Time and motion are closely
related principles. Any word or
image that moves functions both
spatially and temporally. Motion is
a kind of change, and change takes
place in time. Time and motion
are considerations for all design
work, from a multipage printed
book, whose pages follow each
other in time, to animations for film
and television, which have literal
duration.
Motion can be implied as
well as literal, however. Diagonal composition suggest movement, while rectilinear arrangements appear static. Cropping a shape can suggest motion, as does a sinuous line or a pointed, triangular shape. Designers today routinely work in time-based media as ell as print, and a design campaign often must function acoss multiple media simultaneously.
Animation encompasses di-
verse modes of visible change, in-
cluding the literal movement of
elements that fly on or off the
screen as well aschanges in
scale, transparency, color,layer,
and more. These alternative
modes of change are especially
useful for designing animated
text on the web, where gratuitous
movement can be more distracting
than pleasing or informative.
Film is a visual art. Designers
of motion graphics must think both
like animators and filmmakers. A
motion sequence is developed
through a series of storyboards,
which convey the main phases
and movementsv of an animation.
A style frame serves to establish
the visual elements of a project, such as its colors, typefaces,
illustrative components, and
more. Such frames must be de-
signed with the same atten-
tiveness to composition, scale,
color, and other principles as any
work of design. In addition, the
motion designer thinks about how all
these components will change and
interact with each other over time.