book

Motion Graphic Design, 3rd Edition

by Jon Krasner

May 2013

Beginner

448 pages

15h 45m

English

Routledge

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Precursors of AnimationEarly Cinematic InventionsExperimental AnimationChapter Summary
An Historical OverviewA Graphic EvolutionChapter Summary
The Origin of Broadcast DesignNetwork BrandingCommercialsPublic Service AnnouncementsMusic VideosChapter Summary
The Interactive EnvironmentMotion over the WebMotion in Game DesignMotion in Informational KiosksMotion in Mobile TouchscreensMotion in Desktop ApplicationsMotion in DVD-Video MenusA Look at NavigationA Look at TransitionsChapter Summary
Immersive EnvironmentsMotion in Interior SpacesMotion in Exhibit DesignMotion in PerformanceMotion in Exterior SpacesChapter Summary
The Language of MotionPrimary (Object) MotionSecondary (Camera) MotionTemporal ConsiderationsAssignmentsChapter Summary
Visual Properties of ImagesGraphic StyleLive-Action ImagesTypographic StyleImages, Live Action, and TypeAssignmentsChapter Summary
Space and Composition: An OverviewPrinciples of CompositionGrid SystemsBreaking Spatial ConventionsAssignmentsChapter Summary
Sequencing: An OverviewForms of ContinuityForms of DiscontinuityMontageAssignmentsChapter Summary
AssessmentFormulationCultivationStoryboardsAnimaticsChapter Summary
Frame-by-Frame AnimationInterpolation AnimationChapter Summary
Compositing: An OverviewBlend OperationsKeyingAlpha ChannelsMattesSpline MasksNestingColor CorrectionChapter Summary
Editing: An OverviewCuts and TransitionsMobile FramingEstablishing PaceEstablishing RhythmBirth, Life, and DeathIntroduction and ConclusionChapter Summaryg

Content preview from Motion Graphic Design, 3rd Edition

8	the pictorial composition *designing in space*

“The painter's canvas was too limited for me. I have treated canvas and wooden board as a building site, which placed the fewest restrictions on my constructional ideas.”

—El Lissitzky

There are many ways that pictorial compositional space has been interpreted, constructed, and deployed in motion graphics compositions. Innovative creative strategies have given designers the potential to overcome the homogeny of the fixed rectangular frame that has been associated with conventional film and television production.