Matt Frantz Thesis Paper: The Future of Motion Graphics

Changing Over Time: The Future of Motion Graphics
© Matt Frantz www.mattfrantz.com May 26, 2003
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Table of Contents
Introduction
Definition of Motion Graphics
Art Form with Brief History and Fast Development
Required Skills for Motion Graphic Artists
Logic Supporting Prediction of Growth
Best Course of Action Based on Prediction of Growth
Conclusion
Notes
Bibliography

Introduction
Motion graphic design has been considered a speciality skill, usually handled by artists that concentrate on designing for television broadcast or films. Within the next 10 years, not only will the majority of graphic designers work with time-based media,1 but the general population will associate graphic design more with moving imagery on television screens or computer monitors. The current association of graphic design as images and text printed on paper, clothing, or billboards will remain, but the commonly held belief that graphic design refers just to static imagery will disappear completely.

To those following the latest trends of design and technology, the growing presence of motion graphics on television, the Internet, and forms of entertainment, such as DVDs and video games, is an obvious and logical progression from static graphics. Even so, there are design professionals that predict a less optimistic future for motion graphics, due to economic factors, and increased ease for novice computer users to create visually stunning graphics with little or no training. However, my prediction is that the next evolution affecting graphic designers will be the expansion beyond static imagery to designs that change over time. I will offer evidence for my prediction, and illustrate how the growth of motion graphics is on a parallel track of related disciplines that have grown from small niches to major occupations. A brief history of motion graphics will be given, as well as summaries of the evolution of related disciplines such as desktop publishing and design for the World Wide Web. The opinions of professional motion graphic designers obtained by first hand interviews will also be presented. I will then address what my prediction means for today’s designers who would like to prepare for the future.

1. Time-based media refers to forms of communication that must be experienced over time in order to be fully understood. For example, songs, which cannot be appreciated in a single moment like a painting or photograph. Television broadcasts, movies, and other multimedia presentations are also considered time-based media.

Definition of Motion Graphics
The definition of graphic design is ambiguous at best. In general, people have an idea of what graphic design looks like, but people have different ideas about exactly when it becomes distinct from fine art, photography, illustration, or some other form of digital art. Some formal definitions are flawed because they are too specific, suggesting designs intended for a restricted usage. Other definitions suffer from being overly vague, and allow graphic design to be interpreted as anything using typography or imagery.

Defining graphic design is problematic, but it is not as difficult to define as the branch of graphic design commonly referred to as motion graphics. There are competing ideas about what motion graphics means. For the purpose of clarity, I will define motion graphics as designed non-narrative, non-figurative based visuals that change over time (see Figure 1). A misleadingly simple explanation of motion graphics would be to say that it is graphic design in motion. Under that broad description, a rotating restaurant sign could be classified as motion graphics, which would be incorrect. However, a stationary sign which presents sequential images of designs that change over time would be an example of motion graphics. The distinction of non-narrative, non-figurative based visuals is to separate motion graphics from the larger general definition of animation or film. Motion graphics often incorporate video, film, animation, photography, illustration, and music. The boundaries of these related art forms are difficult to delineate, especially with multimedia works. A video or film of an actual moving object would not be considered motion graphics, unless the footage were integrated with design elements, such as type, shapes, or lines. Animation (traditional, or digital) may or may not be considered motion graphics. Significant use of type or animation of forms that would not be considered strictly narrative in nature would be likely to fall in the category of motion graphics.

There are a few key characteristics to further define the nature of motion graphics covered in this paper:

1. Motion graphics are two dimensional in nature, but may create the illusion of three dimensional movement of design elements. They exist as images on screens and projections having width and legnth, but no physcial depth (although experimental projection techniques are in development).
2. Motion graphics don’t actually have to move, as long as they change in some way over time. For example, if type is on screen over an image, the letters may not actually move, but could gradually change colors.
3. Motion graphics are often used in interactive multimedia,2 but are not necessarily interactive. They may be presented in a linear way in which the viewer has no control over.

Figure 1. A typical example of motion graphics. Pictured are 5 individual frames from a 20 second video. Diagram by Frantz.

2. Interactive multimedia refers to time-based media in which a viewer’s actions can affect the presentation. The opposite type of time-based media would be linear, in which presentations run from start to finish without offering viewer control over the order of information.

Art form with brief history and fast development
According to the 2003 Macworld Conference and Expo website highlighting the January Final Cut Pro session,3 the art form of motion graphics was born in the early 1990’s. Macworld is a magazine that primarily focuses on technology and design issues related to Apple Macintosh computers, and the date given may be referring to motion graphics created solely on the computer. The belief that motion graphics is an invention of the last decade is common, even among professionals, but motion graphics have existed since at least 1955. Some argue that motion graphics predates the invention of photography, and was first exhibited to live audiences in the 1800’s as sequences of rapidly shown images to create the illusion of movement. But whether the date is 1800 or 1955, motion graphics is an art form with a brief history and fast development.

Perhaps the major reason for dispute about over beginning of the art form is the lack of a universally accepted definition of motion graphics. Even among professionals in the field, there is dispute over terminology. Brad Soderlund, creative director of One Six Eight Design Group in San Francisco hesitates to even refer to motion graphics as an art form. He claims, “There certainly are some artists who work in video or other time-based media, but the majority of people doing the work are, with any luck, designers, not artists.” (interview). On the studio’s website (www.168designgroup.com), Soderlund states that, “So many designers are also artists, writers, or musicians. I encourage all that work to permeate what we are doing here in the studio.” Soderlund may be referring to art strictly in the fine art sense, and classify his studio’s commercial projects as design work. My belief is that the distinction between fine art and commercial art is based more on context of how the work is shown, sold, or funded, than on content. For the purpose of this paper, I will discuss motion graphics as an art form, even if only as a form of commercial art rather than fine art. I will also use both words, designer and artist, when referring to creators of motion graphics.

The earliest significant motion graphic artist that had a traditional background in graphic design was Saul Bass (1920-1996). He designed the opening title sequences4 for many popular films such as The Man With The Golden Arm (1955), Vertigo (1958), Anatomy of a Murder (1959), North by Northwest (1959), and Psycho (1960). Many other designers have contributed to the evolution of motion graphics, but Bass was an exceptionally talented and productive designer, and is commonly cited as being a pioneer in the field. Some of his designs may seem relatively simple compared with today’s standards, but his designs were effective at communicating the mood or theme of the movies his graphics were introducing (see Figures 2, 3, and 4). At the time when Bass was starting out, all graphics were created by hand or with film cameras, without the aid of computers. Even relatively simple designs would require a lot of time and expense to produce. Bass designed opening title sequences for 21 movies in the 1950’s alone, which is a remarkable achievement considering the time each project took to develop with the existing technology (Dawes).

Figure 2. Pictured are still frames from the opening title sequence for the motion picture The Man With The Golden Arm that Saul Bass designed in 1955. The white lines moved on screen around the text into different geometric patterns until finally coming together to form a graphic of a twisted arm.

Figure 3. Still frames from the opening title sequence of Vertigo, designed by Saul Bass in 1958. While visually stimulating and appropriate for the content of the movie, the technique is primitive compared to today’s standards. The title sequence consists of text zooming out from the center of the screen over images of a woman’s eye. Then, a geometric spiral shape spins and zooms out from the center, also superimposed over photographic imagery.

Figure 4. Still frames from opening title sequence Saul Bass designed for the motion picture Psycho, directed by Alfred Hitchcock in 1960. White horizontal and vertical lines slide across a black screen to reveal the movie title and credits.

Because of high production costs at the time, it was rare for anything other than title sequences for television and films to utilize motion graphics. As television grew in popularity, more on-screen graphics were needed, but usually the more elaborate designs were reserved for shows that would be aired on a regular basis. Other than the near switch from black and white to full color television and film, there were few changes between the 1960 and 1980 that concerned motion graphic designers. Steve Currran, author of Motion Graphics: Graphic Design for Broadcast and Film points out that until the 1980’s and the advent of cable television, the three dominating networks (ABC, CBS, and NBC) were using graphics that consisted of little more than simple flying logos. He asserts that the graphics were products of technology and corporate culture more than of creativity and talent. Once cable television became widespread, and MTV (Music Television) became a major cultural component, the need for captivating on-air graphics increased. The new, smaller channels began to use motion graphics as a way to establish a look that would appeal to a specific target audience, opposed to the generalized look of the three major networks.

In addition to the popularity of cable television in the 1980’s, video games and video cassettes began to create additional demand for motion graphics. Video games (both arcade style coin-operated games and consumer units designed for use with television sets) were in a period of rapid growth, and the designer that could create graphics within the constraints of the technology at the time were in high demand (Gallagher). The popularity of BETA and VHS video cassettes encouraged independent movie producers, entertainers, and businesses to publish their own movies, concerts, and demonstrations. This created more demand for motion graphic artists, who were often used to design opening titles for videos.

The trends of the 1980’s continued into the 1990’s, and movies, video games, and broadcast graphics remained a source of employment for motion graphic artists. Major advances in technology created a shift in the way designers created their graphics. As computers became capable of video editing during the 1990’s, designers shifted from using analog equipment to digital workstations. During the early part of the decade, the cost of computers capable of producing broadcast quality graphics was high ($30,000 and up), and it was rare to find a motion graphics artist that worked on personal, rather than company owned equipment. Now, in 2003, an $800 Apple computer with supplied software can be used to create basic, but visually appealing high quality motion graphics. The fact that advanced computers with fast rendering times5 can be purchased at a fraction of the cost of one semester’s tuition at a design school means that contemporary motion graphic artists now have more creative options than ever before.

Of all the current motion graphic designers, Kyle Cooper is a likely candidate for the most popular and influential. He has designed the title sequences for over 100 movies and television shows (Heller 329). Some major movies he has designed opening tiles for include: Seven, The Island of Doctor Moreau, Mission Impossible, Donnie Brasco, The Joy Luck Club, True Lies, Gattica, The Mummy, and The Horse Whisperer. His work is considered by many professionals to be an example of the most successful motion graphic design. In contrast to the time when Saul Bass was designing title sequences for movies, Kyle Cooper and his partners at the Imaginary Forces studio have access to technology which allows them to work faster and with much less creative limitations (see Figures 5 and 6). In an Apple Media Arts promotional video for Final Cut Pro, Cooper states that “anyone with familiarity with [the Macintosh] interface can sit there and modify, and edit, or try something different, and get involved in the creative process.” Cooper clearly puts emphasis on creativity rather than production.

Figure 5. Imaginary Forces studio (co-founded by Kyle Cooper) designed this title sequence for the movie Sphere in 1998. This sequence shares some similarities with the title sequence for Vertigo designed by Saul Bass, but exhibits a more complex treatment of typography and integration between background imagery and text.

Figure 6. Shown here are stills from title sequence Imaginary Forces created for the motion picture The Avengers in 1998.

3. Final Cut Pro is professional level video editing software made by Apple Computer.
4. Opening title sequences are typical in motion pictures and television shows. The name of the movie or show is often introduced with text over top of imagery, along with directing and acting credits.
5. For advanced digital video editing and animation, users often work in a low quality preview mode. Before the work can be viewed at full size and quality, the computer must process the information. This rendering process can take minutes, or months, depending on the complexity and length of the project.

Required Skills for Motion Graphic Artists
If creativity is the primary requirement for motion graphic artists, then what secondary skills are needed? Of the many disciplines that come together in the field of motion graphics, the primary ones are: graphic design (including web design), photography, film and video, animation, and audio production. One of the difficulties of discussing skills required for motion graphic artists is that motion graphics is a discipline made from several disciplines. For example, a designer working on a television commercial should understand basic principles of advertising, in addition to broadcast design standards, and must be able to skillfully fuse visuals with the chosen music. From spinning logos on websites to intricate videos that incorporate still graphics with animation and sound effects, there is seldom a situation where one isolated skill is needed. In Venice, California, designers at Motion Theory work on eclectic projects and must combine divergent skill sets to solve creative problems (see Figures 7-10). Matt Cullen, co-founder of Motion Theory (who previously worked with Kyle Cooper at Imaginary Forces) said he doesn’t like to use the term “motion graphics” to describe what his company does because he feels it is too limiting. The preferred description was previously “design and production”, but that has since changed to “live action and design” (interview). In an Apple Media Arts promotional video, a top designer at Imaginary Forces expresses a similar view regarding the difficulty of assigning a single word to describe a variety of skills. He says, “The philosophy is concept, put concept first. So we don’t call ourselves a design company. We don’t call ourselves a production company, post production company, a marketing company. We call ourselves a conceptual design firm.” Even beyond conceptual design, Peter Frankfurt at Imaginary Forces produced the movie Blade, a live action film based upon a Marvel Comics character (New Line Cinema). Motion graphics pioneer Saul Bass also had an eye for directing. A little known fact is that although Alfred Hitchcock directed Psycho, Bass is the one who designed the shot sequence of the famous shower scene, in addition to the opening title sequence. The relationship between film, web design, and motion graphics is very close. Kyle Cooper comments on the relationship in an article printed in “The Education of an E-designer”:

Web design is the same as film directing. Maybe that sounds irrational, but I think it’s true. Sure, there are more parameters with film–you have to shoot live action and think about lighting and sound. On the interactive side, you have to know about Java programming, browser compatibility, and various technical issues. But they are all just different parameters of solving a creative problem, to communicate something and evoke an emotional response from someone... (Heller 222).

Whether someone would entirely agree with Cooper’s stance that web design is the same as film directing isn’t as important as the awareness of how the disciplines are not only interdependent, but fundamentally related to one another.

Figure 7. Pictured are still frames captured from the Motion Theory website: http://www.motiontheory.com As a user navigates through the site, graphics move and change in response to movement of the mouse. The website not only functions as a portfolio site for the linear motion graphics they have created for clients, but also as an example of motion graphics effectively combined with interactivity.

Figure 8. Motion Theory created this television commercial for Nike, which incorporates actual video footage of mural artists in the process of painting with music and rotoscoping.6

Figure 9. The primary software used by Motion Theory to create this commercial for ESPN was the 3 dimensional animation program Maya.

Figure 10. This Sony commercial created by Motion Theory consists of 2 dimensional graphics that slide across the screen and move to reveal patterns similar to computer circuitry.

6. A simple definition of rotoscoping is the process of combining drawing, painting, or animation with live action film or video.

Logic Supporting Prediction of Growth
One logical path of reasoning for my prediction of the future of motion graphics comes from the analysis of the growth of related disciplines. Skeptics that predict short lived success or slow growth for the field would be wise to review how the industries of graphic design, photography, and motion pictures have thrived even in times of economic depression and a market flooded with talent. Perhaps the best example is from graphic design, which has experienced two major shifts in the last two decades, and has thrived, despite predictions of thinning demand.

Before the desktop publishing revolution began in the mid 1980’s, graphic artists painstakingly created designs and prepared them for printing using rulers, t-squares, blades, and other traditional art and drafting supplies. Within one decade, the skills designers needed shifted from traditional hand skills to digital skills (Concepcion). Fundamental knowledge of graphic design basics, such as typography and compositional layout remained as important as ever, but understanding of design software became essential and many were frustrated at the high learning curve and technical limitations. Another major upheaval began just shortly after nearly all designers had made the transition to creating on a computer screen. In the early 1990’s, the popularity of the World Wide Web created demand for designers who could develop websites. Although designers were already creating on a screen, most were creating work designed to be printed. Designing work intended to be viewed on a screen proved to be full of parameters and technical limitations that print designers were not necessarily prepared for. Those who were able to quickly master the emerging technologies thrived, while others who either weren’t interested in online publishing or weren’t able to keep pace with the rapidly changing technology found themselves unable to satisfy all the design needs of their clients. As communication technologies continue to advance, and clients ask designers to provide animations on websites, or captivating title sequences for multimedia presentations, those that are unprepared to create motion graphics will find themselves in a less than desirable position. They could be forced to split their business with another design company, or even worse, lose their account to a company that can handle all of a client’s creative needs. In a best case scenario, the design company unprepared for motion graphic design could commission another company to create for them, while retaining a percentage of the fee, in the same way that design companies hire freelance illustrators or photographers. Regardless of the specifics, as motion graphics continue to become more prevalent, even design companies focusing on printed material will likely be asked to supply motion graphics or collaborate with others who do.

“Graphic design is declining, don’t go into that market” was the advice given to Caroline Gomez a few years ago by her former boss. Caroline is now marketing director of the thriving design company Motion Theory (interview). But why would someone advise that graphic design is a declining market? Perhaps because designers and studios that are unwilling, or unable to keep up with technology and client demands have found themselves struggling to compete, and their warnings of decline are from first hand experience. Meanwhile, the designers and studios who have been enjoying success have remained relatively quiet, not wanting to appear insensitive to their less fortunate peers. Another reason for a negative forecast is the advance in technology. While many appreciate the increased ease, speed, and creative control offered by the computers and software, it has leveled the playing field. In the early 1990’s, a designer with an Apple computer and the right software skills was regarded as a professional almost automatically, whether the reputation was warranted or not. Now, children use design software on their personal computers, and novice computer users can generate professional looking documents combining text with photographs and diagrams with little training. So, some have questioned how design studios will be able to continue billing clients at $80-$120 an hour for what an amateur with low operating expenses would be happy to create for a fifth of the cost, especially in times of economic depression. Gomez says that the depressed economy is actually causing clients to flock to Motion Theory because their in-house talent can produce projects at a lower cost than if each separate design service were handled by different companies. Motion Theory thrives by by being in touch with the client’s current and future needs.

Aside from the pattern of past and current growth of desktop publishing, web design, and related disciplines, a strong case can be made for more designers to work with time-based media by analyzing the wide range of demand. I will the demand from a variety of sources as though they truly are different, but it is important to state that the distinctions are becoming increasingly harder to define. For example, music videos function as entertainment content to draw people to the channel which airs them, so that the channel can sell air time to advertisers. But the music videos also function as advertising for the live performances and recorded music of the musicians. So in this way, entertainment and advertising are combined.

Video game graphics have been becoming progressively more sophisticated for the last 20 years. Today, some titles share many similarities with motion pictures, and there is evidence of a continued growth towards more cinematic qualities in the look and sound of games. The international video game industry is worth billions of dollars, and attracts audiences of all ages, despite a common misconception that video games are entertainment only for children (Gallagher).

The popularity of DVDs (digital video discs) is another area of demand for motion graphics. Since DVD players were first introduced to consumers in 1997, they have been adopted a rate faster than television sets, radio, VHS decks, and even toasters! (Kelsey). Beside superior picture quality, one reason for the popularity of DVDs is the extra content such as behind-the-scenes footage, director commentaries and interviews, and supporting promotional graphics. The motion graphic artist with experience in DVD interface design is currently in high demand in Hollywood.

Although MTV has strayed from its original concept of a 24 hour music video station, the music video, which frequently calls for motion graphics, is still a major component of the channel, and other channels as well, such as VH1 and Canada’s MuchMusic. But of greater potential impact to designers is the fairly recent trend of enhanced audio CDs that contain extra content accessible through a computer, which often presents music videos, lyrics, and images of interest to fans through a user interface that incorporates motion graphics. This trend of including enhanced content is likely to continue, as the music industry struggles to find incentives for music fans to buy CDs rather than illegally sharing music files for free.

Multimedia content is becoming increasingly important in education, which means an increased need for motion graphics. The advancement of computer programs allows for clear, precise, and memorable presentation of complex concepts. For example, flight simulations, simplified animations of biological processes, and astronomy demonstrations that incorporate moving graphics have educational potential far beyond the traditional class lecture. Although, educational content isn’t as quickly associated with motion graphics as entertainment or advertising, it is a venue for designers to tap into, and less competitive in many cases.

The variety of sources I’ve listed, as well as others I haven’t discussed, such as information kiosks, concert and sporting event projections, and business presentations add to the stability of motion graphics. If one or two areas of demand decreases, others will remain. In addition to the current need for motion graphics, future technologies will create demand in other ways as well. It is likely that televisions and computers with Internet connection will be combined within the coming decade. WebTV is an example of an attempt to bring Internet capabilities to the television. But I believe it is more likely that television programming will find its way into the computer. With many computers coming with built in DVD players and growing numbers of people connecting to the Internet to view multimedia content over the World Wide Web, the merge between television and computers seems inevitable. Filmmaker David Lynch (director of Blue Velvet, Twin Peaks, Naked Lunch, and Muholland Drive), already seems to have placed his bet on computers taking over television. In 2002, he launched his subscription based website, www.davidlynch.com (see Figure 11). The site features original multimedia content that can’t be seen anywhere else. In reference to his website, Lynch claims, “This is TV. This is the new television. And, you know, it's sort of absurd. They [his movies] look as good on the Internet as they would on TV. And why would you go over to TV? TV is dead.” (Bernat). While I don’t fully agree that television is dead, I do believe that eventually television will be integrated into the Internet and computers. Because the cost of publishing on the Internet is minimal, low budgets and lack of sponsorship would no longer prevent producers from publishing their own content. Networks would have less financial risk when producing new shows, and the result of more shows would mean more opportunity for motion graphics designers.

Figure 11. Shown are screen captures from film director David Lynch’s website, www.davidlynch.com. The site features exclusive content created by Lynch only available with the purchase of an online subscription. © D. Lynch 2003.

Perhaps the most amazing technology on the horizon for motion graphic artists is a new flexible paper thin computer display. Rigid paper thin displays have already been in limited trial use since 2001. Two main companies, Gyricon and E Ink, are pushing the “electronic paper” technology forward and plan to release products in the consumer market within as little as one year. The “electronic paper” under development is a rollable, foldable energy efficient screen that is half the thickness of a credit card that could be dropped without breaking. Unlike laptop computer LCD screens, it could be easily read in daylight. It could be combined with a small computer to have the functionality of a PDA device (a digital daily planner and notepad). And if combined with cellular phone technology (E Ink is already partnering with Motorola), it could allow users to send and receive faxes and email, and to browse the Internet.

It is hard to exaggerate the impact this technology could have for motion graphic artists. Imagine if everyday, instead of reading a newspaper, people were to download the latest news on their portable screen. Because the text and images would be digitally based rather than printed, there would be no reason for content to remain static. Imagine if in the newspaper, anywhere an ad appeared, a person could press a button to begin a graphical presentation. Virtually any printed material could be replaced with the thin screen, from public displays to product packaging. With all the potential ways for these screens to be used, there will surely be great opportunities for designers able to apply motion graphics to the technology.

Best Course of Action Based on Prediction of Growth
If the current and coming need for designers to deal with motion is foreseen by some, there is little acknowledgement of that in formal academic settings. Hundreds of universities across the United States offer graphic design as a major field of study, but only a few schools have a program for motion graphics. The schools with graphic design programs usually only offer a class or two on time-based or interactive design. In some cases, the courses are restricted to communication majors (radio, television, and film students) or considered computer classes, and focus on software skill acquisition rather than visual development. Designer, writer, and associate professor Melissa Niederhelman at Arizona State University asks why “in light of the overwhelming presence of interactivity in communication today” design curriculum still offer courses in interactivity and new media as electives (Heller 16). While her article focuses on interactivity and new media, rather than motion graphics, the need to address the changes of technology and communication in design education is clear. In the case of websites and CD-ROMs, interactivity and motion graphics often work in unison. Geoffry Fried, chair of the design department at the Art Institute of Boston at Lesly University, has an excellent summary of the difficulty of preparing for the future. In an article appearing in Heller’s book The Education of an E-designer, Fried states:

Planning an education program always involves placing a bet on the future. In a time of flux–both in the use of technology and in the structure of design practice–this future is harder to predict. When knowledge increases in any field, there are several possible responses: increasing use of reference materials and systems, increasing specialization, and increasing need for collaboration among those specialists. While we see evidence of these trends in graphic design, it is not at all clear what the future of design practice or design education will be. (Heller 10)

While betting on the future based upon a narrow view of what may be is risky, there are certainly some general trends which are likely to continue, even taking into account the turbulent nature of technology and market demands. Author Steve Curran writes that “More and more, every day, graphic design refuses to stay still. The world’s central nervous system, interconnected tendrils of cables, telephone lines, and satellites, is buzzing with the adrenaline of commerce, information, and entertainment.” The growing presence of moving designs in our culture is all but guaranteed to continue, regardless of the media formats the future may bring.

Director David Lynch is aware of the growing opportunities created by new communication technology and creative possibilities. Because of his involvment with film and television, it may be no surprise that he has learned to use Apple’s video editing software, Final Cut Pro. But Lynch has also learned how to produce DVDs using Apple’s DVD Studio Pro software (Dalrymple). At first, DVD authoring tools were priced upwards of $60,000, and only skilled compressionists7 and programmers could operate the software. The cost for DVD Studio Pro is now less than $1000 and can be learned in a matter of weeks (Kelsey). On the recently released DVD edition of Eraserhead, Lynch is credited with the menu and interface design. In an interview with MacCentral, Lynch said “...Apple is also here and they have helped us immeasurably. Apple products have been key for the creation and maintenance of DavidLynch.com (where he sells his DVDs).” (Dalrymple). While Lynch is a supporter of Apple computers and the Macintosh platform, the important lesson here is not specifics about what brand of computer or software to use, but about acquiring the ability to fully exploit technology which offers expanded creative potential. While computer programmers have impressive technical knowledge, they are often not talented or trained in visual creative development. It is important for designers to be proactive in applying their creative problems solving abilities to new challenges.

So what exactly is the best course of action for designers who want to keep up with the growing presence of motion graphics? I believe that learning to think and design sequentially, and acquiring knowledge of video editing, animation, and sound recording software skills is essential. But I wanted to ask professionals in the field for their opinions.

I spoke with Dr. Sharon Brown, associate professor at Santa Ana College who teaches courses in digital media. Sho has over 20 years experience working with multimedia in marketing, public relations, corporate communications, and education. Brown believes students of design, including motion graphics, need to know more than just software. She believes a basic understanding of how multiple components of a project tie together is essential. She says that students get inspired to design with motion by seeing Flash websites and video games, but that they don’t aways understand that software is only part of what they need to know. She pushes concept development, and storyboarding because she believes that the thinking behind the work is of equal or greater importance than how interesting a moment of animated type might be. Brown also stresses that working in a field that combines creativity with changing technology requires constant learning. She keeps up with the latest developments by attending workshops and conferences, studying books and online tutorials, and consulting user groups. The passion for what she does comes through in her statement, “It is because I have to keep learning that I love what I do.”

I conducted a personal interview with Robin Roepstorff, a senior artist at the Los Angeles location of Hornet, Incorporated. Roepstorff specializes in visual effects, motion graphics, and art direction (see Figures 12-15). He also teaches at California State University, Fullerton in the Extended Education Certificate of Digital Animation program. After explaining my belief that the majority of future graphic designers will be forced to deal with time-based media, I implied that motion graphics will be the job of graphic designers. He did agree that the ability to manipulate time-based media will be an essential skill for designers, but offered another view on who the future motion graphic artists might be. Roepstorff said that it might not be only graphic designers who work in the field of motion graphics, but that animators may have a large role. His comment indicates that designers who want to work with time-based media would be wise to study animation. He then revealed his educational background to me. At the Ringling School of Art and Design, Roepstorff attended two years of the four year animation program before creating art on the computer. He stresses that fundamentals of animation, such as planning, timing, creating the illusion of life and movement, as well as a solid foundation in drawing and painting are important skills that directly carry over to the field of motion graphics. In school, he developed his skills as a character animator, but said that the process of planning and producing for motion graphics is very similar. In both cases, sketches and style frames are created before production, and methods of production are similar as well. He said that there were some graphic design related issues he needed to learn in addition to what he learned as an animator, but that he filled in the gaps rather easily. He stated that the introduction of Flash8 created a situation where a lot of animators and web designers were learning the same software. The graphic designers learning may have already learned important aspects of page layout and typography, but animators would have the upperhand when dealing with the concept of designing frame by frame, and have more sophisticated abilities with movement of changing shapes. Animators generally have closer ties with the entertainment and broadcasting industry than graphic designers do, which also gives them an edge when seeking motion graphics opportunities. Ritchie Sandow, art director at Hornet, Inc. agrees. Sandow’s advice for designers interesting in making the transition to motion graphics is to take animation classes. He suggests taking traditional two dimensional animation classes, and studying the principles in The Illusion of Life.9 An interesting fact is that Hornet, Inc. was originally called Hornet Animation, indicating stronger ties to animation than a design company would have.

Figure 12. Robin Roepstorff at Hornet, Inc. created this commercial for the Los Angeles Clippers.

Figure 13. Shown here are still frames from Hornet, Inc.’s promotional demo reel, obtained through the studio website: www.hornetinc.com

Figure 14. Hornet, Inc. studio created this television commercial for Mervins department store by combining type with choreographed stop-animation to give the silverware the illusion of festive dancing.

Figure 15. This television spot Hornet, Inc. created for Fine Living incorporates graphics with live action video to create a very stylized look.

Like others at Hornet Inc, as well as other top studios, Roepstorff doesn’t view animation, graphic design, soundtrack composition, or video editing as competing disciplines. He said that one of the appealing aspects of Hornet is that it is a small enough studio to allow for each artist to work on a variety of projects, with each one presenting different challenges and requiring a combination of skills. At studios with a larger staff, it is more common to find artists that work in a very specific way, using limited disciplines.

I asked Brad Soderlund (of One Six Eight Design Group) what advice he would give to an experienced graphics designer having a hard time making the transition to time-based media. He suggests taking courses in a range of topics. Specifically, video basics and principles of animation. He advises getting educated on animation various techniques (other than electronic/computer generated) and developing a historical perspective. He adds that basic film school courses in camera motion, directing, color, and the like that can offer great insight. Soderlund’s parting comment was:

In addition to education, be prepared to “start over.” A six-month stint as an intern or entry level player at a busy motion graphic shop would be a great hands-on education to the realities of the field. There is a definite difference in pace that one needs to experience first hand to appreciate. Also, the industry tends to find talent from within; the right combination of talent and enthusiasm may enable someone to advance rather quickly (interview May 2003).

A final consideration for those shifting to time-based media design is the best way to market and promote an eclectic skill set. Designers Matt Cullen and Kyle Cooper hesitate to use the term “motion graphics” to describe what their companies do. They both prefer to use the term design because they feel it is less limiting. One limiting aspect of the term is that it only implies the ability to work with motion, while many projects need printed material as well. Another problematic aspect of the term is that not everyone fully understands what it means. Rather than confuse someone who wants a Flash website banner,10 for example, it may be better to use a more general and inclusive term such as “new media designer”. In any case, a time-based media designer must be fully aware of what terms clients are used to, and be prepared to clearly describe what it is they do, and what makes them qualified to do it. Having a quality demo reel of example work is essential. Still images are insufficient, and most top design studios who produce motion graphics have downloadable movies on their website, or supply VHS cassettes or DVDs to potential client to show what they can do. Ultimately, getting a quality demo reel to the right audience is the way motion graphics designers get new clients.

7. Compression is a term that has multiple meanings within design and multimedia production. In this instance, compressionist refers to a person who uses a computer program to reduce the file size of digital video and audio content, while preserving as much of the quality and detail as possible.
8. Flash is software made by Macromedia which has amazing potential as an animation tool, as well as game and website development.
9. The Illusion of Life: Disney Animation by Frank Thomas and Ollie Johnston, originally published by Abbevilli in 1981.
10. Banners are small sections of webpages that often functions as advertisements, particularly common on sites offering free services, such as Yahoo or Excite.

Conclusion
My prediction that the majority of graphic designers will work with time-based media within the next ten years may be seen as pure speculation, or written off as premature by some. While I have placed importance on research for this prediction, in my opinion, whether the changes happen within ten years is a relatively minor point. The shift from designers needed for development of static images to motion graphics has already started, and whether it be ten years or twenty years, the fact that designers need to prepare for the future remains. Designers who aren’t able to work with time-based media will continue to be needed, but will be in less demand, will have less leverage with salary negations, and will be restricted in the scope of their creative input.

As new media has emerged, the convergence of different forms of audio, visual, and information technologies has become increasingly common. Disciplines such as sound design, animation, computer programming and video editing are truly important for designers working with modern forms of communication to understand, and least on a fundamental level. Graphic designers are already being called on to produce interactive user interfaces of all kinds, and in many cases, they must design their visuals to be accompanied with music and sound effects. Those that have been able to effectively apply their design skills to new media have been highly sought after.

In addition to the obvious expanded career opportunities, there are other benefits for graphic designers who understand time-based media design. Even if a designer decides to work exclusively with printed imagery, the study of related disciplines is valuable for increased ability to collaborate with others in a creative team or advertising agency. An important discovery by artists working with new media is that the very process of studying related disciplines can lead to stronger critical thinking skills in relation to visual problem solving. The question to ask with regard to graphic design is not “how many years until the ability to design motion graphics becomes a required skill?”, but rather “how can designers prepare themselves for future marketability in a competitive field?” The opportunity for designers to profit and advance their creativity is real. Those that recognize how to graphically combine a message with time-based media will clearly have the advantage as communication technologies continue to emerge and saturate our culture.

Notes
Many thanks to the individuals who contributed their time to give personal interviews, and to Howard Sherman.
Caroline Gomez and Matt Cullen at Motion Theory, Venice, California. http://www.motiontheory.com In-person interview April 30, 2003.
Jon Slusser, Robin Roepstroff, and Ritchie Sandow at Hornet, Inc. Los Angeles, California
http://www.hornetinc.com In-person interview May 2, 2003.
Dr. Sharon Brown, associate professor at Santa Ana College, Santa Ana, California. In-person interview May 8, 2003.
Brad Soderlund at One Six Eight Design Group. San Fransisco, California. http://www.168desg ingroup.com Email interview May 15, 2003.

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