The Story(Boards) of My Design Process
Whilst creating my title sequence, my design process has been a messy circle of continuous experimentation and ideation to say the least. This has come as a result of learning new programs and having to reign in, or adapt my unattainably ambitious ideas that I can't achieve...yet.
Let me take you through my process and consideration of motion design fundamentals so far.
Initial Research
Research plays an immense role in the clarity and reasoning behind your final concepts, whilst also assisting to spark visual inspiration (Harris & Ambrose 2009). For this task, my research involved observing pre-existing title sequences and designers such as Saul Bass. Understanding theories such as Disney's 12 principles of animation and primary vs. secondary motion was also significant. In turn, igniting ideas on how I can implement my basic knowledge and skills in After Effects strategically. During this stage I was inspired particularly by elements of the Candy (2022) sequence below.
Specifically, it provoked the idea of learning how to execute primary motion through a domino effect with shape layers (Krasner 2013). Whilst watching the sequence, I realised this was attainable as it could be executed using anchor point manipulation and rotation in After Effects. This research played a significant role in my confidence to execute something engaging as I was identifying the capabilities of the basic After Effects tools.
However, before I jumped the gun - I had to choose a movie and form concept.
Ideation & Prototyping
The stages of ideation and prototyping became blended as the only way to increase my technical ability and refine concepts, was to start making things - good or bad (Harris & Ambrose 2016). Below is an example of an initial experiment for a Mean Girls sequence in After Effects that considered primary and secondary motion (Krasner 2013).
After exploring this concept, I decided that I wanted to employ temporal considerations more thoughtfully in conjunction with primary and secondary motion. Therefore, I experimented with the collapsing domino effect I came across in the research stage.
This in turn, evoked the idea of selecting the movie Interstellar as a reductive aesthetic and time-focused sequence suited the tone and plot of the movie. The collapsing blocks also replicated collapsing books on a bookshelf - a core storytelling object in Interstellar. Thus, highlighting how I have deeply considered both motion fundamentals, aesthetics and storytelling in my sequence.
First Experiment of the 'Domino Effect'
Initial Experiment with Shape Layers, Rotation & Anchor Point Manipulation in After Effects
Use of Keyframes in this Experiment
Conceptually, this lead to the birth of various transition ideas that explored velocity, rhythm and pacing (Krasner 2013). Therefore, I decided to make these techniques the key focus in my sequence as it was relevant both technically, and for the plot of the movie.
Selecting & Implementing
The following storyboards were then created to ensure the sequence was cohesive and thought out. In professional practice, storyboards are significant as a motion designer as they assist with organisation, budgeting and receiving feedback (Chaturvedi 2023). Therefore, learning how to correctly plan motion graphics was paramount - not just for this task but future practice.
Storyboards for this Project
Prototyping the Storyboards
Below is the current progress of the production of these storyboards in After Effects.
Design Fundamentals & Aesthetic Choices
Aesthetics of a title sequence are also paramount to it's effectiveness along with the implementation of motion fundamentals. For this sequence, I wanted to combine a reductive illustrative style with grainy, vintage-feeling gradients to enhance the idea of old and new coming together. Much like the movie explores present selves time travelling to past times. The chosen colour palette with this style also nods to a space-like aesthetic relevant to the movie. The subtle motion of these grainy gradients in the opening frames is achieved through altering positioning in After Effects. This was heavily influenced by the optical motion examined in productions shot on traditional film cameras. Further, relating to my consideration of motion principles by Lupton and Phillips (2008) such as colour, shape and positioning.
Lupton and Phillips Principles (2008)
Disney principles of animation such as anticipation, slow in slow out and timing were also strategically implemented (Coron 2023). For example, I have implemented anticipation and slow in slow out in the opening kinetic type. This was achieved by adjusting the positioning with keyframes and utilising the 'ease in and out' tool in After Effects. The principle of timing is also exhibited in my sequence through the collapsing books and rise and fall of supporting text below the morse code.
Primary and secondary motion support the use of these principles throughout the sequence. An example of these two motions utilised in my title sequence are depicted below.
Similarities Between My Title Sequence & Existing Title Sequences
The most influential title sequence on the development of my Interstellar sequence has been the Candy (2018) sequence, as stated earlier. In particular, the use of primary motion used in the first opening scene of the sequence. Even though the context and symbolism of the motion differs between each, it highlights how motion design can be continuously built upon and influenced by existing work.
REFERENCES
Ambrose, G, & Harris, P 2009, Design Thinking, AVA Publishing, Crans-pres-Celigny, CHE.
Chaturvedi, K 2023, 'What Is A Storyboard? Importance, Benefits, and Tools', Motion Gility, 7th February, viewed 4th April 2024, <https://motiongility.com/what-is-a-storyboard/>
Coron, T 2023, 'Understand Disney's 12 principles of animation', Creative Bloq, 23rd August, viewed 7th April 2024, <https://www.creativebloq.com/advice/understand-the-12-principles-of-animation>
Krasner, J 2013, Motion Graphic Design: Applied History and Aesthetics, Routledge, Oxford
Lupton, E, & Phillips, JC 2008, Graphic Design: The New Basics, Princeton Architectural Press, New York. Available from: ProQuest Ebook Central.
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