Motion Studies

Being restricted to moving the type in only x and y was an interesting challenge. It's kind of hard not to mimic everything I've already seen with kinetic type, it's also hard to not repeat patterns, which seems inevitable. I tried not to over think it, and I think the kinetic studies came out a'ight. The timing in every single one of them could be ironed out a bit, at specific parts for each one. For the most part I think the pacing of all of them is OK...granted I've been staring at the monitor for a few hours and reading the same phrase the whole time, so maybe I'll wake up tomorrow and realize how god awful they are. Hahahah

Edit:

crit notes yo'

- I nailed it on the last composition with the sizing of the type, not to big, nay too small (well, really, just...not too small). Dare I say, the baby bear of my studies ("juuuussst right") we all learned a bit about how small you can go without going too small for screen (14px-29px)

- one of my compositions is too small, which was obvious when shown on the projector. I had been staring at these too long last night to notice, woops

- things to keep in mind (in general): don't just introduce one level of variation, make it 2 or 3. And ask yourself if every frame is interesting as you review your work (obviously it's not really possible to necessarily make every frame a stunnah, but more or less keep the motion, and key points visually compelling)

Day 4 2.0

crit notes

• Type faux paux: if you're doing all caps, adjust the letter spacing
• don't almost do something. if you almost do it, just do it
• adding contrast should add contrast 
• don't be willy nilly

David Carson

• you have to bring yourself into your work
• draw on your experiences & memories 

(sounds obvious when you hear it, and seems like something you would naturally do...but honestly, sometimes I forget that. I like, forget that I've lived a whole life outside of Ringling. oy!)

• definition of a good job - if your answer to this question is yes:
• if you could afford it, and money weren't an issue, would you be doing it?

W E .  D E A L  . W I T H  . T I M E .

as we move forward integrating type into animation

1. we question appearance

• how do they appear?
• how fast?
• how long do they stay?

2. question axial motion

Day 4 [would-be day 3]

David Carson says "do not mistake legibility for communication."
Just because you can read it doesn't mean it is communicating, or communicating the right thing.

CRIT
My worst study up for crit today was basically illegible, it was reading as "Comporositions" rather than "or compositions" -- although most people agreed that it felt playful. It was a case of "where's the punchline?" There was too much going on, too much variation, though it looked like it was trying to make a point

None of my studies apparently had awful dead space, cool beans.

NOTES
- sometimes it's better to play it safe & fly under the radar if you're clueless
- say it out loud how it reads visually, what exactly are you saying?
-diagonals are inherently sexy

Opinions are like assholes, everybody has one.
Essentially it's all subjective. There is no right or wrong.

- mixing a sans serif with another sans serif isn't variation, it's an inconsistency

Other than that, Elijah Wood came to school today and my mind is in another place right now. Also, my stomach is too, I'm starving...but I have a couple more things to try and keep in mind while moving forward with the next exploration. Hooplah!

Day 2

Interesting points made during crit

• one level of variation is more akin to inconsistency - - if you're going to vary it, make it different
• avoid stair stepping [checkerboards - bleghk!]
• you're either creating a block, or a composition
• block = block [durp]
• composition = dominant vertical/horizontal
• one to one ratios are totally lame
• you set base units with the first thing you put on your canvas - - you make the rules, you need to stick to them
• one to one and a half will often work because of voodoo
• one to one and a half = three
• try to resist lining up ascenders and decenders
• trite
• obvious
• all CAPS must letterspace!

P A U L    R A N D

• the difference between aesthetics and art is that aesthetics is the study of art, other than that they are the same
• it doesn't matter the source, if it's art it's art
• it is a bi-product, not a goal
• without content, there's no form
• without form, there's no content
• Norman Rockwell is boring
• form has nothing to do with style
• you can design a chair that's ugly, but functional - - you can design a beautiful chair that doesn't function
• things have to be useful, either to the person who does it or the person who looks at it - - it has to be functional
• without aesthetic, you can't find the truth

Bio

Hey there,

My name is Riko and this blog is being christened for my Typography II course process work and awe-inspiring productions. I'm currently a sophomore Motion Design student at Ringling College of Art and Design. I'm looking forward to what is to come this spring, and I expect this will be a great learning experience for me. Any donations of coffee, zebra cakes, and/or orange soda are humbly welcomed, just drop the box at the school's front gate with a note reading "For Riko." Any and all support is greatly appreciated.

Cheers!