Author: Admin

GD2 – AW28 – Techniques & Advanced Motion Design

MA05

GD2 – AW27 – Motion Fundamentals

LT 4.1 Timing, spacing and easing

LT 4.2 Arcs, smears and squash and stretch

LT 4.3 Mass, weight and anticipation

LT 4.4 Drag, overlapping action, and follow-through and exaggeration

MA04

GD2-AW25 – Design Principles for Motion

LT 2.1 Introduction to Illustrator and Photoshop

The task
  • Step 1 – Open up Illustrator and Photoshop.
  • Step 2 – Configure your workspace to something you’re comfortable with, and give the ‘layers’ panel extra space.
  • Step 3 – Create 10 artboards. Fill in each artboard with the numbers one to 10 in order.

GD2-AW24 – First Step Into Motion Design

LT 1.1 The History Of Motion Design

The task

You’ve just acquired a time machine! To which era of motion history would you travel to get involved in? Write a 250-word document outlining your favourite era and include the following:

  • What year would you go back to?
  • Who would you be an understudy to?
  • Why is this part of motion history your favourite?
  • How do you think this part of history has influenced the modern day world?

Include pictures, videos and any other media to help motivate your answers.

I would go back to the 1870s and be an understudy to Eadweard Muybridge, one of the pioneers in photographic study of motion and early work in motion-picture projection.

The reason I would go back and be an understudy to Eadweard Muybridge is because of the way he combined photography and motion graphic. I love photographing, so reading and learning more about the history is really fascinating.

His most notable contribution to the world of photography came through his innovative work in capturing motion. In the 1870s, he embarked on a series of experiments commissioned by Leland Stanford, a railroad tycoon and racehorse owner, to settle a debate about whether all four hooves of a horse leave the ground simultaneously during a gallop.

He devised a groundbreaking technique using multiple cameras trigged by tripwires, capturing successive image of a horse in motion. This technique, known as “motion photography” or “chrono photography,” allowed him to freeze moments of movements, revealing details imperceptible to the human eye.

In 1878, Muybridge successfully demonstrated through his photographic sequence, “Sallie Gardner at the Gallop.” that horses do indeed lift all four hooves of the ground during a gallop. This achievements not only settled the debate but also marked a significant milestone in the history of photography and the study of motion.

In 1879 he invented the Zoopraxiscope, and was built for him by January 1880 to project his famous chronophotographic pictures in motion. This device was essentially an early form of a motion picture projector. It utilized a series of glass discs, each containing sequential images from Muybridge’s motion study, he had an unidentified artist that painted each sequence onto each plate. When rotated at high speeds and projected onto a screen, these images created an illusion of continuous motion, captivating audiences with moving pictures long before the advent of modern cinema.

I think this part of history has influenced the modern day world by giving the photography world a solid fundament. How the cameras is changing every year to get better and have even more insane technology. It’s fascinating to learn how they took images like this before, now we can either film a movie in slow motion to see frame by frame or take a timelapse to see how things are moving or growing. We can just put our camera up and press a button and the camera will do “everything” for us.

LT 1.2 Understanding the industry

The Task

Find a motion design studio or freelancer and give some examples of their work.

  • What type of motion design do they specialise in?
  • Where are they from?
  • What do you like about their work?
    •  
Sandnes Media
  • What type of motion design do they specialise in?

Sandnes Media is an awardwinning studio that makes illustrations, animation and design. They make alot of books and animationmovies for children. Their “design universes” are Dektektivbyrå nr 2, krypto, trollmann skogen, Alf Prøysens Barnesanger and Anne-Cath. Vestly.

  • Where are they from?

They are based in my hometown Sandnes, Norway.

  • What do you like about their work?

When I searched for a motion design studio I wanted to see whats in my area. I didn’t know that a studio that produce illustrations, animations and designs for these well known books and movies where based in my hometown. So that was fun to find out.

 

First, I liked their homepage, it shows alot of their work and are easy to navigate. I also like that they show images from the production, where you can see that they make alot of drawings, painting and 3d moddelering, they build miniatures and put everything together.

LT 1.3 Workflow

The Task

Oh no! You’ve taken over a project from a colleague. Their folder structure and naming conventions are non-existent. Have a look at their project folder below:

Before jumping into the project, it’s a good idea to sort out this mess.

Download these loose files.

Create folders and rename the files according to what you’ve learnt in this lesson.

LT 1.4 Pre-Production

The Task

Style frames You are a concept artist, and the director of their new TV commercial has asked you to explore some style tests. They don’t want to stifle your creativity, so they have asked you to pick any simple object and illustrate it in three unique ways.

Step 1

Find three different styles on your favourite reference site (Dribbble, Behance, Artstation, etc.).

Drawing
2D Gradient
2D Flat

Step 2

Pick a simple object.

Step 3

Illustrate that object three times to match the references you found.

Step 4

Upload your style frames to your WordPress blog.

2D Flat
2D Gradient
Drawing

GD2-AW23 – Preparing for the Workplace

1.2. Lesson task – Setting up a portfolio

The task
Browse the Internet for various portfolio platforms and decide which option will work best for your needs. Here’s a list of current popular ones:
  • Behance;
  • Dribbble;
  • Adobe Portfolio;
  • Carbonmade;
  • Squarespace;
  • Coroflot;
  • DeviantArt;
  • Crevado.
After you’ve made your choice of platform, upload one or two projects you want to include in your portfolio.

 

I chose Behance to start making my portfolio. I’ve added two project for now.

Click the image to get to the portfolio

GD2-AW20 – Connecting To The Viewer

MA03 –  GD 5

Module assignment
This module assignment consists of five parts. The first four parts will be completed after each lesson, and the last part (part 5) can be done as self-study at the end of the week.
Part 5 (self-study)
Now that you have ideas for your illustrative design, you still might wonder how to actually do the work! How do you turn your rough ideas on paper into a finished design?
The course below is presented by Von Glitschka. He is a designer, illustrator, and creative director of Glitschka Studios, a multidisciplinary design firm in the Pacific Northwest, United States. He’s a popular speaker on design, creativity, branding, and marketing and has written six books.
 
In this course, he will break down the process of illustrative graphic design into beginner-friendly steps. He will show you how to prepare for the illustration task by defining your theme, subject matter, and style, and then gathering reference material.

He covers several drawing processes, stepping through deductive drawing, thumbnail drawing, rough drawing, and a final refined drawing. He also shares helpful tips on finalising your designs and presenting them to clients.
After completion of this module assignment (MA03), you will:
  • Be able to implement all that you’ve learnt in your course assignment.
  • Receive a LinkedIn Learning® Certificate you can add to your resume.
  • Have better knowledge of using illustrative design in your work (it will be especially helpful in logo design!).
WATCH

Course: Creating Illustrative Design (3h 10m) by Von Glitschka on LinkedIn Learning.

GD2-AW19 – Who Are You As A Graphic Designer?

MA02 –  GD 5

Part 1
In the previous module, we talked about different kinds of graphic designers who specialise in particular skill sets. They’ve shown you how broadly you can apply graphic design skills and hopefully have given you ideas on the type of work you need to take on to align with your interests. The first lesson task also prompted you to answer the following questions:
  • What kind of job do you want to wake up to every day? What do you want to do daily?
  • Which type of clients do you want to work with?
  • After pinning down your interests and vision of yourself as a professional, in which areas do you think you need more growth and experience?
  • What are your next steps to fulfil who you want to be as a graphic designer?

In this module, we’ll encourage you to pursue your dream and grow in your field of interest. Below is a list of recommended LinkedIn Learning courses. Choose one (or more) course from the list or any other course that interests you from LinkedIn Learning.

Part 1 of the module assignment will be to hand in the course certificate of your chosen course. Read or view extra material regarding your field of interest and use this week to submerge yourself in this field.

Animation
If you want to learn more about basic animation, take one (or more) of these courses:
Branding, marketing and promotional design
If you want to learn more about branding, marketing and promotional design, take one (or more) of these courses:
Fashion design
If you want to learn more about using design software for fashion design, take one (or more) of these courses:
Illustration
If you want to learn more about illustration, take one (or more) of these courses:
Infographics
If you want to learn more about infographics, take one (or more) of these courses:
Photography
If you want to learn more about photography, take one (or more) of these courses:
Videography
If you want to learn more about videography, take one (or more) of these courses:
Typography
If you want to learn more about creating your own typography, take one (or more) of these courses:
 

NOTE

You need the Glyphs App to do these courses below (request a student license to get a 50% discount).

Hand in the LinkedIn Course Certificate(s) on your chosen course as part of your Course Assignment report.
Part 2 (self-study)
As graphic designers communicating visually, we work primarily with pictures and words. The importance of knowledge and skills in typography can’t be stressed enough. You know by now that typography isn’t about choosing a pretty font. Using good typography adds immense strength to your design and gives power to the message.
 
Ina Staltz is a writer, art director, and Professor Emeritus at City College of New York. Her areas of expertise are typography, calligraphy and editorial publication design. She has written over 50 articles on design and typography, contributed to five books by Steven Heller, and authored 15 essays for Phaidon’s Archive of Graphic Design.

In the course, she will explain good practices in typography, how to develop an eye for type, and how to use it effectively. She’ll briefly discuss some topics you should already be familiar with, like serif vs sans serif, display type vs text type, kerning, tracking and leading.

She’ll even cover a bit of typographic history and trends. But, most importantly, she’ll teach you the principles of legibility, readability, and compatibility and how they should be considered when selecting and designing with type.

After completion of this course, you will:
  • be able to implement all you’ve learnt in your course assignment.
  • receive a LinkedIn Learning® Certificate that you can add to your resume.
  • have better knowledge of good typographic practices and understand how to use them effectively.

I also chose to watch the 2023 edition since the video in the assignments is 11 years.

GD2-AW18 – The Creative Process: Step By Step

LT – 1.1. Lesson task – The creative process: step 1

The task
Write a short, informal paragraph to describe the type of graphic designer you want to be. It can have as many words as you feel fit and can be in any format you wish: draw a picture, add a photo, or make a mind map. Let your personality shape the delivery.

The questions below may kickstart the process:
  • What kind of job do you want to wake up to every day? What do you want to do daily?
  • Which type of clients do you want to work with?
  • After pinning down your interests and vision of yourself as a professional, in which areas do you think you need more growth and experience?
  • What are your next steps to fulfil who you want to be as a graphic designer?
If you are unsure, think of the different courses you’ve done so far in your studies and the projects you enjoyed most – where did you naturally flourish, and which projects did you unexpectedly shine in?

What kind of job do you want to wake up to every day? What do you want to do daily?

I want to wake up to a job that I thrive in, a job that gives me joy in life and not just a paycheck. I want to use my creative mind every day and not waste in retail where I’ve been for the past decade and more. I want to design for people. I’m not sure what way I want to go in graphic design yet, but I do recon it will be design and layout. So this CA we are going to do designing an magazine will be amazing to do. I also like the design part of web design, so maybe a little UI design as well. I know that logo design isn’t a way I probably want to go, but who knows, maybe I start enjoying that part too?

Which type of clients do you want to work with?

Since I think i want to work with layout I want to work with clients that need magazines, infographic, brochures etc. and maybe clients that like some of the styles that I also like so I can evolve and learn more in that genre.

After pinning down your interests and vision of yourself as a professional, in which areas do you think you need more growth and experience?

I need more growth in strategic design and logo design, but also UI, layout, grid, typography and illustrations.

What are your next steps to fulfil who you want to be as a graphic designer? If you are unsure, think of the different courses you’ve done so far in your studies and the projects you enjoyed most – where did you naturally flourish, and which projects did you unexpectedly shine in?

My next step is to finish this last semester, but also watch as many LinkedIn learning courses and learn more about the topics I want to learn more about. And then I need to start searching for companies in the area that I want to work in and start working on my papers.

LT – 1.2. The creative process: steps 2 and 3

The task
In 2008, Paula Scher gave a talk at the Art Centre Design Conference in Pasadena, California, named ‘Serious Play’. Today, it’s widely shared and referenced by graphic design educators because of its simple but also complex truth. In essence, it’s about the importance of play in graphic design (which is quite serious!) and not falling into a pit of design solemness. In this case, solemness means to design safe, predictable, and acceptable things.

Watch the TED video below:
In today’s lesson, we talked about the quiet before the storm in a project – where you have all the information you need, and you now have to think of ideas to communicate them visually. This is a delicate and precious stage in the creative process and will determine the way forward.

Keep Paula Scher’s talk in mind when thinking of ideas:
  • Embrace play and the unexpected.
  • Don’t repeat the same recipe for success.
  • Don’t be afraid of taking on something a little beyond your abilities.
  • Don’t be scared of being a fool.
  • Experiment!
Today you don’t need to do anything for this lesson task. Just think and wonder about it all and try not to be too solemn; instead, embrace play (whatever that means to you specifically).

LT – 1.3. Lesson task – The creative process: step 4

Using any of the vector-building methods mentioned in today’s lesson, convert one of the existing sketches below into a vector graphic. Watch Von Glitschka’s vector-building tutorials again if you need guidance (see the videos in today’s lesson).
Feel free to change the raw sketch to make it your own: add to it or subtract. You can use the final vector graphics in your course assignment if you want to.

Result

LT – 1.4. Lesson task – The creative process: step 5

The task
Thinking back on the course assignments you’ve completed in your studies, how has your journey been regarding feedback on your work from the outside world? When showing your design to someone and they give their opinion and suggestions:
  • Do you feel they are undermining your artistic abilities?
  • Do you try to see reason in the feedback and see how you can interpret it your way?
  • Do you feel overwhelmed and lost and unsure which direction you should go in?
These feelings are valid and experienced by most graphic designers – even seasoned ones working in the industry for years. You have to learn to cope with feedback in a way that will contribute to your growth as a graphic designer but also keep your unique voice as an artist.
Write a short paragraph on your experience with feedback and how you’ve uncovered parts of yourself you did not even know existed. Do you think you have grown? Are you ready for the outside world and its opinions, and do you feel you have enough confidence to stand your ground if needed?
 

My experience with feedback from people around me has been good, but also little confusing. Whit confusing I mean that they love what I’m doing, they like what they see but they can’t directly give me good feedback since they don’t know what to look for when it comes to constructive critics. They usually have a good feedback if I give them different option , like witch one does fit the most.

When it comes to feedback from the forum is always easy to understand and sometimes it’s frustrating, but when it’s frustrating and when I feel I need to do a lot of changes I do my research to find out why would that way work better for the design/task. 

MA01 –  GD 5

Hopefully, by now, you’ll realise that the more your skillset grows in design software, the more creative you can be, and the better your standard of work is. You can have the most fantastic ideas in the world, but if you can’t translate them into a tangible design – it’s not worth much.
For this module assignment, you’ll refresh your knowledge and skillset in Adobe InDesign. Yes, another LinkedIn Learning software course – don’t sigh in weariness! This is where you must exercise self-discipline and be resilient and patient.

Don’t see this assignment as a time-consuming obstacle. See it as an opportunity to learn and re-learn essential skills in a programme you will definitely use in the industry and will be a requirement if you apply for a job as a graphic designer.

Look at these job posts from LinkedIn for junior graphic designers:
Adobe InDesign is the main programme you’ll use when working with layout design. You may be more comfortable doing layouts in Illustrator, for example. Still, InDesign is the best option when working with multi-page documents, lots of text, and different kinds of image material.
There are three course options to choose from below. Read through each description and decide which option will suit you best. Either way, you’ll benefit immensely from completing any of these three courses.
You only need to choose one of the courses below. After completing one of these, you will:
  • be able to implement all you’ve learnt in your course assignment (which will be a significant addition to your portfolio).
  • receive a LinkedIn Learning® Certificate you can add to your resume.
  • have better knowledge of Adobe InDesign and will be more prepared to enter the work industry.

TIP

When going through these courses, it’s a good idea to open the course on a secondary screen – like an iPad, for example – and then open InDesign on your desktop computer or laptop. Follow along and test things out as the course progresses.

Be actively involved in InDesign throughout the course. It’s better to be alert and engaged with the programme than to sit back and passively listen to what is said in the course.

Hand in the LinkedIn course certificate as part of your course assignment report.

Option 1

If you feel confident in your basic skills in InDesign and just want to refresh yourself with the ins and outs, do this short course below:
 
Video course: InDesign 2021 Quick Start (44m 29s) by Kladi Vergine on LinkedIn Learning.

Option 2

If you want a thorough explanation of the core features of InDesign and want to dive deeply into the foundational functions, do this more extensive course* in InDesign:
 
Video course: InDesign 2022 Essential Training (5h 14m) by David Blatner on LinkedIn Learning.
 
*You’ve already been introduced to this specific course in your first year (GRA1), and maybe you’ve completed it and obtained the certificate. However, if you are still challenged to a large extent by InDesign, it’s a good idea to redo this course to reinforce your knowledge and skill set.

Option 3

The course below is for intermediate users of InDesign. It explores ways to use Photoshop, Illustrator, and InDesign as a powerhouse combination to save time, simplify workflow, and create impressive work. Do this course if you feel you have adequate experience in InDesign, Photoshop and Illustrator:
 
Video course: Photoshop-Illustrator-InDesign Powercombo for Design (2h 30m) by Bart Van de Wiele on LinkedIn Learning.

GD2-AW12 – Low-light and Creative Photography

LT – 2.1. Low-light photography

The task
 

You are required to take and edit a low-light image.

It can be a product photo, a still life or a portrait. Use the unique characteristics of low light to take a photograph with drama and impact. Try different compositions and angles that may enhance the mood.

Do:
  • Use a low ISO setting;
  • Use a small aperture;
  • Use a tripod and your self-timer or a remote/trigger;
  • Watch your focus, and use manual focus if needed.
     
Don’t:
  • Add too much light or expose too much;
  • Leave your VR/IS switched on if you are using a tripod.

LT – 2.2. Painting with light

The task
 
For this task, you are required to take and edit a PWL image.
You are required to use the unique look and feel of PWL photography to make a photograph that shows at least two different PWL techniques, e.g. torch light and a sparkler. You get brownie points if you make your own light source, such as an LED light wand.
You can create a product photo, still life or portrait. However, if you have a unique idea, try that. Experiment with different compositions and angles. Remember to use colours.
Do:
  • Use a low or medium ISO setting;
  • Use a small aperture to give you enough time for the light painting;
  • Use a tripod and your self-timer or a remote/trigger;
  • Shoot in Bulb mode if you need more than 30 seconds;
  • Watch your focus, and use manual focus if needed.
Don’t:
  • Add too much light or expose too much;
  • Leave your VR/IS switched on if you are using a tripod.

LT – 2.3. Intentional camera movement

The task
For this task, you are required to take and edit three ICM images.
Using the unique look and feel of ICM photography, you need to make a series of three artworks for a local art gallery. The idea is to sell the photographs as a set.
Use different ICM techniques, e.g. horizontal movement, camera turning, and vertical movement. Your photos should ‘read’ together, so you need to ensure they work together when placed side-by-side.
Do:
  • Find a subject or scene with enough variation in colour and contrast.
  • Use a low ISO setting.
  • Use a small aperture to give you enough time for the camera movement.
  • Watch your focus, and use manual focus if needed.
Don’t:
  • Use a tripod.
  • Move too little or the effect may just look like a mistake.

LT – 2.4. Double and multiple exposures

The task

You are required to take and edit three images. You can be as abstract as you like. Look for interesting subjects or scenes with enough variation in colour and contrast.

Add a short artist statement of two or more sentences for each.

  • Photo 1: Double exposure
    You need to shoot and edit one double-exposure photograph.
  • Photo 2: Multiple exposure
    Create a multiple exposure consisting of a least three photos combined into one final image.
  • Photo 3: Mirror montage
    Create a mirror montage.