Kinetic aesthetic
Bridging the gap between basic design and animation
By Jacques Khouri
Introduction:
Art = Form and content
The first part is an introduction of why this book was written and how form and content is relevant to animation as an art form. I will explain how animation and/or motion graphics is more than just content (the story, the product) but also form (visual and audio elements). This book is mostly about developing good form.
Why is design important to the animated medium?
This chapter Explains and defines the word design as well as its pertinence to the animated medium.
Modernism / post-modernism: utopia versus dystopia
Contemporary artist today live and are, want or not, post-modernists!
The animated medium today is a mash-up of modernist styles with post-modernist ideas. In this section I will explain my perception of modernism and post-modernism and show its correlation to my education and how our fathers and grandfathers created a dystopian utopia!
Exercise for the mind
1 puzzle exercises: present mind exercises like Tangram, puzzles, etc. and how they help the mind find solution with set rules
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Applying basic design principles to kinetic images
Space: All work starts with empty space that needs to be filled, or not!? This section explains the power and necessity of controlling space in the kinetic medium
1 The limitations of the screen
Mention the concept and the impact of the format in animation: the screen. Should we respect the screen or question it? Can we create screens in screens? Do we see things two dimensional or three?
2 Reading the space
Defining and Analyzing negative and positive space within our compositions will permit us to better understand, control as well as manipulate the desired result(s) we want.
3 Fixing visual relationship in a given space
Creating good hierarchy communicates the desired message. This chapter will show how to create Hierarchy within the given space.
4 Finite and infinite space
This chapter clarifies the concept between infinite and finite space, what are its outcomes and is the space read inwards or outwards?
5 Symmetric and/or asymmetric compositions
This part depicts the passive nature of symmetrical versus the active characteristic of asymmetrical compositions.
6 The grid system
Can the rules of thirds as well as the golden section be used in animation? This section explains the power of the grid and how it helps in the lecture of a frame.
Exercises in space
1 Juxtaposition: the objective of this exercise is to find solutions and interesting composition by juxtaposing two elements.
2 Superposition: the objective of this exercise is to find solutions and interesting composition by superposing two elements.
3 Counter forms: this exercise helps to practice the use of negative and positive space by using two merged numbers and/or letters.
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Space based in time
How do we apply static design notions to animation? A single image is the control of space while animation is progressive space.
This part elaborates the application of design in animation.
1 Comparing time and space
Each frame in an animated medium has space. The progression of images in a continuous and constant manner creates time and movement. Time is dependant of space to be well noticed; hence the control of space delegates good timing. This section will be the introduction of good space brings good timing and motivation.
2 Investigating implied, real and abstract time
Also known as editing, this section will show simple notions of abstract space. How do we apply cuts, fades and camera movements to perceive time passing.
Exercises in space based in time
1 Big/small and cut: create two static compositions with one that has a small shape and the other with a big shape and sequence them in time to create agitation, serine or both progressively.
2 Juxtaposition/superposition: juxtapose and superpose two animated sequences, like a bird flying and a chains breaking, by cross cutting, placing them side by side and/or fading them and compose a message
3 Number ten: by sequencing ten images after each letter, this exercise will practice sequencing in time
4 loop: create an animated loop with shape morphing to other shapes
in the space
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The visual components:
This segment gives a concise description of the components of design in application to animation via the design of characters, props and backgrounds. Each chapter will define the implied and the contextual use of the:
1 The dot and the line
Describe the static dot and the dynamic line. Define the visual line as well as the Meta line. State the concept of Action and implied lines
2 Shapes
Exhibit the different options and its contextual effects of shapes like the square, the circle and the triangle. Demonstrate shapes formed with movement
3 Textures and value
Show the effects of value and textures to create better context in a composition. Present concepts of adding and creating texture with timing in animation to emphasize value
Exercises for the visual components:
1 Balancing the dot in space: the objective of this exercise is to place a point in a given space and find its meaning(s)
2 Balancing the line in space: the objective of this exercise is to place a line with different thicknesses in a given space and find its meaning(s)
3 Creating virtual lines with shape: by placing forms in the space, produce virtual lines. Helps to practice eye lines
4 Horizontal/vertical lines: Create motions and ease in/out with rectangles.
5 Animated patterns: by multiplying and adding a simple shape create a textured pattern. This exercise helps to study space and form
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Design components and principles
This section explores guidelines to create good composition by explaining these core principles:
1 Movement: Making things move for a reason
2 Tension: Using space to generate Tension and balance
3 Balance: Building good form and counter form
4 Unity: Creating harmony with your choices
5 Rhythm: Building repetition and harmony with rhythm
6 Flow: The flow of time
7 Emphasis: What to emphasize in time and in space
8 Scale: Creating proportions and variation
9 Depth: Animating depth and its subtext
10 Contrast: Building unity via the elements and contrast
Exercise for the design components
1 Visual Hierarchy: place objects in the space to create good hierarchy
and lecture.
3 Arrow exercise: by placing and repeating the same design like an arrow, visually demonstrate a word like balance, direction, etc.
3 infinity: with the letter "I" demonstrate the word infinity
4 animated infinity: with a simple shape or the letter "I" create a sequence to illustrate infinity
5 Animated words: chooses a word and with a simple font animate to show its definition
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The principles of animation and how to apply it to kinetic images
This section explain Disney's twelve principles of animation as well as advanced concept of timing/tempo and how to apply them to concepts of kinetic art
Disney's principles is still applicable today to all forms of kinetic art
1 Squash and stretch: questions of contrast with contraction versus expansion
2 Anticipation: Having good rhythmic animation
3 Staging: building proper composition to convey better motion
4 Straight Ahead Action and Pose to Pose: Notions of mapping out action
vs working by intuition
5 Follow Through and Overlapping Action: Creating good Flow
6 Slow In and Slow Out: interesting animation should have correct contrast
7 Arcs: emphasis on curved versus linear lines
8 Secondary Action: Building "texture" to your animation
9 Timing: core foundation of animation
10 Exaggeration: Putting emphasis on the desired visuals
11 Solid Drawing: or good posing
12 Appeal: Bringing interest to the viewer
Principles of motion via timing and change
Good notion of animation is more than applying these principles it is at its core learning to control motion via timing/tempo and change. (Referenced from Norman Mclaren)
Timing/tempo can be:
Constant
Accelerated / decelerated
Held: zero
Random: irregular
Change is:
Shifts in Textures, colors, lighting and shape(morph)
Fades and cross-fades
Flicker or pop in/out
Cuts
Exercise for principles of animation
1 shape in space: animate a simple shape (like a cube) to create simple emotions like solitude or anguish. Good character animation exercise
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