Cel Animation in Motion Graphics

A screenshot from DD26 Cesar Martinez’s broadcast package incorporating cel animation overlaid on footage.

Cel (or classical) animation has been on the rise in motion graphics and is now becoming ubiquitous. It’s that dripping wet, organic swirl of colour that leaves jaws on the floor and students scouring tutorial sites. That  fluid transition that meshes scenes into stories and engages viewers.  It can mean hundreds of drawings and lakes of coffee but the end result is always worth it. Where motion graphics used to trend towards being structured and clean, the industry has been undergoing an organic face lift. The combination of using traditional frame by frame, hand drawn animation alongside other techniques adds a refreshing fluid style that surpasses the structure and consistencies of key frames and motion paths.

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Design Career Process : From TV Watcher to Motion Designer

When I was young, I loved to watch television; it really did not matter what was on. My parents told me that I just like to watch and listen to whatever was on television. However, back then I was too young to decide what to do with my future. When I was in high school, I had to think about my career and what I wanted to do and study after I graduated.

I decided to study more about film production, but I did not have any experience or background in this field. I got into the Toronto Film School after I graduated high school. But Film production was very different from what I thought. Therefore, I decided not to spend my time on what I did not want. I went to my home country, South Korea, and there started to find out what I wanted to do. I got a job as a videographer and editor for a promotion company. The reason I got that job is I learned how to shoot and edit basic stuff using Final Cut Pro. As I kept working, I discovered the VFS school website, my co-worker recommended that I take the Digital Design program, and I found out about Motion Design.
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Ned Wenlock : Go Everywhere, Apache, and All We Ever Wanted Was Everything

Ned Wenlock Apache for Danger Beach

I’ve been following Ned Wenlock‘s work since Motionographer first featured him in April of 2011. He has explored a similar After Effects technique in three different videos (Honda: Go Everywhere; Apache for Danger Beach; and All We Ever Wanted Was Everything), and each one improves upon the previous. It’s a nice example of how a style used in a more abstract, conceptual piece, such as the two music videos, can be applied to a commercial purpose (as shown in the Honda ad) in an effective way.

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Working with AmazonFresh

Still from AmazonFresh Motion Graphic piece

I have been reluctant to write this article, simply because I don’t particularly like talking about “my success”. But under threat from our much loved Sholeh Atash, who reminded me the first chance she got that I owed her a story, I have been forced to set aside my quibbles and repay my debts (I still love you Sholeh :P )

I was hired by AmazonFresh as a UX (User Experience) Designer, shortly after graduating. For those who don’t know it, AmazonFresh is a Seattle-based online grocery store. When I joined the team, there was only one designer who had been doing the UX, the UI (User Interface) design, and everything in between, all by herself for over a year, and she was clearly looking to share the increasing workload. What particularly attracted me to this opportunity was that the team was small enough that I could really make a mark fairly quickly. I would have little chance to hide behind a line of more senior colleagues, and would have to hit the ground running. And that’s how I like things to be. Also, given that it was Amazon, everything had to be done today (and doesn’t that sound completely familiar and normal!). So, the time between ideation and fruition was as small as possible. I could join and have my stuff up on the website in a few weeks, live and operational!
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