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This collection offers an expansive, multiplatform exploration of the rapidly-expanding area of motion design and motion graphics, taking into account both theoretical questions and creative professional practice. Spanning interaction design, product interfaces, kinetic data visualizations, typography, TV and film title design, brand building, narrative storytelling, history, exhibits and environments, editors R. Brian Stone and Leah Wahlin offer an interdisciplinary range of academic essays and professional interviews that together form a dialogue between motion design theory and professional practice. Written for both those critically engaged with motion design as well as those working or aspiring to work professionally in the field, the book features a range of international contributors and interviews with some of the best-known designers in the field, including Kyle Cooper, Karin Fong, and Daniel Alenquer. The Theory and Practice of Motion Design seeks to illuminate the diverse, interdisciplinary field of motion design by offering a structured examination of how motion design has evolved, what forces define our current understanding and implementation of motion design, and how we can plan for and imagine the future of motion design as it unfolds. An accompanying online resource site, www.motionresource.com, contains visual representations of the examples described in the text.
Plumb the depths of core motion design fundamentals and harness the essential techniques of this diverse and innovative medium. Combine basic art and design principles with creative storytelling to create compelling style frames, design boards, and motion design projects. Here, in one volume, Austin Shaw covers all the principles any serious motion designer needs to know in order to make their artistic visions a reality and confidently produce compositions for clients, including: Illustration techniques Typography Compositing Cinematography Incorporating 3D elements Matte painting Concept development, and much more Lessons are augmented by illustrious full color imagery and practical exercises, allowing you to put the techniques covered into immediate practical context. Industry leaders and pioneers, including Karin Fong, Bradley G Munkowitz (GMUNK), Will Hyde, Erin Sarofsky, Danny Yount, and many more, contribute their professional perspectives, share personal stories, and provide visual examples of their work. Additionally, a robust companion website (www.focalpress.com/cw/shaw) features project files, video tutorials, bonus PDFs, and rolling updates to keep you informed on the latest developments in the field.
Effective interface animation deftly combines form and function to improve feedback, aid in orientation, direct attention, show causality, and express your brand’s personality. Designing Interface Animation shows you how to create web animation that balances purpose and style while blending seamlessly into the user’s experience. This book is a crash course in motion design theory and practice for web designers, UX professionals, and front-end developers alike.
Meredith Davis draws on her many years' experience teaching graphic design students to explain complex theories with total clarity, encouraging readers to evaluate existing design work critically, and to use theoretical frameworks to enhance their own studio practice.
Master the fundamental concepts and techniques of motion media design so you can apply--and occasionally break--the rules to achieve your communication goals. This authoritative guide presents all of the design essentials in an engaging and inspiring way. Each principle is explained with text, illustration and photography where necessary. An accompanying website will contain any necessary digital files for download, updates and links to other resources.
The visualization process doesn’t happen in a vacuum; it is grounded in principles and methodologies of design, cognition, perception, and human-computer-interaction that are combined to one’s personal knowledge and creative experiences. Design for Information critically examines other design solutions —current and historic— helping you gain a larger understanding of how to solve specific problems. This book is designed to help you foster the development of a repertoire of existing methods and concepts to help you overcome design problems. Learn the ins and outs of data visualization with this informative book that provides you with a series of current visualization case studies. The visualizations discussed are analyzed for their design principles and methods, giving you valuable critical and analytical tools to further develop your design process. The case study format of this book is perfect for discussing the histories, theories and best practices in the field through real-world, effective visualizations. The selection represents a fraction of effective visualizations that we encounter in this burgeoning field, allowing you the opportunity to extend your study to other solutions in your specific field(s) of practice. This book is also helpful to students in other disciplines who are involved with visualizing information, such as those in the digital humanities and most of the sciences.
In the third paper in this chapter, Mike Pratt provides an historical intro duction to solid modeling. He presents the development of the three most freqently used techniques: cellular subdivision, constructive solid modeling and boundary representation. Although each of these techniques devel oped more or less independently, today the designer's needs dictate that a successful system allows access to all of these methods. For example, sculptured surfaces are generally represented using a boundary represen tation. However, the design of a complex vehicle generally dictates that a sculptured surface representation is most efficient for the 'skin' while constructive solid geometry representation is most efficent for the inter nal mechanism. Pratt also discusses the emerging concept of design by 'feature line'. Finally, he addresses the very important problem of data exchange between solid modeling systems and the progress that is being made towards developing an international standard. With the advent of reasonably low cost scientific workstations with rea sonable to outstanding graphics capabilities, scientists and engineers are increasingly turning to computer analysis for answers to fundamental ques tions and to computer graphics for present~tion of those answers. Although the current crop of workstations exhibit quite impressive computational ca pability, they are still not capable of solving many problems in a reasonable time frame, e. g. , executing computational fluid dynamics and finite element codes or generating complex ray traced or radiosity based images. In the sixth chapter Mike Muuss of the U. S.
Graphics Shaders: Theory and Practice is intended for a second course in computer graphics at the undergraduate or graduate level, introducing shader programming in general, but focusing on the GLSL shading language. While teaching how to write programmable shaders, the authors also teach and reinforce the fundamentals of computer graphics. The sec
Song lyrics fly across the screen in time to music. A globe spins and zooms into a war-torn country. Money rises from a screen to explain an economic situation. Now, more than ever, we are surrounded by these motion graphics on our TV and cinema screens, on our smartphones, computers, and tablets, on Main Street and in our galleries. Motion Graphics: Principles and Processes from the Ground Up is your introduction to the core principles of the discipline, whether your background or ambitions lie in animation, graphic design, film production, or visual effects. Ian Crook and Peter Beare provide you with a wide understanding of the key concepts and techniques that will help you plan, develop and produce your own creative projects.
This book is a selection of essays covering aspects of the history, and contemporary understanding of the fields of art and design and their inter-percolation. Making things has always involved skill and thought. Thought is given to their creation so they are fit for purpose. Where the purpose is aesthetic or intellectual pleasure, the resulting object is often called art. There is, however, often a hierarchy placing “art” somewhere apart from “design.” But isn’t some art designed? These essays investigate aspects of this dichotomy – from both sides of the supposed divide to discuss the ground between.