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Design for Motion
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Table of Contents

**Table of Contents**

  • Foreword by Justin Cone
  • Preface
  • Introduction:
    • Motion Design
      • Motion & Graphic
      • Art & Design
      • Graphic to Motion
      • Contrast Creates Tension
      • Varying Compositions
      • Design-Driven Production
      • Types of Projects
      • What is Design for Motion?
      • The Purpose of This Book
  • Chapter 1: Design for Motion
    • Beautiful Motion Begins with Beautiful Design
    • Building on Traditions
    • A Brief History of Style Frames
    • Other Disciplines
  • Chapter 2: Style Frames
    • What is a Style Frame?
    • Visual Patterns o Stylistic Guides o Concept is King
    • Design Like a Champ
    • Enjoy the Process
    • Author's Reflection - Style Frames
    • A Moment in Time
  • Chapter 3: Design Boards
    • What is a Design Board?
    • The Importance of Style Frames & Design Boards
    • Promise to the Client
    • Insurance Policy
    • Using Design Boards
    • Guiding Productions
    • Author's Reflection - Design Boards
    • Unified Visual Aesthetic
    • Storytelling
    • Finishing Touches
    • Professional Perspectives - Erin Sarofsky
  • Chapter 4: Presentations & Pitches o Process Books & Pitch Books o Process Books
    • Pitch Books
    • How to Make Process & Pitch Books
    • Professional Perspectives - Lauren Hartstone
  • Chapter 5: Developing Concepts
    • Creative Briefs
      • What is a Creative Brief?
      • Types of Creative Briefs
      • The Form of a Creative Brief
      • The Needs of a Creative Brief
      • How to Use a Creative Brief
    • Professional Perspectives - Carlo Vega
      • Good Ideas are Hard Work
    • Concept Development
      • What is Concept Development?
      • Questions & Answers
      • Development
    • Professional Perspectives - Karin Fong
  • Chapter 6: Process-to-Outcome
    • Process-to-Outcome
    • Author's Reflection - Process-to-Outcome
    • Process
    • Outcome
    • Value of Process-to-Outcome
    • Be Comfortable with Ambiguity
    • Know Where You Are
    • Professional Perspectives - Lindsay Daniels
  • Chapter 7: The Inner-Eye
    • The Internal Editor
    • Free Writing
      • What is Free Writing?
      • Looking Inward
      • Stream of Consciousness
      • Free Writing & the Internal Editor
      • How to Free Write
      • Be Brave
      • Making Discoveries
      • Free Writing is Personal & Private
    • Word Lists
      • What are Word Lists?
      • Words are Powerful
      • Spectrums of Meaning
      • How to Make a Word List
    • Mind Maps
      • What are Mind Maps?
      • Internal to External
      • Making Connections
      • Using Contrast & Tension
      • How to Make a Mind Map
    • DOs & DON'Ts List
      • What is a DOs & DON'Ts List?
      • Creative Borders
      • In Relation to Process-to-Outcome
    • The Initial Shape of a Concept
      • Initial Shape of a Concept
      • Be Engaged in the Process
      • Tipping Points
  • Chapter 8: The Outer-Eye
    • Mood Boards
      • What are Mood Boards?
      • Internal and External
      • Efficiency
      • How to Make a Mood Board
    • Author's Reflection - Mood Boards
    • Professional Perspectives - Alan Williams
    • Written Treatments
      • What are Written Treatments?
      • Writing for Development
      • Narrative Structure
      • The Shape of Stories
      • Scripts
      • Using Written Treatments & Scripts
    • Professional Perspectives - Patrick Clair
  • Chapter 9: Image-Making
    • Image-making and Design for Motion
      • Composition
        • Hierarchy of Visual Importance
        • Positive Space & Negative Space
        • Symmetry & Asymmetry
        • Motion
        • Methods & Formulas
        • Sea Glass
    • Professional Perspectives - Kylie Matulick
    • Value
      • The Range of Intensity from Light to Dark
      • Value & Color
      • Why Value Matters
      • Mastering Value
      • Value & Line
      • Value in Nature
    • Contrast for Image-Making
    • Color
    • Depth
      • Spatial Planes
      • Depth of Field
    • Perspective
      • Atmospheric Perspective
      • Color Perspective
    • Professional Perspectives - Danny Yount
  • Chapter 10: Cinematic Conventions, Thumbnail Sketches, & Hand-drawn Storyboards
    • Cinematic Conventions
      • Basic Shots and Camera Angles for Cinematography
    • Cinematic Elements of Design Boards
    • Thumbnail Sketches
      • Approach & Practice
      • Thumbnails for Style Frames
      • Practicing Cinematic Conventions
    • Hand-drawn Storyboards
      • Working with Storyboards
      • Storytelling and Continuity
      • Storyboard Usage
    • Professional Perspectives - Robert Rugan
  • Chapter 11: Creative Briefs - Fundamentals
    • Concept Development Exercise
      • Part 1
      • Part 2
    • Professional Perspectives - Chace Hartman
  • Chapter 12: Design Essentials
    • Designer's Toolkit
      • Finding & Making Assets
      • Prepping Assets
      • Mark-Making Tools
      • Sketchbooks
      • Computers
      • Digital Backups
      • Cameras
      • Wacoms & Cintiqs
      • Scanners
      • Digital Library
      • Alternative Tools
    • Professional Perspectives - Will Hyde
  • Chapter 13: The Art of Compositing
    • Compositing
      • Concrete Compositing
      • Abstract Compositing
      • Core Principles & Skills of Compositing
        • Mattes
        • Feathering
        • Duplication
        • Basic Transformations
        • Retouching
        • Color Correction & Color Grading
        • Hue, Saturation, & Value
        • Blending
    • Creative Brief - Compositing Exercises
      • Concrete Composite
      • Abstract Composite
  • Chapter 14: 3D Software for Design
    • Using 3D Software for Design
    • Modeling
    • Materials
    • Lighting
    • 3-Point Light Setup
    • Cameras in 3D
    • Rendering
    • Multi-Pass Rendering
    • Compositing 3D
  • Chapter 15: Matte Painting
    • Analog to Digital
    • Matte Painting for Motion Design
    • Sketching
    • Under Painting
    • Asset Creation & Modification
    • Compositing Assets
    • Perspective
    • Lighting
    • Color Correction for Matte Painting
    • Texture
    • Working with 3D
    • Creative Brief - Matte Painting
      • Process
    • Professional Perspectives - Greg Herman
  • Chapter 16: Stylistic Creative Briefs for Portfolio Development
    • Style
      • What is Style?
      • Clearly Defined
      • Range of Visual Styles
    • Using the Exercises
      • Aspect Ratio & Size
      • Alternative Aspect Ratios
      • Number of Style Frames for Design Boards
      • Schedule & Deadlines
      • Process-to-Outcome
      • Keywords to Kick-Off Creative Briefs
      • Deliverables
  • Chapter 17: Type-Driven Design Board
    • History & Culture
    • The Basics
    • Anatomy of Type
    • Casting Type
    • Integrating Typography
    • Type Treatments
    • Creative Brief
    • Professional Perspectives - Beat Baudenbacher
  • Chapter 18: Tactile Design Board
    • Analog & Digital
    • Texture
    • Materials
    • Tactile Design in Motion
    • Creative Brief
    • Professional Perspectives - Lucas Zanotto
  • Chapter 19: Modern Design Board
    • Simplicity & Reduction
    • Naive Sensibilities
    • Vector Artwork
    • Creative Brief
    • Professional Perspectives - Bran Dougherty Johnson
  • Chapter 20: Character-Driven Design Board
    • Exaggeration of Essential Qualities
    • The Process of Character Design
    • Translating Character Design into Motion
    • Creative Brief
    • Professional Perspectives - Daniel Oeffinger
  • Chapter 21: Information-Graphic / Data Visualization Design Board
    • Information-Graphics & Visual Hierarchy
    • Visual Language
    • Visual Metaphors
    • Cinema-Graphic
    • Aesthetic
    • Usage
    • Creative Brief
    • Professional Perspectives - Bradley (GMUNK) Munkowitz
  • Chapter 22: Illustrative Design Board
    • Analog & Digital
    • Various Styles
    • Creative Brief
    • Professional Perspectives - Matt Smithson
  • Chapter 23: Finding Inspiration
    • Life Mood Board - Creative Brief
      • Author's Story
    • Professional Perspectives - Gentleman Scholar
  • Chapter 24: Looking Forward

About the Author

Austin Shaw is a full-time Professor of motion media design at the Savannah College of Art and Design. He has also taught at the School of Visual Arts in New York City. For the past 12 years, Austin has worked as a motion designer for clients including Target, Ferrari, Fedex, McGraw Hill, Ralph Lauren, and VH1, and as a Creative Director, Designer, and Animator for companies such as Superfad, Digital Kitchen, Brand New School, and Curious Pictures.

Reviews

"Austin is one of the first to identify and put down on paper a tangible, in-depth account of a new field that has quickly emerged within the design genre. For years, even professionals in the industry have had trouble giving it a title. Not only does Austin give it a name, but he also captures the essence of the field in a way that both young designers and professionals can appreciate. With words and pictures, he shares the process and explains in detail the knowledge base required for the field. He even questions industry leaders to qualify his process, making it a perfect balance of the academic and professional worlds."

- Erin Sarofsky, Executive Creative Director, Sarofsky

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