MP3 Process Blog: Stop Motion Animation
Looking back on the process involved in completing the stop motion video, from the success of the initial test to the gratitude that came with producing the final version of my idea, I now have a complete understanding of the work and dedication that must be put into such a large undertaking. The experience of generating ideas that did not come to fruition, of which there were many, is one that was both rewarding and frustrating to me. For the plans that led to a positive result, in contrast, I was able to witness my audiences laugh or cheer as they watched in wonder of what would take place next in the graphic. Those that ended in aggravation, however, were met with only disappointment from me as I set out to conjure up an entire new batch of motivation. This set of events, I learned – from the first strike of inspiration to the annoyance of witnessing a failure, and then the repetition of the whole sequence – is one that I now know comes with the positive careers of the best designers.
Research and Inspiration
Ideas
The initial design idea was similar to many of the examples I found in my research. The stop motion involved using a small figure of a person which was manipulated in each from to replicate movement. The figure was placed in a typical office space and made to look like it was escaping from a file cabinet. The result was satisfying, as it appeared like the figure was actually leaving the cabinet. While the showing of the movie received positive feedback, the fact that it was similar to what has been done many times before made it simply an ordinary work.
The next test with stop motions involved a thought that I knew from the start would be a clever concept. Although slightly challenging to complete, the act of making a drawing appear as if it were coming to life as the viewer watched in awe was one that I could not resist seeing through from start to finish. Despite my first thought, which seemed to convince me that the making of the visual would be relatively simple, actually producing a graphic like the one I’d imagined included a number of steps that were trickier than anticipated to pull off. As drawings like the one I anticipated to capture in the animation cannot actually come to life, I knew that making the graphic would require me to draw my subject on one piece of paper and then replace the sheet, taking the place of the original drawing with a printed version of the same image. Below is a photo of the car from my first stop motion, having not yet “come to life”.
In order to produce the visual effect I wanted, I would need to make sure that the printout was not only the same exact subject as my drawing, a car, but that it was also placed in the same spot and position. To achieve this, I first found an image online of a car that would definitely be simple enough to re – create the way I would have to. After printing it out, I placed the outline on a large piece of paper and lightly marked each of the vehicle’s corners in pencil. This small spot, I knew, could not be seen through the “Stop Motion” application, and therefore gave me the ability to replace the drawing with the version of the car that had been printed out and could, as a result, be moved wherever I’d wanted. I was required to change out the background paper after the “drawing” moved so as to stop it from appearing behind the moving, printed car, but this transition was easily attainable due to the face that it was not captured on camera.
The finished stop motion had the desired effect as no one watching the short expected the car to actually come off the page and drive away. Many people who I tested the work on admitted they hadn’t expected my simple drawing to act the way it did, causing me to think about how I could replicate the same amount of surprise in my final version. Instead of simply one subject, though, what better way to enhance the effect of the first animation than to bring several objects out of the page and into reality? After using the same process I had with the test, which once again called for the exchange of drawings for printed pictures, I only felt more capable of bringing inanimate subjects to the living world than before. Whether cars, like in my test video, or bees, rockets, and even hand – drawn houses, the power of stop motion animations is sure never to be replaced the way my pieces of paper had. The addition of other materials and color to enhance the effects of the motion and add reality to the scenes made for a significantly improved end result.
A still from the “Picture This!” stop motion that incorporates real life, a colored drawing, cotton ball “smoke”, and a paper cutout of a bee that has come to life.
Here, a rocket blasts off the paper and leaves a trail of cotton ball “smoke” behind.
The final work below is the culmination of all the work described above; enjoy:
MP2 Process Blog: Cinemagraphs
Just as the following cinemagraphs display, the knowledge I have gained in terms of graphic design reflects the role of professionals within today’s society. As the skill to layout images using the latest technology continues to expand, though, I must keep up to date on the newest trends in the subject as well. No longer is graphic design simply print material, like brochures and posters, but is made up of web – based material, like the cinemagraphs shown below, in addition to traditionally made products. The ability to produce such widely – used parts of the modern world, as a result, is what I personally take to be a growing strength that will become only more and more desired.
The Steps
Although the process behind creating cinemagraphs was undoubtedly lengthy, it was clearly a rewarding and enjoyable procedure. I began learning by being taught how to import each video that would be used, and soon determined how to duplicate and rasterize it. My learning proceeded to cover the masking and inversion of the mask, which I had become very comfortable with almost instantly. Looking at the two layers of identical video, the fact that I was playing a film clip behind a still frame of the same movie became clear to me. With this initial lesson on the subject mastered, I could move on to mirror the more advanced and high – tech cinemagraphs being made now.
Research and Inspiration
Ideas
The research portion of any project is critical. Observing the work of other artists is not only inspirational, but helps me to form ideas of my own. Researching professional design, moreover, allows me to see the most recent themes being used to create what the public demands. Due to the fact that some of the most common examples I found focus on liquids, my second experience with cinemagraphs deals with a glass of bubbling seltzer water. Unlike the previous image, this one shows my first completed with little guidance from my professor.
After working to attain the right pour while also shooting the video, I went to work rethinking through the steps. I viewed the work when it was done and, while it worked ok, it was far from what I had anticipated. The bubbles appeared and then dissipated only to appear again, but the shadow around the glass was moving in a way that was distracting. Additionally, the light moved unnaturally as the liquid filled the glass, which was another outcome I could not have predicted. I kept the work as a first pass, and decided to try another liquid cinemagraph that was similar to one showing a flowing material that I saw posted on the internet.
I had no intention of trying to set something up that was as complicated as the one shown above, but I did want to try the same type of effect. With some help in the staging, I went from liquid in a glass to liquid being poured into a glass; a big leap in difficulty.
The process of actually completing the cinemagraphs was becoming almost second nature to me, and this one came out exactly as I expected it would.
Additional Ideas
I looked back to my research to think of some more creative subjects for my images, and after searching the web in a failed attempt, I started looking around my immediate environment. I had seen several works online that had spinning subjects, so that was what I decided to try next. I set upon filming a grinder in a workshop, which I thought would provide some very interesting visuals. The resulting cinemagrah was one of the most straight forward ones that I completed and immediately became one of my favorites. The sparks shooting off the metal, frozen in midflight, definitely help to create a visually interesting cinemagraph.
For the next cinemagraph, I again looked around my surroundings for inspiration and found my cat staring up at me. I caught his attention with a “bobbing bird” toy, and started filming as soon as possible. I think this is one of the most interesting cinemagraphs produced, even though it was very complicated to do so. The final result came out better than expected, but some shifting of light and position still occurred. While the final result is satisfying, it shows how careful one must be when staging a shot.
After the success of the grinding wheel, I was again eager to try something that spun, and so decided to turn to my research. There, I found more than one image that was both interesting and spinning. Some of the images showed everyday items, while others were science fiction.
As I searched for another subject, I found two in the same shot below.
The image above shows not only the next object I would use, but also the one that followed. The spinning dial of a vintage phone, like the grinder provided a great final result.
The next cinemagraph, a Slinky, came from another shelf in the same image. The bouncing Slinky Cinemagraph ended up coming out good, but the process in creating it reinforced the notion that patience is required in graphic design. While I am very happy with the end result, there are a few spots that I was unable to make as perfect as I had intended.
Fire
While I didn’t notice any during my research, I had the idea of trying a candle and the fire pit in for the next subjects. A small pie with a candle in it and a lighter next to it provided a first attempt as the thought of a flickering candle with the frozen lighter flame next to it would be a great image. The first issue was in getting a nice, clear flame in either the candle or the lighter. I used the video that I had taken and, after working through the process to create the image, found that it didn’t come out at all as I had initially expected. While I kept the final result, there was no doubt that it was not what I had hoped it would be.
One More for QU
While this was entertaining, it was also difficult to perfect. As Boomer the Bobcat’s head shook back and forth, there was some movement in my hand, with his neck alignment proving itself to be a challenge as well.
A Lesson Learned
The lesson from the previous GIF project of turning the pixel count down before conversion was recalled and led to a much smoother process from the start.
MP1 Process Blog: GIFs
Since its introduction in 1987, the GIF has become a popular instrument to communicate for millions of people everyday around the world. It’s small file format originally made it the perfect way for one to transmit their ideas and emotions with the limited technology of the day. As time and technology have advanced, the GIF (Graphic Interchange Format) has remained a staple of popular culture and has increased in use and production. GIFs are used by corporations and companies as well as everyday people.
The Steps – The Basic Process
A quick search of the internet for inspiration will provide countless examples of GIF designs that both professional and amateur individuals have created. While the final product may seem overwhelming to the untrained eye, the process itself is relatively simple when broken down into its individual components. Images can be imported or created using software such as Adobe Illustrator where my first image of the paper airplane was created.
The image is then transferred to Photoshop, where the image is captured and moved from layer to layer giving the illusion of seamless movement.
Research and Inspiration
Ideas
There are so many situations that can be made into a GIF once you really start thinking about it! Objects that spin, objects that roll, objects that bounce, and objects that fly to name a few. Due to the layering process behind the creation of GIFs, flight became an interesting subject as the manipulation of an object in space gives an artist almost unlimited freedom. A simple object caught up in a light breeze became inspirational, and the first image of a paper airplane was created. The plain white “paper” needed to be more interesting, and Quinnipiac color and logo were added. Below are the two versions:
A simple background was added and the flight of the paper airplane on a sunny day was created. A screenshot of that effort is shown below.
While the result of my creation was good, I felt it would be improved by not being as literal and placing the airplane in a place it would never actually be. After considering several “unexpected” background locations, I choose outer space and a spiral galaxy as the perfect backdrop. The effect was what I had hoped and the final GIF as well as a screen shot are shown below.
In creating a second GIF, I started thinking about different effects that could be used to intrigue the eye and the objects that could go along with them. I started thinking about doing a ball bouncing off a wall, but something about it felt a little off. I was hung up on how it would look when it was repeating, so my mind shifted to a natural environment when a ball would repeat its motion over and over; tennis. I thought of the look of the ball condensing when it hit the court, using the “squash and stretch” technique. It would then stretch back out again as it left the court and the GIF would have a cartoony feel. The final GIF as well as a screen shot are shown below.
Thinking back to the paper airplane design process, choosing a suitable background that actually matched the subject perfectly became a big consideration for the project. The empty court with out of scene players gives the final GIF an interesting perspective. The GIF has been received with positive feedback from all who have seen it.
Almost There
The final saving and converting of the work to a GIF also takes some knowledge of the process. The original layouts had a pixel width of 3300px; and would be too large to load efficiently. Saving at a much lower value, closer to 500px, is important in the creation of a usable GIF.
Final Takeaway
Looking back on the two final GIFs that were produced, they are high quality, fully functioning, and usable in emails, texts, and other forms of digital communications as well.
Speaking and Listening in Design (chapter 6)
Reading through chapter six in “Motion Graphic Design”, my eyes were opened to the fact that all designers “speak the same language” when creating motion graphics. Even though each and every design stands out from the others, as it relies upon the basic principles of animation to convey a different idea, designers must all look towards these techniques in order to create visually appealing and attractive designs that catch the attention of all viewers.
One of the examples in “Motion Graphic Design”, I think, stood out from the others, as it showed me that motion graphics can truly be stunning without the use of even a single character. In this sample, the “FOX” logo changes position and shape in a series of movements meant to keep the audience on the edge of their seats as they wait to see the familiar arrangement of elements that has been presented to them many times before. In this way, the motion graphic helps to keep audiences entertained, while also holding the attention of all viewers.
In a similar way to “Motion Graphic Design”, “Animated Storytelling” gives its readers a new perspective on the role of sound effects, music, and dialogue within motion graphics. As I have watched movies and even observed my fare share of GIF animations and stop motions before, the fact that the right sound is crucial in motion design was definitely no strange idea to me. However, I had not, before reading, realized the way in which these elements of any motion graphic can actually “make or break” an animation for its audience.
Graphic Design in Society (chapter 5)
Just as the first four were, reading the fifth chapters of both books was a very interesting experience to me. While they are unlike the previous chapters in either book, these readings demonstrated just how influential my major is. Although, they emphasize, graphic design can be used in a wide variety of places, experimentation and testing with the unusual is still a necessary part of creating impactful motion graphics that will be used in every spot imaginable.
Whether thought of as an immersive art form or a modern means of communication, graphic design inhabits a wide array of public venues. From shopping malls to city advertisements and interactive airport imagery, chapter five in both books helped me realize that design really can be found all over the world. From reading these chapters, I learned that design is used in almost every public space that one can think of, as it is used in an immense, and almost infinite, number of ways. Without experimentation, however, some of the most recognizable works, including entire short films and opening scenes to movies, would never have been stumbled upon.
Looking through chapter five in both books at the examples provided, finally, I was inspired to create better works that mirror the designs of professionals within my area of study. The powerful advertisements and storefronts, along with their inspiring counterparts in advertising, each utilize images that are together familiar and interesting to all people. Travelers, vehicles, and even unique characters are some of the most often seen images, according to both books, as they help to attract viewers to look at advertisements, watch films, and purchase products. For me, the two chapters work together in order to summarize what I have taken away from my class readings thus far in the semester.
Changing your Perspective (chapter 4)
Since completing the first four chapters in both books, Motion Graphic Design and Animated Storytelling, respectively, I view the entire topic of graphic design, and especially the area of motion graphics, in a very different way than I ever have before. Although always passionate for the multitude of ways design is used, and the various ways one can make stunning visuals for the public, I never actually saw the difference between classic forms of design and more current creations. In its fourth chapter, Motion Graphic Design again shows its reader the many differences between traditional print designs, like movie advertisements, and the types of web design that are especially popular today. The quote given by the author on page 80 of the book, which reads, “A user-driven stimulus such as a mouse selection, a keystroke, a voice command, use of a controller, or a hand gesture in front of a webcam can trigger the behavior of elements in a given system…” was particularly significant to me personally, because it helped in expressing to me that people can actually participate in the type of design made today. Whether it is physical, visual, or even a combination of both, web design is an area of my major that has only become more interesting the more I’ve learned about it.
Motion Graphics in History (chapter 3)
Even though they differ greatly from one another, the third chapters of both Animated Storytelling and Motion Graphic Design give their reader a brief look at the growing importance of motion graphics and animations throughout history.
Animated Storytelling provides an extremely informative glimpse of the production of these graphics, delving into how the techniques of storyboarding, framing, shot composition, and the all – important rule of thirds are crucial elements of each and every motion graphic that is made. In a similar manner to the second chapters of the two books, which seemed to connect with multiple other classes I have taken in the past, the third chapter of Animated Storytelling is very similar to the lessons taught to me during my twelfth grade animation class. Reading the chapter, I was once again able to hear about the rule of thirds and storyboarding, along with several other tools that play a role in telling visual stories, and how they are used.
For me, reading the third chapter of Motion Graphic Design was an even more beneficial assignment than reading Animated Storytelling, as I learned of many vital roles that currently exist in which motion graphics can, and in many instances have, been used. From “station identifications”, like the iconic logo for the NBC News corporation, to show openers, such as that of Fox’s Teen Choice Awards 2005, the chapter contributed greatly to my knowledge of this type of design and how it influences society today.
After reading chapter three of both books, I concluded that almost everyone today is familiar with a certain type of motion graphics, and that their use in the media is bound to grow much larger during the coming years. My understanding of graphic design now reaches beyond the part of printed materials, including movie posters, but has expanded to embrace the interesting history of motion graphics as well.
Story Types (chapter 2)
In contrast to chapter one, which focuses on the steps involved in the pre – production of any animated feature, the second chapter of Liz Blazer’s guide to creating a successful motion graphic gives its reader a look at the two types of stories that exist.
Along with their primary functions, Animated Storytelling claims that traditional animated pictures involve a set of characters that are introduced, face a problem, and succeed by the conclusion of the work. In reading of this typical model in which stories are told, I recalled the many English classes I have taken in the past and reflected upon how the paths the characters’ journeys led them on all resembled each other, as each followed the “Three – Act Story Structure” described in the chapter. Every animation, Blazer writes, begins with an introduction to the main character, reaches its middle point when a struggle presents itself, and concludes when the main character discovers a solution to the feature’s main issue. After writing of the “Three – Act Story Structure” seen in animations, however, Blazer points out the fact that other types of motion graphics run along a path known as a “Nonlinear Story Structure”, in which characters – and a main problem – are not included in its scenes. In this storytelling format, I learned, the problem presented serves as the focus of the narrative, and the resolution of the story occurs when a solution to the problem is given. In a similar fashion to many environmental advertisements, which call for the general public to act in a certain manner, stories that use this structure have a problem and a solution that, if followed, becomes the resolution of the graphic.
Again, the book Motion Graphic Design appeared to follow a completely different kind of thought process from Animated Storytelling, as it did not talk about the two kinds of story arcs that could be featured in motion graphics. Instead, chapter two of this book made clear to the reader that motion graphics, as well as animations, have had a place in film for multiple decades. Though their role differs from that of animations, in which characters follow a typical story arc, motion graphics allow movies and other kinds of productions to feature the most interesting and viewer – friendly credits and opening sequences possible. Just as I did when reading Animated Storytelling, the pages of Motion Graphic Design caused me to think back on some of my favorite films, and the ways in which I was “grasped” and “pulled in” by their very starts. As a result of motion graphics, I believe, today’s features do not fail in providing audiences with an unforgettable and moving experience.
The Story Begins (chapter 1)
Although the opening chapters of the textbooks Animated Storytelling and Motion Graphic Design may, at first, seem to differ greatly in the messages they convey, I realized after reading the two that they each relate to my GID*301*01 Motion Graphics I course in a very important way.
Throughout the first chapter of Animated Storytelling, author Liz Blazer discusses the process involved in telling a story, beginning with the initial idea of a designer’s message and highlighting the careful process that must be followed in order to create the most interesting story possible. While the GIF, cinemograph, and stop motion types of design the class has touched upon do not necessarily involve a main character, they do still utilize the typical story arc found in animations and traditional motion pictures alike as a solution is provided to the problem at hand.
Even though it is, unarguably, extremely different from its design counterpart, the first pages of Motion Graphic Design were also extremely relatable to me in the way they related the general history of animation. From its simple beginnings, which include the thaumatrope and phenakistoscope, to the many innovations in computer animation that have evolved greatly during the past decade, many of the terms featured in these pages caused me to recall the lessons I was given in my twelfth grade animation class and showed me how, unlike other types of graphic design I am familiar with, motion graphics is an extremely modern form of communication that continues to evolve today.
Motion Graphics Today
Along with reading the first chapter of the book “Animated Storytelling”, my class was given the first chapter of the book “Motion Graphic Design” to read. This chapter, although completely different from the first of “Animated Storytelling”, was no less influential to me or effective in showing how motion design is equal to print design, web design, typography, photography, and animation.
The book aided me in understanding the connections between classes I took in my final years of high school, like animation and digital design, and those that I am enrolled in currently in college. Beyond referencing animators, like Winsor McCay, that I was already familiar with from previous classes, “Motion Graphic Design” summarized the detailed and surprising history of motion in entertainment, described the contributions design pioneers had on the medium today, and even provided a look at the many ways in which motion design has developed. Beginning with the ever – popular thaumatrope, the first chapter of the book led up to today’s successful movies like Tron and The Black Hole.
Not only was my class given books like “Motion Graphic Design” or “Animated Storytelling” to read, though. While materials like these have helped me in grasping the concept of motion graphic’s history, the SocialMediaToday online article shows just how prevalent the art form is in modern society. Throughout the reading, facts like “Brands are now realizing that in order to maximize discovery, they need to produce high-quality, long-form content, rather than the kind of clickbait marketers once churned out” enable the reader to see that motion graphics are important in both entertainment and business. Without this type of visual communication, I believe after finishing these readings, the spread of information that is almost instantaneous today would not be nearly the same.
Animated Storytelling
Along with the, extremely valuable, lessons the professor has given my class thus far, the informational “Animated Storytelling” book she recommended us buy has helped in cementing what I now know about the motion graphics area of graphic design. In a similar manner to the class itself, I have only begun to explore what lessons lie amongst the pages written by author Liz Blazer. Despite this fact, though, the steps provided have given me a reliable and professional way in which to go about making graphic designs with a degree of motion that, before, I never could have imagined producing myself. From what I have read, Blazer approaches the reader as if she is accompanying them on their journey in learning the aspects of motion design the class has focused on, and gives them a clear, easy – to – follow method on how to make the most professional pieces of work possible.
A New Side to Graphic Design
At this point in the 2019 – 2020 school year, I have attended several of my newest graphic design classes – “GID*301*01 Motion Graphics I”. Beyond the fact that the lessons taught in the course involve the creation of material that is, today, used throughout various social media platforms, text messages, emails, and websites alike, the class has opened my eyes to the idea that a graphic design major allows one to pursue any one of multiple careers that have, recently, only increased in importance and popularity.
While the Typography, Web Design, Photography, and Visual Design lessons I was taught prior to beginning Motion Graphics each showed me how to become a professional in one of those design areas, my newest course has, so far, shown me how to make some of the most modern and widely appreciated creations to populate the internet. Although I have only attended a select number of class sessions, my professor has so far discussed the multiple ways in which motion design differs from animation, how my peers and I can use our knowledge in daily life, and what separates GIF animations from other digital designs, such as cinemagraphs and stop – motion features. As this class has already proven itself to be too much fun, I am now anxious to see what information I will acquire by the semester’s end!
Matt's Graphic Design Blog 