Arvo: Type & Motion

Project Overview

  • The name of the type face and the family
  • The name of the designer(s), the country of origin, and date of design
  • emphasize visual characteristics of the family
  • Examples of various weights, slats, etc of the entire family
  • Examples of the type in use, as display and in text blocks(s)
  • at the video’s end, wait two seconds, then add your credits

3-word Adjectives

3–word adjectives

Choosing Music

What music should I choose?

Top two songs

“Tell me” by RL Grime
“Back to the Future” by ProbCause and Gramatik

I decided to go with “Back to the Future” by ProbCause and Gramatik.

“Back to the Future” by ProbCause and Gramatik

Video Script

Arvo Video Script

Storyboarding

Storyboarding for the Video (from Left to Right)

In-Class Critique with Jaclyn

  • The storyboard is thorough and detailed — this will help later on.
  • Try to use more color (spot color) or maybe even white, with the grey background — having white with a grey background can create an interesting effect.
  • If you are worried about pacing, try putting the storyboard frames into AfterEffects and animate (roughly) the drawings.
  • Reading your script out loud at the pace you intend it to be read can be helpful to: narrow down music and sound choices, pacing your storyboards and early animations, assesing the flow and overall length of your video.
  • Continue to consider lessons learned in Projects 1–3.
  • How can grid (consistent margins, hang lines, baseline, alignments) bring clarity to your message and animation?
  • What typographic choices (contrast, space, alignment, color) will enhance communication of your message without overcomplicating it?
  • What types of movement enhances meaning and what movements complicate the message?
  • How will you guide the viewer? (Where do you want their eye to enter and exit the screen? How long do words or phrases need to be present to be read at the intended pace?)

What is next?

Storyboard Animation

Storyboard animation

In-Class Critique with Vicki

  • The overall pacing of the story is great — enough time is provided for the viewer to understand and digest the information.
  • The screen time for the “mono-linear” part can be extended a little to give more time for the viewer to understand what is going on.
  • The intro can seem long, but it sets the tone for the rest of the animation — keep it or shorten it, its up to you.

What is next?

Creating the Animation

Line work state (all the divided components are separate “particles”)
Filled in state (all the divided components were simply given a fill)

Animating the Explosion:

First iteration
Second Iteration
Third Iteration
Fourth Iteration

Iteration 1:

Iteration 1

In-Class Critique

  • Overall the video is solid
  • The geometric idea of Arvo is very clear
  • Maybe the beginning and the end where the shapes are deconstructed is repetitive? (I disagree — provides a start to finish)
  • Viewers like the simplicity, and the geometry used throughout the video — the slab serif highlights are clear and interesting
  • When type is all-caps, the tracking should be adjusted a little bit
  • Offset the movement of “Os” in the part with “Anton Koovit”
  • The pink over gray isn’t as readable as black over grey — something to think about
  • “Vintage” part with different fonts was good — leveraging other fonts to show the difference between those and Arvo is effective

What is next?

Iteration 2 (for Final Crit)

Final Video before Crit

In-Class Critique:

  • Dylan: Fantastically paced (“drop dead good”)
  • Dylan: Rational between geometric cutups
  • Dylan: The electronic sound in the beginning makes it feel like the background should be dark
  • Dylan: Time spent a lot in explode composition — wonders what else could’ve been done with that time
  • Kyu: Background sound at the beginning creates a certain mood and builds up a lot for the explosion scene — wishes to see more drama when the letters are deconstructed.
  • Play around with top and bottom margins when there is a single word on the screen (to create more interesting negative space)
  • Increase the kerning for the text heavy screens

What is next?

Increasing the drama:

Version 1
Version 2
Version 3

Version 1: Light mode

Version 1: Light Mode

Version 2: Dark mode

Version 2: Dark Mode

Personal Critique with Vicki:

  • The manual kerning works, but try to adjust after increasing the overall tracking and setting the kerning as optical
  • Overall video is better than before, and works — it is up to me to make these nitty-gritty detailed changes

What is next?

Final Video

Final Video

Final Spread

Final Spread

Reflection

--

--

--

Love podcasts or audiobooks? Learn on the go with our new app.

Recommended from Medium

Depth in design: within and without

A simple human figure sketch

Response Essay for : “Designing for Emotion” by Aaron Walter

Internship Experience At Oasis Infobyte

Colours and How They’re Interpreted (Graphic Design Theory) — Samuel J. Stroud

Masks, perspective, and pattern

Travel advertisement poster for Rio

Redesigning the Sign up experience of the NCWIT website.

Case Study: e-Commerce Website — Meem Art

Relevance of customer Journey mapping tool of a Small Medium Enterprise(SME)-Ikamva Design Group

Three decades ago marketers would have few channels to consider, with the main focus on advertising, the list of the customer researches a brand message has now augmented extremely. The more touchpoints the more complicated yet necessary the exercise of creating a CJM becomes

Get the Medium app

A button that says 'Download on the App Store', and if clicked it will lead you to the iOS App store
A button that says 'Get it on, Google Play', and if clicked it will lead you to the Google Play store
Joseph Kim

Joseph Kim

More from Medium

Datascience the heart of future technology-part 1

How to know when your hypothesis is validated

CS371p Spring 2022: Max Thomas