All the while, the body includes more relevant information, which is easier to read and grabs the readers attention.ДЄnimators almost always have to use вЂarcsвЂ™ when making something move, as they help the object to comply with the laws of physics and give it an overall better flow. The header and footer includes less relevant information, which is slower to read and less inviting. A simular approach is used with page layouts. This makes the faster movement more appealing. вЂSlow In & Slow OutвЂ™ and вЂHeaders & FootersвЂ™Д®verything has to physically speed up and slow down when moving from A to B, which is animated by adding more frames towards the start and end, and the main movement has fewer frames in between. the aesthetic of the brand doesnвЂ™t stop at one design.Д¦. When the logo is used in a particular way on one product, all other products must use the logo in way as similar as can be. A similar thing happens when it comes to multiple projects falling under the same brand. ItвЂ™s widely understood that nothing stops all at once, so animators make sure that even when one part of something stops, anything else attached to that will continue to move. вЂFollow Through & Overlapping ActionвЂ™ and вЂBrand ConsistencyвЂ™ Simular principles to вЂStraight Ahead and Pose to PoseвЂ™ are used when designing a responsive website, usually by starting with the largest screen and reworking the design for smaller ones.ДҐ. вЂResponsive Web DesignвЂ™ is a growing trend where a website changes scales and arrangement depending on the size of the device itвЂ™s being viewed on. вЂStraight AheadвЂ™ involves drawing all frames from start to end, whilst вЂPose to PoseвЂ™ involves drawing key frames before the remaining animation is filled in. вЂStraight Ahead & Pose to PoseвЂ™ and вЂResponsive Web DesignвЂ™ This is achieved with a вЂless is moreвЂ™ concept, by removing/reducing the size of unimportant components and using negative space to bring focus to the most important sections.Д¤. Exactly the same can be said for graphic designers, since the most important elements need to be kept clear and instantly viewable.

There are multiple ways of doing this, including the use of titles and subtitles, spacing between paragraphs, first line indents, and drop caps.ДЄnimators have to present scenes, characters and actions in a way thatвЂ™s easy to comprehend, achieved with camera angles, a removal of visual obstructions and the use of вЂnegative spaceвЂ™. Arguably, the same thing can be said for graphic design, as the designer needs to give a hint to the reader to indicate when a new paragraph is about to start.

вЂAnticipationвЂ™ is when the animator prepares the audience for when an action is about to happen by adding a small, subtle movement. Larger type generally requires smaller leading and tracking to add weight, whilst smaller type requires larger leading and tracking to make the type lighter. ItвЂ™s also important for a designer to understand tracking (the spacing between multiple characters) and leading (the space between paragraph lines). One of the most important principles for an animator to understand is making an object squash and stretch as it moves to adds weight and flexibility to that object. вЂSquash & StetchвЂ™ and вЂTracking & LeadingвЂ™ Just to avoid confusion, вЂmotion designвЂ™ is more focused on kinetic graphics and entertainment value, whilst вЂgraphic designвЂ™ is more about still graphics, legibility and functionality.ДЎ. When not in the classroom learning about graphics, I did independent studies into the ideas and concepts of animation, including Frank ThomasвЂ™ and Ollie JohnstonвЂ™s вЂ™12 Basic Principles of AnimationвЂ™.ДЄfter hearing a talk from a motion designer, Cennydd Bowles, about how the 12 principles could be applied to motion design, I was inspired to examine this relationship further, and see how those principles can be used in graphic design. Although my heart and career lie in graphic design, I also have a keen interest in animation, mainly because of my love of вЂPixar Animation StudiosвЂ™.

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