Experimental Animation and Motion Graphics

2019 ◽  
pp. 51-67
Author(s):  
Michael Betancourt
2020 ◽  
Vol 8 (1) ◽  
pp. 47-61
Author(s):  
Laura Yilmaz

Contemporary motion design has become ubiquitous across all platforms of the modern media landscape, and yet even the term itself enjoys little cultural awareness and has attracted notably less scholarly attention. Like the motion graphics tradition out of which it evolved, it is an inherently hybrid practice that draws upon the histories and techniques of a broad spectrum of time-based media and, in spite of its unreservedly commercial aims, is both deeply rooted in and a concentrated distillation of experimental animation practices in particular. Drawing upon my own recent experience designing a motion sequence for a documentary feature film, this article explores the unique aesthetic qualities and metaphors of motion that characterize motion design, and ultimately seeks to define it as a distinct discipline in its own right.


2020 ◽  
Vol 8 (1) ◽  
pp. 11-31
Author(s):  
Paul Taberham

This article offers further reflections on a chapter I published in the anthology Experimental Animation: From Analogue to Digital. I begin by exploring the reticence artists and critics have shown in attempting to define what experimental animation is, and I then offer a way to provide a definition without delimiting what it is or can be. Subsequent to this, three additional traits of experimental animation are added to the original list of defining features that were published in the original article. They are as follows: the subversion of unchecked assumptions about filmic experience, a willingness to potentially alienate viewers, and the application of symbolism in which viewers might not be able to discern the artist’s original intentions. Following this, the unique relationship experimental animation has with the commercial realm (notably in idents, title sequences and music videos) is also considered. Finally, the conclusion points towards the experimental animator’s creative process as a further avenue of exploration.


Jurnal Desain ◽  
2020 ◽  
Vol 7 (2) ◽  
pp. 99
Author(s):  
Betha Almanfaluthi ◽  
Juniar Juniar
Keyword(s):  

2019 ◽  
Vol 8 (1) ◽  
pp. 226
Author(s):  
Luqyana Nada Masar ◽  
Marlini Marlini

Abstract This paper discusses "Making Video Service Guide in Padang State University Library in the form of Motion Graphic". This paper is to introduce the services of the Padang State University Library to users. Describe the making of a video library service in Padang State University library in the form of motion graphics. The research method used in the discussion of this paper is descriptive. Descriptive method seeks to make a description, discuss systematically, factual and accurate about facts, facts, traits and relationships between phenomena investigated by observation and interview. In the first discussion chapter, the user needs to make a library service video at Padang State University in the form of motion graphics that are designed and implemented for users, specifically for students and Padang State University. In its use, users are expected to get information about services in the Padang State University Library. Second, start making video library services in Padang State University Library as follows: (1) concept or concept, (2) design or drawing, (3) material collection or material collection, (4) Assembly or collection, (5) testing or test, (6) distribution or distribution. Third, the trial results of the Padang State University library video products in the form of motion graphics conducted to the Head of the Padang State University Library gave a pretty good response to provide information to the users and also gave a response given by the librarian from the State University of Padang. Results of product trials to users so know the hours of operation of the library and also the use of existing services at the Padang State University Library.Keywords: service, library, motion graphic


Author(s):  
Arlindo Machado
Keyword(s):  

Em que pese a hegemonia das imagens figurativas no cinema e na televisão, há uma outra maneira de encarar a estética das artes audiovisuais, ou seja, como uma integração de códigos do campo do design gráfico com as técnicas e procedimentos da vanguarda e do cinema experimental, resultando naquilo que hoje chamamos de motion graphics. Tomando como exemplo o trabalho criativo de dois cineastas gráficos – Saul Bass e Jean-Christophe Averty – este artigo busca examinar os aspectos fundamentais da linguagem visual dinâmica do audiovisual.


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