design t-shirts if you've made your...


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design:With the easy accessibility of kinetic tools, motion and communication design are more than ever integrated into one discipline. And since designers are becoming more concerned with injecting motion into their work, motion literacy—the act of trying to understand how motion can be used to communicate more effectively—is Making type, an illustration, or a diagram move on a screen is a relatively easy task. However, achieving clarity of communication through the language of motion proves more challenging for many designers than achieving fluency in kinetic Communicating via motion involves issues of both “what” is moving across the screen—typographical, pictorial, or abstract elements—and “how” that something is moving. The “how” question refers to the kinetic form and its grammar, defined by both space and time dimensions of motion such as velocity and amplitude. Kinetic form itself may convey a broad spectrum of notions and emotions: from a sensible gesture, through a dramatic tension, to a violent collision. Of course motion in combination with pictures and words (and sound, if available) multiplies those irresistible opportunities in making meaning. The meaning of motion on a screen, similar to all other aspects of communication design, relies on conventions and artistic techniques. A “crossfade,” two scenes conveying a lapse of time, or a “split screen,” meaning simultaneous happenings, are just two examples adopted from the cinematic vocabulary—the source of inspiration for motion designers. The language of cinema in its century-old history evolved into a complex, universal system of communication, combining the visual, sonic, and kinetic aspects into a synchronized, multisensory experience and that language now becomes a new realm of communication While perceiving visual/sonic/kinetic information simultaneously through multiple channels and over a period of time, the mind attempts to organize these discrete messages into a story, however abstract that story might be. A story must have its beginning, middle, and end, but a story does not necessarily have to be told Motion Literacy in this order. Therefore, the designer’s awareness of different timelines—one of the story and another one of the storytelling—is essential. Equally essential is the designer’s awareness of the “plasticity” of time, and consequently, the designer’s ability to manipulate time—real time, its representation and perception—through motion, sequence, and multiple-channel correspondence (use of multimedia). Time, as intertwined with motion, becomes the structural design element as well as the subject of