Find 1 piece of kinetic typography on the internet. For this you will create a reverse storyboard. A storyboard is a process of using whatever tools are available to translate abstract thought into tangible realities. The process of sketching refines the design, improving the potential of the design to communicate the intended message and reach its audience. Time-based communication introduces new sets of conditions that fundamentally change the nature of sketching. The method used to sketch a temporal idea is a storyboard. The storyboard outlines the narrative and develops compositional models for type, images, image frames, transitions, and sounds.

A reverse storyboard entails working from a finished animation backwards to this process step, the storyboard. On the storyboard make notations outside the frames about transitions, motion, etc., using the principles of animation listed below. This exercise need not be neat, but should convey the animation in a static form. Post a link to your animation as a comment to this post so that we can collect them in one place and view them in class when we review your storyboard. You can find lots of examples of storyboards by searching via Google.

There are principles of animation that can be applied to this project. They are: (from Type in Motion by Harding and Stone)

1. Squash and Stretch: See Example
   defining the rigidity and mass of an object by distorting its shape during an action
2. Timing and Motion: See Example
   spacing actions to define the weight and size of objects and the personality of characters
3. Anticipation: See Example
   the preparation for an action
4. Follow Through and Overlapping Action: See Example
   the termination of an action and establishing its relationship to the next action
5. Slow In and Out: See Example
   the spacing of the in-between frames to achieve subtlety of timing and movement
6. Arcs: See Example
   the visual path of action for natural movement
   
7. Exaggeration: See Example
   Accentuating the essence of an idea via the design and the action
8. Secondary Action: See Example
   the action of an object resulting from another action
9. Appeal: See Example
   creating a design or an action that the audience enjoys watching

Animated typography combines the principles of design and typography with the time/space concerns of animation. Letter forms can exist and communicate both in the static and the kinetic realms. When the elements to typography and the principles and elements of design become dynamic, typography can express another degree of intonation, voice, personification, and emotional character.

You will design and present a kinetic typographic message—a short quotation. The goal is to effectively communicate the message along time. The audience is your peer group—someone in her or his early twenties.

You will start by selecting a quotation that is between 10 and 25 (or so) words long. Do not select a quote about religion or faith.

Parameters:
Use only 1 typeface. Use a standard classic serif or sans serif face such as Helvetica, Myriad, Garamond, Minion, etc. Keep your color palette minimal. Use between 1 and 3 hues. You may change tint or transparency, however. Pictorial elements such as photos or drawings are not allowed.

Phase 1:
Introduction to animation through Design Journal Entry #9 (see post).

Phase 2:
Create a flip book communicating the quotation. The flip book should be 4 inches wide by 2 inches tall. It should be a minimum of 50 pages and a maximum of 100 pages. Sketch your flip book; do not use any digital means for producing it.

Phase 3:
Convert the flip book into storyboards for your animation. Again, do this by hand via sketching. You can use this template or create your own.

Phase 4:
Flash animation. Using your storyboards and flip book convert your idea to a Flash animation. 320 x 240 pixels, 30 frames/second. It should be about 30 seconds long when complete.

Schedule
Wednesday, April 8 – Design Journal Entry #9 due; flip book due; learning Flash via lynda.com has begun
Monday, April 13 – storyboard due
Wednesday, April 15 – in-class workday // Designing for People DUE – photo shoot in the lighting studio
Monday, April 20 – critique of preliminary Flash animations
Wednesday, April 22 – in-class workday
Monday, April 27 – last critique of animations before they are due
Monday May 4; 8–10:30 AM / Section 1 – Final animations DUE
Monday May 4; 11–1:30 / Section 2 – Final animations DUE

Project Grading: 30 points possible
Process Work (12 pts)
flip book: 4 pts possible
story boards: 4 pts possible
preliminary animations: 4 pts possible

Final Design (18 pts)
18–16 Excellent; the solution responds to the design brief with a creative, innovative solution; craft is impeccable
15.5–13 pts. Good; the solution mostly responds to and meets the design brief with a satisfactory solution to the problems; craft is good
12.5–11 pts. Average; the solution solves the design problem with predicable elements or ideas; craft has some problems
10.5–9 pts. Below average; the solution is weak and does not address the design brief; craft is poor
8.5 pts and below Work not deserving of credit that fails to respond to the design brief; poor craft

Quotations (choose one of the following)

For Design Journal Entry #8 you will need to have your notes from the trip, the handout from our gracious hosts, and any other tid bits about printing. I want this post to be thorough. Record new things you learned, what you were amazed about/by, and other notes.

For the “Designing for People” project you will have to develop a bio for a hypothetical person that belongs to your group or sub-culture. The bio must contain:

• a photo
• name
• address
• detailed description of their lifestyle
• what does their home look like
• what they spend time doing
• what products do they own
• where they are located
• what do they do to earn money
• what their passions are
• do they sleep in or wake up with the sunrise
• what they eat
• and any other factors that help describe their world

Your bio can be a list of facts, a well-written paragraph, or other format. But, it MUST be neat and legible, of the quality that you would be comfortable showing a client!

You will also create a mood board for your hypothetical person that visually depicts the information you’ve gathered about them. This should be a collage that displays the attitude, mood, and needs of your person. The mood board may be any size, but should be neat and tidy (client ready!), and has to go into your Design Journal (it may be a scaled-down version in your journal).

Both the BIO and the MOOD BOARD will be present in EACH critique of this project. So, they should be able to be pinned to the wall in our classroom for reference for each and every critique. Here is one example, another, and another.

Finally, generate 40 thumbnails of potential products, of packaging design ideas, etcetera.

Objects are often created to address the needs and desires of a specific group of people. This assignment requires you to consider the context in which others live, then use your observations to inform your design.

Choose a specific sub-culture or specific group of people as your target market. Your goal in this project is to design packaging for a product (or line of products) that appeals to your target market because of its attitude, style, and content.

For your target market, you may not choose a group that’s too large, too general, or to which you belong. For example, men over 20 or children under 12 are group that are too broad. Choose a small and very specific group. For example, you could choose extreme skateboarders and design a helmet package, or for trailer park housewives who claim to have had encounters with aliens you could design whiskey label packaging. You should choose a sub-culture that is associated with a strong visual attitude that you can build on through your design.

As part of your process, you will invent a hypothetical person to help you define and understand the people and culture you’re trying to reach through your design. Your hypothetical person should be a well-defined individual described through a bio. This bio will include a photo, name, address, and description of their lifestyle. Consider the context in which they live, what they spend time doing, what products they own, where they are located, what they do to earn money, what their passions are, whether they sleep in or wake up with the sunrise, what they eat, and any other factors that help describe their world. It may be helpful to visit a location where this person would spend time to gain further insights and inspiration.

You will also develop a mood board that helps describe the attitude and style that’s appropriate for the design based on your subject’s style and needs.

Success with this project will be based on how well you define your sub-culture or group and how well your design appeals to their sensibilities.

Project Schedule:
Monday, March 16th – bio, mood board, and thumbnails due (see Design Journal Entry #7)
Wednesday, March 18th – full-size hand comps of 5 potential products due; all comps need to be constructed in 3 dimensions
Monday, March 23 – workday
Wednesday, March 25 – critique of 3 digital (tight versions) of ideas
Monday, March 31 – final critique of final design
DUE: Monday, April 13th – the physical packaging is due; all work will be photographed during class for documentation and portfolios; bring your camera if you wish

Project Grading: 30 points possible
Process Work (12 pts)
thumbnails: 4 pts possible
hand comps: 4 pts possible
digital comps: 4 pts possible

Final Design (18 pts)
18–16 Excellent; the solution responds to the design brief with a creative, innovative solution; craft is impeccable
15.5–13 pts. Good; the solution mostly responds to and meets the design brief with a satisfactory solution to the problems; craft is good
12.5–11 pts. Average; the solution solves the design problem with predicable elements or ideas; craft has some problems
10.5–9 pts. Below average; the solution is weak and does not address the design brief; craft is poor
8.5 pts and below Work not deserving of credit that fails to respond to the design brief; poor craft

Question 1: The book talks about some people might choose to be a vegetarian to rid themselves of harmful ingredients that might go into the production of animals, but even on that note, we still don’t truly know what goes on in the production of the vegetables and fruits either. Would you as a consumer be alright with the fact that some of the produce you buy might have harmful ingredients in them or would you be more prone to trying to better your well-being and grow your own produce?

Question 2: Within the Five Guiding Principles portion on pg.181, large companies like Nike are wanting to become more eco-friendly by creating non-toxin ways of tanning leather and a new rubber compound that can become a biological nutrient to the earth oppose to being a threat. What other large companies should really jump on the eco-friendly path? What should they change? How should they change things? Would this change make you switch between two competing companies?

Question 3: Bill Ford’s design team made an effort to “create healthy soil” around the plant of the River Rouge, and his team did so by using not more chemicals, but exploring the use of phtyoremediation and mycroremediation.   What other large plants across the US do not think about their contanimated soil and should they be forced to clean up their soil with these new innovative methods?  If you lived in the same town as a plant such as the River Rouge, would you petition for this plant to clean up their soil?  Do you support these new methods of creating healthy soil and do you think it will work in the long run?

Question #1

Besides styrofoam, what products do you think are causing the most damage to the ecosystemthat would greatly reduce waste by designing its packaging to biodegrade after use? Such new and innovative packaging may cause a rise in product price, how do you think the public would react?

Question #2

The book talks about designing for “mass” customization. This would allow consumers to select products adapted for their localized area. This would lead to many benefits, but it could also give the consumer a confusingly large array of choices and potentially make products from different areas incompatible. Do you think American consumers would be open to this solution, and if not, what could we do as designers to make this solution more appealing?

Question #3

The principle of “food equals waste” is mentioned several times in the book. This refers to the processing of sweage by natural means, using plants and animals that feed off of and purify the sewage. This would mean that the process of sewage treatment would be much more out in the open. In this country we try to get our waste as far away from us as possible. How could this be overcome to get America to accept a “waste equals food” model of sewage treatment?

DUE Monday, March 2rd for an in-class discussion

Stamp Project Research – Using the internet, as well as books on stamps and stamp collecting, xerox, scan, and/or print examples of stamp designs you think are exceptional. Add at least 15 examples of interesting examples to your Design Journal.

Next, do some research on the environment. Because this stamp is intended to communicate the message of celebration AND include visual imagery related to the natural environment you will need to find some inspiration for concepts that achieve this dual purpose. Begin by looking through the resources about sustainability on this blog. Then, branch off and look at examples of nature photography, illustrations, and more. Explore all realms of imagery related to the environment. There is no need to stay confined to endangered species or environments. All things Mother Nature are fair game. Document (xerox, scan, print) at least 15 images to use as inpiration for your sketches and this project.

Create a celebratory stamp design that can be used for many occasions but that also celebrates, emphasizes, or depicts the environment. You will be designing a stamp that would be printed as a sheet (or pane) of 20 stamps. This gives you the opportunity to design not just one stamp, but a few to populate the sheet of 20. You can view examples from the USPS here. These stamps, and these illustrate the pane concept well. The most critical issue about stamp design is that the finished piece will be seen at stamp size.

Target Audience: People who send cards and notes to loved ones of all ages.
Demographics/Psychographics: Statistically, most people who buy cards are women.
Product Description: Small, horizontal or vertical. Stamp will be seen repeated on a small sheetlet of 20 stamps when purchased. On an envelope, the stamp will usually be seen by itself. Show both scenarios.
Key Messages: Celebrate, Happy Birthday, Congratulations, etc. (Ideally, the stamp will be relevant to multiple occasions.); 42 USA
Call to Action: Buy me! This stamp would add a nice touch to the outside of your envelope.
Objections to Overcome: Postage stamps must appeal to the mass market, nationwide.While still being innovative, we have to be careful to not be elitists and speak only to designers.Stamps that appeal to the west or east coast and leave out the rest of the country can be expensive to shred when they do not sell.

Creative Specifications

Creative Tone: Open
Existing Graphics/Brand Attributes: Show stamp designs with serrated edges.Without it, the idea of a stamp is lost.
Required Text: Celebrate, 42 USA
Inks: Four-color process/CMYK.
Other: Stamp template can be downloaded at www.adcmw.org/realshow.

This project, like the Byrd House Market Poster is from the Art Director’s Club of Metropolitan Washington’s Real Show.

Project Schedule:
Monday, February 23 – Research (see Design Journal Entry #6) and 50 thumbnails due
Wednesday, February 25 – 5 hand OR digital compositions due of 5 different designs/concepts
Monday, March 2 – workday
Wednesday, March 4 – 1 digital final stamp design
Monday, March 23 – Final Stamp Designs Due, mounted on foam core

Project Grading: 30 points possible
Process Work (12 pts)
thumbnails: 4 pts possible
hand comps: 4 pts possible
digital comps: 4 pts possible

Final Design (18 pts)
18–16 Excellent; the solution responds to the design brief with a creative, innovative solution; craft is impeccable
15.5–13 pts. Good; the solution mostly responds to and meets the design brief with a satisfactory solution to the problems; craft is good
12.5–11 pts. Average; the solution solves the design problem with predicable elements or ideas; craft has some problems
10.5–9 pts. Below average; the solution is weak and does not address the design brief; craft is poor
8.5 pts and below Work not deserving of credit that fails to respond to the design brief; poor craft

1. Do you think that you could incorporate the following idea from the book into your design process: “To eliminate the concept of waste means to design things – products, packaging, and systems – from the very beginning on the understanding that waste does not exist”?  How?