With an abundance of information on how to create motion graphics already available, Design in Motion focuses on the why of moving image and less about the how. By unpacking the reasons behind screen designer's production choices, each chapter deconstructs examples of motion graphics by drawing on case studies of both familiar examples from contemporary cinema and unseen work from postgraduate motion graphic designers. It examines the value of image, text, motion, camera and transitions, explaining in detail why some methods work, while others fail.
Whether you work in info-graphics, documentary or design, this book is structured to follow the production process and, together with its multimedia companion website, will be a by-your-side companion to guide you through your next project.
Rezensionen / Stimmen
Design in Motion is an essential handbook in conceiving, planning and realising moving image production, providing a comprehensive guide for professional or aspiring creatives wishing to communicate with time based media. Identifying key strategies, techniques, tools and resources Penny Hilton unravels complex processes into accessible steps for each stage of production with concise and insightful advice and support for your motion design and filmic ambitions from initial ideas to completed production. * Nigel Mairs, Senior Lecturer in Animation and Motion Graphics, Edge Hill University, UK *
Sprache
Verlagsort
Verlagsgruppe
Bloomsbury Publishing PLC
Zielgruppe
Für höhere Schule und Studium
Illustrationen
Maße
Höhe: 266 mm
Breite: 207 mm
Dicke: 18 mm
Gewicht
ISBN-13
978-1-350-02551-6 (9781350025516)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Penny Hilton is a filmmaker and academic. Her career has spanned advertising, TV, film production and graphic design. She now holds a part-time post at the University of the Arts London she leads the Graphic Moving Image masters course at the London College of Communication, and divides her time between teaching and professional practice.
Autor*in
London College of Communication, UK
Acknowledgements
Preface
Introduction
Part One : Setting It All Up
Chapter 1: Foundations
Chapter Overview
Brainstorming
Primary versus Secondary research
Storyboarding
Development
Feedback and Feed Forward
Documentation
Resources
Chapter 2: Audience
Chapter Overview
Personas and Empathy Maps
Context
Format
Treatment
Tone of Voice
Resources
Chapter 3: Structure
Chapter Overview
Story
Narrative
Key message
Documentary
Voice over versus captions
Resources
Chapter 4: Sound
Chapter Overview
Creating the right tone and atmosphere
Sound as a tool for Focus
Shape
Working with Musicians
What's free and what's Not
Resources
Part Two: Creating The Elements
Chapter 5: Composition
Chapter Overview
Framing
Motion versus stillness
Screen space
Focus
Resources
Chapter 6: Camera
Chapter Overview
Camera movement
Why use different lenses
Camera techniques
Using a variety of Shot
Resources
Chapter 7: Form
Chapter Overview
Circle Square Triangle
Using Form as exploration
Visual Summaries
Outcomes
Resources
Chapter 8: Colour
Chapter Overview
A quick overview of the history of colour on screen
Significance of colour
Combinations
Creating a colour palette
Colour correction and grading
Resources
Part Three: Putting it all Together
Chapter 9: Text and Info
Chapter Overview
Character
Legibility versus readability
Ways of creating text
Movement
Titles
Data Visualisation
Resources
Chapter 10: Editing
Chapter Overview
How editing developed from shorts to features
Invisible and visible editing
Transitions (and Tips)
Effects
Rhythm and Pace
Resources
Index
