Categories
Interactive & Motion Teaching & Student Work

Typequads: A Typographic Exploration of Composition & Motion

Students create typographic compositions working with classic fonts. Final work includes a series of 3 static compositions and 1 final motion interpretation. This example is by ECU student, Abigail McCorkle.

Typequads is a sophomore-level, introductory graphic design assignment that design faculty at ECU introduce to students in ART 2200 GD Survey. This project challenges students to work with typography and 2-dimensional space (with special attention on positive/negative relationships and letterforms).

In the shift to online teaching and learning, we transiitioned outcomes from a focus on printed final artifacts to digital  final articfacts. 

This resulted in a revised final assignment that introduced students to motion via frame by frame animation with Adobe Illustrator and Photoshop. 

Students completed this work in Fall 2020. Designers include:
Hannah Mace
Chelsea Pritchard
William Endicott
Viv Maynard
Mady Barringer
Linsdsey Mumpower
Annika Chhabra
Andrea Cheek
Maddy Backes
Abigail McCorkle
Maryjoe Cortesrosa

Categories
Interactive & Motion Teaching & Student Work

A New Motion Design Project with Graphic Design Seniors at ECU

This semester, the graphic design seniors at ECU were introduced to graphic design principles in motion and storytelling. Students were challenged to consider the element of time in their work effectively to communicate a message or idea.

We surveyed a lot of sample work on Vimeo from historical to contemporary examples. To view our Vimeo showcase for this project, click here: https://vimeo.com/showcase/6270083

In this project, students worked with abstract vector graphics and/or letterforms to design a 30-second motion piece with music using time and space as design elements. Student work was completed fall semester 2019 in Senior studio. Students learned and applied principles of motion, and worked with effects and processes related to time-based digital media to develop storyboards and produce final outcomes with Aftereffects.

Sunrise by Steven Gordillo

Stranger by Lexi Malpass

Roller Coaster by Isabelle Gallagher

Categories
Interactive & Motion Research

Motion Design in the Context of Place, a new publication in the book, The Theory & Practice of Motion Design Critical Perspectives and Professional Practice

I am very excited to announce that the chapter, Motion Design in the Context of Place, was published in the book, The Theory and Practice of Motion Design: Critical Perspectives and Professional Practice, 1st Edition, edited by R. Brian Stone and Leah Wahlin, this past summer, July 2018. This chapter was completed in collaboration with colleague, Cotter Christian, Interior Design professor at Parsons, The New School. 

Click here for more details on the book.

The chapter addresses how motion design and place can reshape the way the other is perceived, generating meaning that creates more dynamic experiences between people and their environment.

When motion design is an integrated or applied part of a building, or another spatial environment—interior, exterior, or other, it becomes part of the built environment, adding meaning and potentially, creating a stronger sense of place. Simultaneously, the context of place—the environment, the activity, the interactions that take place within a space become part of the motion work itself. 

This chapter introduces a range of motion design projects to show the versatility of work and methods used in various contexts. Some of the examples discussed include the commercial branding applications of the Union Square Capital One Building in NY, the breath-taking artistic installation projections of URBANSCREEN’s Lighting the Sails on The Sydney Opera House, the dynamic information graphics of the LEED Dynamic Plaque Display, and the interactive generative data visualizations of ESI DESIGN’s Color Play in Terrell Place, DC.

Categories
Interactive & Motion Research Typography & Print

Nature as a Mediator for Making: Data Visualizations of the Wind Recordings of Horn Island, Transformed and Reinterpreted Across Media

The natural environment encompasses all living and nonliving parts and systems that occur naturally in the world around us. As an observer and participant of the natural environment, I wonder how I might observe, participate, and collaborate with the environment and the natural systems occurring around me.

Exploring nature as a sort of mediator for making, I consider how systems of the natural environment might interact, overlap, and contribute to designed processes, introducing a certain unfamiliar or unknown variable into the making experience. This variable captures moments of movement, gesture, and pattern in nature, from the tangible to the intangible systems working all around us.

The results of this collaboration with nature are process-driven recordings of the natural forms and systems occurring at defined locations and times.

I view my recordings of nature as data visualizations or graphical interpretations of the landscapes and ecosystems of diverse and distinct places; they are the recordings of the experiences that take place and the interactions and exchanges that happen in-between, curated in such a way that we are able to observe and discern these natural systems through different mediums. With the primary investigation to explore form and artistic practice as a means for making unexpected solutions, these data visualizations are recorded, transformed, and reinterpreted across media and processes.

details
This series visualizes the movements, gestures, and patterns of the wind on Horn Island, Mississippi. Thinking about how the wind can be recorded visually as data using analog methods, I designed a drawing tool that recorded the wind onto a drawing surface over a duration of five days. This making experience, a collaboration with the natural environment, resulted in a series of 2-dimensional data visualizations; the data being the recordings of the wind on the island of Horn Island. The artifacts are captured moments of wind across location and time. The wind represents a function of time, the longer the duration of time on the drawing surface, the darker, and more saturated the marks become.

The next inquiry considered how creative technologies could be used to reimagine these 2D abstract data visualizations in other formats. After experiments of trial and error, working through design processes to critique, refine, edit solutions, I created multiple digital processes that resulted in 3D and 4D formats to transform and reinterpret the wind recordings.

The 3D formats explored static, analog solutions to reimagine the wind’s movements, gestures, and patterns. Working with 3D modeling software and 3D printers, the result was a series of object visualizations that extruded points of the 2D drawings into a 3D topographical representation. The object visualizations were rendered with the highest points representing the darkest areas of the original drawings, while the lowest points represented the lightest areas.

The 4D formats explored time-based, digital solutions to reimagine the wind’s movements, gestures, and patterns. Working with the open-source coding language, processing, the result was a series of dynamic visualizations that animated the points of the 2D drawings into a 3D orbital sequence. The dynamic visualizations were rendered with the largest variation in the z-axis, using a range of noise/randomness, to represent the lightest areas of the original drawings, while the smallest variation in the z-axis represented the darkest areas.

final thoughts
This body of work explores how nature can be a collaborator and mediator in making processes and artifacts to visualize and record natural ecosystems of diverse and distinct places. Each recording, transformation, and reinterpretation offer a different visual perspective of what we see and comprehend of these natural systems that operate all around us.

Horn Island series
Monday, May 21, 2018 — Friday, May 25, 2018
36 recordings total, wind drawings, marker on canvas
72 transformation and reinterpretations total, topographical 3D prints and digital animations

Categories
Interactive & Motion

Considering user experience, usability, inclusion, and accessibility in digital experiences

As technology shifts the way we design experiences, mobile applications offer new ways of enhancing user experiences, while augmenting physical environments. Interested in investigating this, I have started to develop a mobile application called be balanced. I have established its framework and purpose, and am currently developing the user-interface, considering concepts of user experience, usability, inclusion, and accessibility, to begin prototyping and user-testing. My goal is to develop the app for Android and iOS for beta-testing by 2018.

 

About user experience, usability, inclusion, and accessibility

User experience design and Usability is about designing products to be effective, efficient, and satisfying. Specifically, ISO defines usability as the “extent to which a product can be used by specified users to achieve specified goals effectively, efficiently and with satisfaction in a specified context of use”

Inclusive designuniversal design, and design for all involves designing products, such as websites, to be usable by everyone to the greatest extent possible, without the need for adaptation. Inclusion addresses a broad range of issues including access to and quality of hardware, software, and Internet connectivity; computer literacy and skills; economic situation; education; geographic location; and language — as well as age and disability

Accessibility addresses discriminatory aspects related to user experience for people with disabilities, including people with age-related impairments. For the web, accessibility means that people with disabilities can perceive, understand, navigate, and interact with websites and tools, and that they can contribute equally without barriers.
Source: https://www.w3.org/WAI/intro/usable

More resources for mobile application design

https://material.io/guidelines/usability/accessibility.html#

https://material.io/color/#!/?view.left=1&view.right=0&primary.color=9C27B0&secondary.color=303F9F&primary.text.color=ffffff

https://eyeondesign.aiga.org/what-will-a-design-job-in-2025-look-like/

https://airbnb.design/building-a-visual-language/

https://airbnb.design/the-way-we-build/

Screen Shot 2017-11-11 at 12.53.02 PM

Color pallettes

Categories
Interactive & Motion

One-a-day Challenge to Create Generative Art with Processing

Over the holiday break, I was introduced to a new form of digital making called generative art. Also referred to as algorithmic art or computer art, this type of work produces visual art in a digital format through a programming language called Processing and can be interactive, animated, or static.

Generative art is a practice where the artist “creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art” (Wikipedia, n.d.).

SIDE NOTE: My sister got me into this. You should follow her daily drawing postings from @_madsquirrel on Twitter.

I’m reading Processing: A Programming Handbook for Visual Designers, by Casey Reas and Ben Fry, students led by John Maeda, published in 2014 by the MIT Press. The book is written well; it is primarily a textbook, a good resource text with a lot of exercises and practice code. It has proved to be incredibly helpful for understanding basic and intermediate concepts of the processing language. And, although, I have some background in coding already (python, html/css, and some javascript), I think it is a good beginner resource for those who may have little to no experience in programming languages.

You can download the free software from the website here to set up your working environment: https://processing.org/

 

 

Categories
Interactive & Motion

After School Special Previewed at Eyedrum

After School Special is a short documentary about Sequoya Middle School girls being empowered through theatrical performance. It’s a montage of monologues, duets, and a group skit encompassed with in-depth interviews and behind the scene footage. The documentary was previewed at Eyedrum in Atlanta, GA.

 

Categories
Interactive & Motion Spatial Interventions

Video Installation Work for Exhibition Passione Italiana to Premier March 24th at MODA (Museum of Design Atlanta)

The Museum of Design Atlanta (MODA) is moving to a new location in Midtown this March and opening its doors to the new exhibition, Passione Italiana: Design of the Italian Motorcycle. MODA has teamed up with graphic designers at Georgia State to develop installation graphics and video pieces to display with the exhibit. The project will include four large installation video pieces on the walls, three videos will be showcased side-by-side in one space and one video will play in an adjacent room. The videos will enhance the exhibit’s presence by including visual content about Italian culture, the experience of riding motorcycles, design and engineering, etc.

The Vision

The video exposes the audience to the experience of riding a motorcycle without ever physically revealing its presences.  The viewer travels through rural back roads to city highways as the experience highlights views of the sky, road, and ground from a representational yet somewhat hyperbolized viewpoint of the rider.  The viewer-as-rider experience presents a mesmerizing vista of energetic imagery sufficient to elicit an emotional response in support of the overall motorcycle exhibit. The video is collaged together by overlaying graphic elements alluding to racing stripe details, which also frame the videos and add compositional value.

Another aspect of the design involves glimpses of the rider and some of the anticipatory actions involved in the preparation to take on the road. The pieces include vignettes of putting on his helmet, his gloves, his boots, and his jacket. The result is a collaboration of the rider and the road.  These vignettes serve to further transport the viewer into the experience as their flickering presences evokes a notion of memory or the subconscious.

The final project is a collaboration with Cotter Christian and Meta Gary.

The video installation piece will be unveiled March 24, 6-8pm.The new location for MODA will be part of the midtown arts corridor across from the High Museum at 1315 Peachtree Street. The space will be located on the ground floor of the Perkins+Will offices, just below the Peachtree Branch of the Atlanta Public Library.


On March 24, 2011 we celebrated all of our hard work creating video installations for the exhibition. Below are some images from the event.

Categories
Interactive & Motion Research

Building an Icon: The Power of Counter Culture Messaging

Counter Culture Messaging (also referred to as Guerrilla Advertising) plays a pivotal role in shaping popular culture and influencing society. Found in physical and virtual platforms, counter-culture messaging lives and thrives all around us, whether we choose to participate or not.

Phase 1.

In this investigation, I am focusing on guerrilla advertising that lives in public space. Public areas constitute neighborhoods and streets as well as shared spaces like work and restaurants that are subject to many different people navigating the space.

Below is initial fieldwork research investigating guerrilla advertising in the neighborhood “Old Fourth Ward” Atlanta.

Steven Heller defines pop icons as “celebrities who have transcended the usual fifteen minutes of fame to become natural (or manufactured) members of the cultural pantheon… usually pop icons are ephemeral – hence the reference to pop – but sometimes they begin as ephemera and turn into something that transcends time. [1]

[1] Heller, Steven. POP: How Graphic Design Shapes Popular Culture. (New York, NY: Allworth Press, 2010), 39.

I also created mood boards to collect popular culture references from print media, television, and web. You can see some of this research here.

Phase 2. Building an Icon

The next phase of work was conceptualizing and producing the iconic figure inspired by popular culture references discovered in research. Nova emerged as a figural, non-gender specific representation of the societal lust for fame.

As the design developed, the goggles and antennas became the prevalent iconic elements of Nova. She can see and hear all things, always connected to culture around her. She is happy, curious, and engaged.

The color palette and pattern is also an important factor in developing the final imagery for the campaign. It was important to create a strong look and feel for the icons in order to create a recognizable family of images. Artwork influences include steam punk movement (especially for the design of the goggles) as well as pop art movement.

Print

Phase 3. Guerrilla Advertising in Public Space

 

Phase 4. Experimental Video
Online Viral Messaging

Animation Still

Green Screen Still

Categories
Interactive & Motion

Graduate Students Design iPhone Application

We have completed a mobile app design that will help Georgia State students in the art department create an online conversation of their work, connecting disparate disciplines and also blurring virtual boundaries between studio spaces.

To view the original wireframes, click here.

FinalAppDesign

This project was completed in collaboration with Cotter Christian, Meta Gary and Katia Lord under the direction of Paige Taylor.

Categories
Interactive & Motion

Mobile Technology Transforms Perceptions of Shared Spaces

Background

I recently read an interesting article that relates to a project I’m working on right now, designing an iPhone app. The article is called Media on the move: personalized media and the transformation of publicness. The author, Kirsten Drotner writes about the relationship between people and media “how people can lay claim to public and private spaces when using mobile media technologies.” She goes on to discuss how mobile phones open up “ad hoc conversations” leaving messages in the open virtual space of conversation, unknowing of where or when the recipient is. “Unlike calls to particular places via landlines, mobile callers cannot anticipate the situated role of the recipient and hence virtual role-regulation is often part of the opening of conversation.” (i.e., where are you? what u doing?)

It is true, mobile technology has changed the way we view private and public space. We text on our phones in public settings but do so privately. We access phone applications that upload images and links to online communities. We use our phones to text in votes on reality televisions shows. We “check-in” at local cool spots in town to let people know where we are (or show off our glamorous lifestyles).

Design

We have completed a mobile app design that will help Georgia State students in the art department create an online conversation of their work, connecting disparate disciplines and blurring virtual boundaries between studio spaces.

We are currently in usability testing phases.

Below are wire frames and skeletons of the designs.