Graphics Design Meets Animation

I came into this course with a lot of experience in computer graphics and motion graphics. Having worked in an Agency for two years it has been interesting evaluating how some of that experience has influenced how i approach work in 3d. Essentially graphics design involves the use of manipulated images and vector graphics drawn in software such as Coreldraw, Adobe illustrator, Indesign and of course the ubiquitous Photoshop. However my lean in this article isn't necessarily how the tools used influence the work, but how the ideas and principles of  good graphics and web design help influence some of the decisions i make in 3d work.

One such important influence is the concept of space and the use of white-space in design. This refers to how the amount of space one leaves without content on a design helps to balance the areas that are content heavy. It is usually important to leave certain symmetrical or asymmetrical spaces in a design to prevent clutter and help the viewer's eye visually navigation through the content areas easily. This prevents the audience from getting confused and overwhelmed by too much information in no particular order or hierarchy. This concept is synonymous with the principles of framing in animation. Making sure that a shot isn't too cluttered leading to a lose of principal focus in a scene is very important. Framing decisions usually involve making sure the hero character's silhouette is fully captured with all of its main actions and performances in a shot. Even the concept of depth of field in itself when used right suddenly isn't just about simulating the way the human eye visualizes the environment around it, but a clever method of de-cluttering a scene by bringing principal elements into focus and blurring visually unnecessary elements out.

Very colorful visual styles can be achieved by using graphic design forms in 3d. The styles of movies like Scott Pilgrim vs The World ( Edgar Wright, 2010), Sin City ( Frank Miller, Robert Rodriguez and Quentin Tarantino, 2005) or Kill Bill (Quentin Tarantino, 2003) are very much influenced by this very graphic form and really give these movies a feel of their own. This style of shape and visible contrast in color is something that I try to achieve in my work . When it is used well, a film is no more just a visual depiction of a narrative but a moving work of art all by itself. One very recent example is the Movie Bunraku (Guy Moshe, 2010). The colorful use of light through out the movie is something that can be used in a 3d scene to great effect. However as a rule it is in the cautious use of this technique similar to the rules that guide use of color in graphics, that it shines; else the lightening would become a distraction to the real focus of attention which should be the characters and their performances.

Finally, the use of typography and text in graphics is also something I find that has helped me in animation especially in producing a final piece of work. Without really noticing it, the choices of font can really set the stage for a film. This is especially important in presenting the title sequence and the end credits. A poor choice of type can dampen or heighten the enthusiasm for a film by its audience. A lasting example of this strange but critical relationship between type and film can be found at the beginning of the Star Wars (George Lucas, 1977) movies. That section of slanted text crawling into the distance of space at the start of the movies has become an icon of the movie on its own, much the same way Yoda is. Digital text may suggest a sci-fi film. Gothic, serif, calligraphic or stylized text may suggest a story set in some fantasy or epic time such as Harry Porter (Chris Columbus, 2002) or The Lord of the Rings (Peter Jackson, 2001). Such retro style text can suggest blood and gore or horror as seen in the movie 300 (Zack Snyder, 2006). These are just a few ways in which appropriately chosen text for a film can help set the tone for a movie and even improve the overall look, style and feel of a film.

In a way, it is important for the sake of balance to say that these influences may not be the same for everyone. Those without this background may not see or make the same connections I do to these principles of graphic design. I can only say they have helped me to develop a style of my own, one that I hope I can develop further.

References

Scott Pilgrim vs. the World, 2010. [Film]. Directed by Edgar Wright. USA: Universal Pictures

Sin City, 2005. [Film]. Directed by Frank Miller, Robert Rodriguez and Quentin Tarantino. USA: Dimension Films

Kill Bill, 2003. [Film]. Directed by Quentin Tarantino. USA: Miramax Films

Bunraku, 2010. [Film]. Directed by Guy Moshe. USA: Picturesque Films

Star Wars, 1977. [Film]. Directed by George Lucas. USA: Lucasfilm

Harry Porter, 2002. [Film] Directed by Chris Columbus. USA: 1492 Pictures, Heyday Films, MIRACLE Productions GmbH & Co. KG

The Lord of the Rings, 2001. [Film] Directed by Peter Jackson. USA: New Line Cinema

300, 2006. [Film]. Directed by Zack Snyder. USA: Warner Bros. Pictures