Weinman, with self-taught computer skills, worked in the film industry as a special effects animator, and became a faculty member at Art Center College of Design, UCLA, American Film Institute, and San Francisco State University multimedia studies program teaching computer graphics, animation, interactive design, and motion graphics. She has also written several books.
Weinman taught digital media and motion graphics at Art Center College of Design in Pasadena, California from 1989 to 1996. Her book designing web graphics, published by New Riders in 1995, often is credited[by whom?] with being the first title to discuss web authoring technologies from a visual design perspective.
Lynda \\u2013 Motion Graphic Design: Animation
Motion graphics, in a nutshell, is any graphics that use technology to create an illusion of motion, transformation, or rotation in order to communicate messages through video and audio storytelling. Motion graphics includes things such as films, videos, animated text, and web-based animation, among other things and the field has quickly evolved as a direct result of improvements in technology.
Saul Bass is a great name in the field of motion graphics and is a major pioneer in the development of feature film title sequences. Although he had a memorable career as a graphic designer, his film titling work and poster design is what really made him stand out. His designs were simple, but they effectively communicated the mood of the films. Some noteworthy title sequences he created were for films such as The Man With The Golden Arm (1955), Psycho (1960), Goodfellas (1990), and Casino (1995.)
An American graphic designer and film titles designer, Pablo Ferro was a pioneer of quick-cut editing and multiple screen images animation (the first in film and television in 1963.) Winning over 70 national and international awards, his work is featured in popular films such as Philadelphia, Beetlejuice, Men in Black, and A Clockwork Orange. His titles and montage sequences have appeared in 12 Academy Award winning films.
As an animator and filmmaker, Norman McLaren was a pioneer in a number of areas of animation and filmmaking, including drawn-on-film animation, visual music, abstract film, pixilation and graphical sound. He developed a number of groundbreaking techniques for combining and synchronizing animation with music.
Motion graphics is arguably one of the most sought-after art forms of the 21st century. A typical motion graphics designer is trained in traditional graphic design or comes from film or animation backgrounds. Knowledge of color, typography, imagery and sound are essential to becoming a well-rounded motion graphics artist, as well as learning the necessary software programs. As technologies have improved, the motion graphic industry has continuously evolved. Before computers were widely available, motion graphics were expensive and time-consuming. With the increasing availability of user-friendly motion graphics software, this has changed. There are so many more tools available to motion graphics artists, and although there is a decent learning curve, they are becoming easier to explore and learn.
One of the leading programs used by motion graphic designers is Adobe After Effects, which allows users to create and modify graphics over time. Adobe Flash is widely used to created motion design for the web. 3D software programs, like Maxon Cinema 4D, has integrated motion graphics tools, and works well with After Effects and Photoshop. Some of the other programs used for motion graphics include Nuke, Autodesk Combustion, Apple Motion/Shake, and 3D programs such as Autodesk 3DS Max and Maya, Newtek Lightwave, and Blender, among many others.
With improvements in technology, especially the Internet, the motion graphics industry has changed dramatically. Content creation, distribution and delivery are all very different now that designers can work from anywhere, at any time, and still meet deadlines with the use of an internet connection.
For motion graphic artists who work with a lot of character animation, and or liquid motion, this book will give you a clear perspective of the true principles of animation, which are just as true today as they were in the early 20th century.
As a motion graphic artist you must understand that typography is a big deal. Along with the moving images you create, typography is a crucial piece to the visual communication process. As a designer you need to keep this in mind and develop your project according to the desires of your client and the demands of the consumer.
The Expanded Edition, which is linked above, dives into video games and motion design, while also expanding on traditional animation and stop motion. Again, this is another book that should be a must have for anyone wanting to take the next step as a motion designer.
Throughout his career in the film, games, computer graphics and academia, he has specialized in 3D character production, character animation, motion capture and technical art. Prior to academic service at the University of Utah and the University of Central Florida, Brian worked as a character lead at various studios including Microsoft Game Studios, Take Two Interactive and Kodiak Interactive and as a senior digital sculptor at Viewpoint Datalabs.
RS: I was studying to be a chemical engineer when I happened to take a 3D Studio DOS class on a lark, and the rest was history. I changed my major as quickly as possible, spent two years at an awful college, and then found a job doing direct-to-video character animation in Chicago. When that studio went under, I found a gig at a casino game development studio and then a gig shooting web documentaries. After that, I headed west and I've been working at Imaginary Forces since. Now, I work alongside Miguel as a staff artist, where I do a bit of everything motion graphics-related, from design to character animation to on-set supervision. It's pretty awesome.
We unfortunately lost Eric to another project after a few days, but he had set up the camera rigs and laid the groundwork for the graphical animation that would house the title cards. Our intern Jae adeptly filled in and completed all the type animation. At this point, I shifted my focus to executing the main title sequence.
Chris Schmidt is a 3D artist, educator, software developer and now founder of Rocket Lasso. Deeply rooted in Cinema 4D since 2000, he has hundreds of hour's worth of online tutorials and live streams. Aimed at helping newcomers and professionals alike, covering topics ranging from character rigging and advanced particles setups, Sketch & Toon, and technical motion graphics techniques. Based out of Chicago, Chris also co-founded the annual Half Rez Motion Design Conference and the Chicago C4D user group.
Gustaf Fjelstrom is a motion designer, artist, and illustrator (and recovering creative director) who specializes in conceptual design, styleframes, storyboards, and animation for title sequences, branding/identity spots, promotional campaigns, and product visualizations. He operates Botched Creative out the Austin TX area and is absolutely in no way affiliated with any type of plastic surgery reality TV show.
Matt Milstead has been working as a 3D generalist for over 10 years and is now a partner at Nexus Motion and Mograph.com. On these platforms Matt is able to showcase his passion for motion graphics, as well as share his expert knowledge so that novices, professionals, and hobbyists can learn from his experience in the industry.
Mehdi Hadi VFX Motion Graphics Artist and Concept Artist and Director and Teacher. He specializes in motion graphics design for commercial, Feature film and game cinematics and title sequence design.
Nidia Dias is a passionate freelance Art Director and Designer with several years of experience focused on styleframes and art direction for motion graphics. Currently living in Porto, Portugal, she works remotely with a number of different studios around the world such as Tendril, Blur, FutureDeluxe, and ManVsMachine just to name a few. Her work involves creating styleframes for pitches and awarded work, Art Direction, Digital Art as well as commissioned pieces.
Penelope Nederlander is a two-time Emmy-nominated art director, motion graphics animator, and digital artist. with over 17 years in the field, her credits include the title sequences for Pitch Perfect, Temple Grandin and both Kung Fu Panda films, VFX on Aviator, Iron Man, and Superman, VFX supervising music videos for Dolly Parton, Sean Lennon, and The Killers, and creating the most recent high-resolution stereoscopic version of the MGM lion logo.
Victor Dimitrov is a design consultant providing his expertise in motion graphics, animation, and 3D concept art. He creates work under his artist name Weight of Thought and has been doing so for over a decade in film, television, and video games.
Zack is a Senior Artist at Territory Studio SF with 15 years of motion graphics and animation experience with a previous background in print design, as well as a persistent relationship with illustration and music.
Technical Animation moves beyond traditional keyframe animation to explore systems that allow for the creation of more complex animation tasks such as cloth, hair, water, and other physics-based motion.
Founded in 2007 as Flashpoint, The Academy of Media Arts and Sciences, Flashpoint Chicago, is a Campus of Columbia College Hollywood. Program options for aspiring animators include an Online BFA in Visual Effects featuring specialized visual effects coursework that provides training in 2D and 3D digital art, animation, and traditional art skills. The program also introduces students to the basics of design, entrepreneurship, production, media and motion, as well as digital art and design software, including the Adobe Creative Suite, Maya, Zbrush, Houdini, Cinema4D, Arnold, and RenderMan.
Professional AchievementsAaron is a seasoned artist whose films have premiered in international and domestic film festivals. His video art has been in national juried exhibitions, and he is the recipient of many industry awards for production, editing, 3D animation, and VFX. He has successfully maintained a media production company that has developed traditional and online ad campaigns for a wide range of clients. In addition, he has worked with some of the largest production companies in the world, such as Fremantle North America and Relativity Media to develop scripted television shows for networks including Discovery, Animal Planet, National Geographic, and the History Channel. 2ff7e9595c
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