This week we learned more about the Storytelling process and how stories are used in design.
Beard’s design experiment
Critiques from twenty-three designers demonstrated how many approaches there are to design. One consistent theme is that inspiration can be found through explorations of different materials and real life interactions. For example, Jason Munn states that “A lot of stuff I do is trying to combine imagery to make something new,” (Beard, 2013). Munn encourage Beard to play with the interactions between letterforms and soap bubbles. Beard’s experiments demonstrated how natural patterns and geometric shapes provide inspiration for new ways to mix type and objects in design.
Furthermore, Skolos and Wedell (2012) combine found objects, sculpture, photography, and digital media in a process that is more exploration than design. Collage techniques and material experimentation can drive inspiration for Motionographers as well. If I were presented with this design challenge, a motion poster could be very effective. One possible approach is using imagery of soft, white soap bubble washing over a filthy texture to reveal the message.
Static vs. Dynamic media
During the week 2 live session, Dr. Baldowski remarked that motion designers must speak the languages of film, design, and animation. Static media like print ads convey a message with a single image, utilizing research and multiple iterations to find the most effective design solution. Dynamic media uses similar processes but requires additional planning to address the structure and pacing of the narrative over time. Storyboards are “a cohesive succession of frames that establishes a concept’s basic narrative structure” (Krasner, 2013). Animatics (animated storyboards) can also be used to resolve motion and timing issues when static storyboards aren’t enough.
Making images meaningful
According to Wujec (2009), there are three components to making images meaningful. First is to clarify ideas by visualizing them. This activates the ventral stream on the left side of the brain which visually identifies what something is. The second component is making the images interactive to engage the viewer. This activates the dorsal stream in the brain which helps create mental maps. The third component is creating visual persistence. Recognizing familiar objects and detecting patterns activates the limbic system, a very primal part of the brain. By visualizing ideas, making them interactive, and making them persistent a designer can engage three areas of the human brain for more meaningful communication.
References:
Beard, C. (2013). Critiqued: Inside the Minds of 23 Leaders in Design. Peachpit Press. Retrieved from https://learning.oreilly.com/library/view/critiqued-inside-the/9780133260663/
Krasner, J. (2013). Motion graphic design. Applied history and aesthetics. 3rd, rev. ed. Oxford: Focal Press. Retrieved from https://learning.oreilly.com/library/view/motion-graphic-design/9780240821139/
Skolos, N., & Wedell, T. (2012). Graphic design process: from problem to solution: 20 case studies. London: Laurence King Publishing. Retrieved from https://learning.oreilly.com/library/view/graphic-design-process/9781856698269/
Wujec, T. (2009). 3 ways the brain creates meaning. Retrieved from https://www.ted.com/talks/tom_wujec_on_3_ways_the_brain_creates_meaning#t-94
Joshua Siegel's Mastery Journal 