space (using vectors imported from Illustrator). The draw back with this technique, however, was the rendering. Although just a few seconds of footage (with 3 layered renders in total) it took 6 hours 30 minutes.
Each section of the animation is pictured above. I started with 2D animation. This was inspired by animations such as ‘Make it Better’ and ‘Count on Me’ (both posted on my blog). These animations are rely heavily on smooth key frames, expressions and overlapping elements to create their fluid visuals. I tried to stick to this with my experiment (with the help of Ease and Whizz, an After Effects plug in from AEScripts that helps with adding expressions to key frames) with type I designed and later vectorized in Illustrator. My experiment for the 2D animation isn’t anywhere near as complex and ‘Make it Better’ and ‘Count on Me’, but I am fairly
The third test was Stop Motion. Having only tried stop motion properly a few times, I am happy with how smooth it came out (probably thanks to a few tips I picked up from research last year, like taking two photos every frame and I attempted easing for more natural movement). However, I think aesthetically it isn’t quite right. I think that even something simple like a solid colour background - rather than laminate - would have made it fit better with the rest of the experiments. It may, however, just be the unique aesthetic of stop motion animation. My next experiment was, meant to illustrate Interaction Design (something that I believe has many cross overs with motion graphics). I say “illustrate” as it is replicating an interactive
project I worked on last semester. I intended to use the real interactive piece, but the frame rate it captured and resolution was way too low. The final experiment was of camera tracking. I originally hoped to try something more advanced using camera tracking but quite realised it was quite complex and kept with something I could manage. I recorded my TV at home, tracked the camera movements using special software and put my animation in the corner pin points it had tracked. Although it all sounds fairly straight forward, it took many attempts and trial and error to eventually get right. I happy with the result I got, and hope to advance with this technique in the future. As a whole I am happy with the result as, although it has its flaws, it gave me the opportunity to try out some new techniques a really challenged me to progress. I think one vital thing this motion graphics piece is missing, however, is sound design.
SEBASTIAN BAP How did you first become interested in being a motion designer? I started as an editor when I was 19, a few months later I started trying some post-production and animation stuffs and 2 after I realised I was doing something called “motion graphics”. Today I’m almost 29.
What other designers, artists or creatives inspire your work (past or present)? Sooooo many! I don’t consider myself a designer, I’m a motion designer, I don’t know how to think in static, hehe. My biggest inspirations at beginning was Psyop and Lobo, today the list is huge but if I have to say some names from the past and present (related just with motion): Adam Gault, Buck (specially Gareth O’Brien from Buck NY), PES, Lucas Zanotto, Johnny Kelly, Jr. Canest, Julien Vallée, and many many more.
When starting a new project, how do you get inspiration for your ideas? Don’t know, something just appears from what I “ate” before (creativity speaking ;)
Are there any dream clients or collaborators you hope to work with in the future and why? I don’t care about big brands, most of the times are boring, heavies and stressful. I love small but cool clients who can pay my bills, they are the most difficult clients to get, hehehe.
What do you think the future holds for the motion graphics industry? No more powerpoints, all the boring presentations will be motion graphics, so... WE will be bored doing it. I have a HATE/LOVE relationship with my work, sometimes I think on something else to do but I’m not good on anything else!
3 Design Investigation
Just in case I’m adding some details on my bio, so you can understand some of my answers. Sebastián Baptista Born: 1983, Montevideo Uruguay I moved to Barcelona in 2007. Now based in London since October 2010. I’m a little bit crazy (just that little bit crazy that is funny, you know?) I have a small studio/duo director called: Sebas & Clim with my good friend and flatmate: Climent Canal. www.sebasandclim.com