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Design for Motion: Fundamentals and Techniques of Motion Design, by Austin Shaw
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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
- 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.
- Sales Rank: #48713 in Books
- Published on: 2015-12-08
- Original language: English
- Number of items: 1
- Dimensions: 8.50″ h x .80″ w x 10.90″ l, .0 pounds
- Binding: Paperback
- 356 pages
“Austin is one of the first to identify and put down on paper a tangible, in-depth account of a new field that has quickly emerged within the design genre. For years, even professionals in the industry have had trouble giving it a title. Not only does Austin give it a name, but he also captures the essence of the field in a way that both young designers and professionals can appreciate. With words and pictures, he shares the process and explains in detail the knowledge base required for the field. He even questions industry leaders to qualify his process, making it a perfect balance of the academic and professional worlds.”
– Erin Sarofsky, Executive Creative Director, Sarofsky
About the Author
Austin Shaw is a full-time Professor of motion media design at the Savannah College of Art and Design. He has also taught at the School of Visual Arts in New York City. For the past 12 years, Austin has worked as a motion designer for clients including Target, Ferrari, Fedex, McGraw Hill, Ralph Lauren, and VH1, and as a Creative Director, Designer, and Animator for companies such as Superfad, Digital Kitchen, Brand New School, and Curious Pictures.
Most helpful customer reviews
64 of 84 people found the following review helpful.
EDIT: It seems a bit dubious that seven 5-star reviews have miraculously popped up here in the last 12 hrs, all with glowing reviews for the book, and all being 100% marked as “helpful”, despite giving no insight or critical look at the book in question. While this review, the only one that explores the content of the book, has been suddenly marked “unhelpful” 12 times in the last day…
Look, I’m terribly sorry to be giving this book such a low review, I really am, but it is an absolute train wreck.
Sentences and even entire paragraphs are re-hashed, and repeated throughout the book over and over; scattered in seemingly random locations. Paragraphs start on one topic, and abruptly change to another. Made-up industry terminology is presented. Concepts are touted to be important without having ever defined them. Inaccurate information is given.
At no point did I ever feel as if I was learning a fundamental, let alone a practical technique. The author never actually “teaches” you anything, he simply brings up topics like “tension”, “composition”, “color”, “design”, etc. and then tells you they are important, literally throughout the entire volume.
Below are some excerpts
At one point we are told: “The purpose of this book is to teach you about these outcomes and how to make them. They are called STYLE FRAMES and DESIGN BOARDS.” Wait, so this book is about style frames and design boards? Why wasn’t it titled “Style Frames & Design Boards”?!
From the Introduction:
“The first twenty-five seconds of a thirty second commercial takes the viewer on a journey that inspires emotions and ideas. The final five seconds invariably ends with a logo animation that leaves the viewer with no uncertainty about who has delivered the message.”
From Chapter 9 – Image Making
“Many commercial pieces work in this way, starting in a place of mystery that then takes the viewer on a journey. The commercial almost always concludes in a place of design certainty with a logo resolve.”
From the introduction
“Motion Design creates varying compositions over time”
Beginning of Chapter 1 – Design for Motion
“Motion design is a container for visual compositions that change over time.”
From Chapter 9 – Image Making
“Motion design is composition changing over time.”
The section “A Brief History of Style Frames” in chapter 1 is two paragraphs of one person’s recollection on using photos as style frames, and then 4 paragraphs on technology’s (computers, scanners) impact on production.
WHAT?! How is this a history of Style frames?
At one point we are presented with an upside down triangle infographic (included in pics). One side represents when you receive a creative brief, the other, when you finish the project. Somewhere near the middle is a “tipping point” where the project moves from infinite possibilities to certainty.
However, the point of a creative brief is to provide certitude to a project, so how can the tipping point come in the middle?
“The graphic visualizes an idea of how to approach creative projects. It was developed to help keep the creative process enjoyable, while still delivering the best possible outcome. the Process-To-Outcome Spectrum can help you generate ideas, structure and manage time, and feel less stress over the course of a project.”
HOW CAN IT DO ANY OF THOSE?!?!?! It is literally just an upside down triangle with a few sentences next to it!
Another section of the book elaborates on the use of the word “outcome”:
“Within the context of this framework, outcome is defined as the tangible result of a project.”
So by “outcome” you mean “outcome?” Thanks for the clarification.
“Compositions can change with subtle grace or with shocking abruptness. This description is the essence of how motion transitions over time. As motion slows down, it begins to become more graphic or static. The tipping point between motion and graphic is the exact point where change can be perceived through a viewport. This combination of motion graphic media mirrors the overlap of studio business models that work in the motion design industry.”
“This book is for students and aspiring professionals who want to work in design driven production. Motion design offers tremendous opportunities to those interested in creative careers. Until the early 2000s, screens to display motion design primarily consisted of SD Standard Definition Televisions, movie theater screens, and computer monitors. Then HD High Definition resolution became prevalent, and motion designers could create content for SD and HD aspect ratios.”
Non-sequitur much? Wow!
The book is peppered throughout with interviews of highly talented individuals in the industry, entitled “Professional Perspectives”, or as I like to think of them “Missed Opportunities”.
These sections could have been of tremendous benefit had insightful questions been asked, but instead we are given ““What do you think you would do if you weren’t’ a designer?” and “What was your favorite project?”.
Of what use is this? Wouldn’t it be more beneficial to the topic of design to inquire about how they, I don’t know, go about selecting a color palette? What resources they found important over their careers? Or if we ask them about a favorite project, what about following it up with questions about the production of that project? SOMETHING of practical value.
Chapter 11, “Concept Development Exercises” is simply a rehash of concepts already presented earlier (free writing, word list etc.)
Chapter 12, “Design Essentials” You can create or find assets. Have a sketchbook. Buy a computer. Backup your data. That is seriously the content.
Chapter 13, “The Art of Compositing” sees the creation of the terms “Concrete compositing”, and “Abstract compositing”. Why make up terminology for this?
Chapter 14, “3D Software for Design” feels as if it was written with very little actual 3D experience:
“A common default projection in 3D software is UVW mapping. This option attempts to wrap your material around your geometry like a piece of clothing on a mannequin.”
This is just plain incorrect. UVW mapping means it’s using the UVW coordinates of the object, which it may have already if it is a default object, or you will need to create if it is a model you have made.
Chapter 15, “Matte Painting”
Wait, what? Matte painting now?! The whole chapter is a non-sequitur for a book on motion!
At this point, I decided to skim the rest of the book to see if it continued to be as meandering and pointless, and I’m sorry to report that it is. What a disappointment. I was beyond exited that we finally had a book on the topic of design SPECIFIC to motion artists, but alas, we still do not. Do not waste your money on this.
6 of 9 people found the following review helpful.
Must-have for motion graphic artists
By Jo Lord
This was one of my professors at SCAD who I found to be very smart and influenced me a lot. This book is the result of a class (by the same title) he taught us, gathering our feedback as he wrote this book. I have referred back to this book on several occasions for ideas and even some technical advice. His interviews with professionals in the industry really help provide the reader exceptional material. Shaw did a great job organizing a lot of (sometimes overwhelming) information and portraying it in a colorful and creative way.
5 of 8 people found the following review helpful.
Essential reading for working in Motion Design!
By Jeff Boddy
As a 16 year veteran of the Motion Design field, I can’t say enough good things about this book, but let me try:
While Motion Design is a relatively new pursuit in comparison to other aspects of media production, it’s not without it’s standards. Our field is a unique blend of creative practices, which Shaw describes in detail. So the terminology and approach found at work in ad agencies and post-production studios vary quite a bit – it’s similar, but different! And that’s a good thing, because the creative process for producing Motion Design related content wouldn’t work any other way.
What this book does so brilliantly is establish the terms we all use on a daily basis in an approachable and welcoming way for newcomers in the field. It’s also a fantastic refresher if you’ve been working in the field; be it as a freelancer or staffer, and at studios large or small.
It’s also worth noting that I first became aware of Shaw when working with his students at several studios over the last few years. As interns, they had a tremendous understanding of the Motion Design production process and were able to contribute to commercial work almost immediately. It was only after inquiring about their surprisingly thorough knowledge of our industry did I trace back the common connection: Austin Shaw! So I can’t think of a better author to organize, outline and document the field as a whole.
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