动态设计的思考

Motiongrapher更新了一篇专栏文章,标题叫「6个关于动态设计教育的问题」。文章罗列了一些动态设计教育里出现的主要问题,比如本科课程时间太短、师资质量问题、学费过于昂贵,甚至是「动态设计」(motion design)本身的定义模糊,与传统动画艺术教育碰撞,所带来的一些不兼容问题。

首先可以看出,对于国人来说,还远远不到需要为这些问题担忧的时候,因为目前国内几乎还没有叫「动态设计」的课程或专业,也没有专门针对「动态设计」的系列课程。不过作为一个动态设计师,还是多未雨绸缪一些比较好。

身为动态设计师,必须直视「动态设计」与传统艺术形式的诸多不同之处。动态设计融合了平面设计、动画、电影,每一种将其拆开,都会是捆庞大的分支,这意味着动态设计师需要专精更多的方面。在现今互联网技术和交互多媒体的快速兴起之势下,动态艺术家也许还需要掌握编程技能。

这是一篇很有启发性的文章,推荐学习动态设计的同好阅读。不过我对文章下的一篇评论更感兴趣。评论的作者叫Casimir Fornalski,本身也是一位教授动态设计的老师。他讲了几个在做动态设计时,经常碰到的问题或是心得看法,看过很是赞同。所以特地搬过来,简要翻译一下,欢迎交流。

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Casimir Fornalski 

April 1st, 2015

I really appreciate how you called out the importance of good producers on projects and couldn’t agree more. The best projects I’ve worked on have always been under the supervision of a sharp producer with a keen understanding of the motion workflow and how scheduling, feedback rounds and client communication affects the process. They may not be doing the nitty gritty animation work themselves, but their own hard work and unwavering ability to stay on top of things is invaluable to a project.

我非常理解,一个好的制作人是多么的重要!我所参与过的项目里,那些最出彩的项目,通常都有一个很犀利的制作人来负责整个流程,包括时间表安排、命令反馈、与客户的沟通等等。他们也许不会参与很细节的制作,但他们的努力与坚持,为整个项目的成功作出巨大贡献。

Since I’ve taught motion design I can offer you some insights into how I structured the course:

因为我也教动态设计,所以我可以谈谈我的经验:

Fundamentals in Graphic Design

平面设计基础

Many of my students were fresh out of high school, so they had no experience with graphic design. I made sure to spend time—up front—covering the basics of good layout, grid systems, typography and color theory. We spent several weeks on this (not nearly enough, I know) before we even opened After Effects, and while the students were a little miffed up front, most of them expressed to me afterwards how valuable this primer section of the course was in improving their skills.

我的很多学生刚从高中毕业,完全没有平面设计的经验。我就必须先教一些基础的内容,比如版式设计、排版、色彩理论之类的。这要花去好几个星期,然后才开始用AE。我的学生回忆说,这些前期学习,对他们之后的动态设计制作帮助巨大。

Motion Design vs. Traditional Animation

运动设计 vs 传统动画

I made it a point to emphasize, as you said, that motion design is “graphic design + motion.” Since I had a few students who wanted to be character animators and work on Pixar-ish 3D films, I felt it was important to call out this distinction. The term “animation” is often used as a general descriptor and can cause confusion, especially when artists specialize in one field but a job requires another. I don’t think there’s anything wrong with specialization, and I encouraged my students to pick an area they really felt comfortable with and hone their skills in that rather than trying to master all trades and techniques. It’s not necessary to know how to do everything, and my experience has been that agencies will always find and bring you in as a specialist if they know you’re exceptionally good at that particular skill.

有一个笼统的称呼——「动画」——容易与动态设计引发混淆。有时候你说你是做动态设计的,但用人方说他们要招的是动画师。不过我没有觉得有什么专业上的不妥。只要你觉得合适,专注于这个领域,不断磨练自己的技能就行。你没必要什么都会。我的经验是,如果用人方知道你在这方面很强,他们就会把你当作专家,招你进来。

Lead the Eye

引导观众的视线

This was a mantra of mine in the course and every single exercise and project we went through was weighed against it when it came time to review. If there’s one critical skill in motion design, I believe it’s this: the motion and movement of elements must always be drawing the viewer’s eye to the next important bit of information. This is as much a skill learned in traditional filmmaking as it is graphic design, and yet I felt I was seeing it undervalued in some of the other motion courses I took or observed. It’s one thing to make a sexy, fluid bit of animation that looks sweet as a standalone GIF, but a great motion designer must be able to seamlessly blend that with other moving parts over a period of time and never lose the viewer’s focus.

我觉得做好一个动态设计的关键是:运动元素必须始终引导观众的视线,从一个重要信息点移动到下一个。就像是运用了电影技法的平面设计。做一个优美流畅的GIF动画是一方面,身为一位伟大的动态设计师,必须有能力让运动部分始终不离观众的视线焦点。

Procedural Thinking

制作流程的思考

While I love manual keyframing, it can be woefully inefficient in many cases, especially when deadlines are looming. This is why I set time aside to teach expressions and workflow practices that, while not super-deep (no major coding as this was a general course), still tuned students in to the idea of thinking five steps ahead in everything they do. It’s not enough to worry only about the frame in front of you, you have to be conscious of how elements can connect and drive each other as well as how smart project structuring will lead to faster, more efficient workflows.

我喜欢手动K帧,但很多时候真的无能为力,尤其是临近截稿日期。这就是为什么我要花时间教学生画制作流程表的原因。虽然不会思考得很复杂,但至少要提前五步构思好流程。盯着你眼前的那一帧是没用的,你必须思考各元素彼此连接运动的机制,以及怎么设计整个流程,可以让制作变得更简捷高效。

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个人尤其赞同后两点。引导观众视线看似简单,做到位是需要很丰富的经验的。还有流程思考也真的非常重要。做过动态设计的同好一定深有体会,做到一半发现不对,然后推倒重来的情况时有发生。这个技能也是需要尽力学习与完善的。

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