Dynamic Vision Board Rationale
Overview of the design. Why is a dynamic vision board useful? What benefit does motion provide in this context?
The dynamic vision board combines imagery that uses radial designs and transitions that represent crossroads in different ways. Each scene uses either imagery of a literal crossroads or it has elements come in from opposing sides. Or it shows elements radiating out of the same focal point. For pieces like the landmarks, one tone designs that utilized active white space were used to make clear cut shapes. This shows space and empty space coming together in a cohesive design. The colors utilize contrast for a similar purpose. A dynamic vision board is useful because it helps demonstrate what feel videos and motion graphics from this campaign will have outside of its static visual identity. Using motion gives the imagery more life which makes it easier to catch an audience’s eye. It also allows a chance to showcase the audio identity of the campaign. It shows whether audio should have a fast or slow tempo; whether it uses traditional instruments or synthesizers; whether the style is country or jazz.
Connecting, Synthesizing, and Transforming
Simplified shapes and clean lines were used for the style. When using this style for the landmarks, enough detail needs to be given so that they are recognizable. Using active white space (AWS) gives details but keeps the shapes one tone as seen below in figure 1. Sharma and Varki’s study looked into how AWS can be used in logos, but the principles were transferred to the landmarks. As Sharma and Varki (2018) explain, by creating sharper contrast it cuts down on the stimulus that the viewer has to process and allows for a greater perceptual fluency (p.271).
Secondary action is also used to help create more life and interest. In the scene with the words and landmarks rather than having Riga sit on a static title, the outer and inner rings rotate (see figure 2). It does not distract the viewer, but it does create some interest. Pannafino (2018) explains that secondary animation provides support to the primary animation. The rotating rings support the rotating rays and the landmarks.
A design problem for this piece was incorporating elements without losing simplicity and keeping the eye where it is needed. In the original storyboards, during the landmark scene clouds were going to be animated into the stage. When they were added though, the stage got cluttered and it detracted from the information. The end of the animation was supposed to end with the title being surrounded by plates that close in around it. The red plates turned out to be too distracting, so the scene was changed to have the background fade out and leave the title by itself. This also allowed for having the title fade out with the music, tying the visuals with the audio.
In the TEDxTianhe Opening done by Liu and Lin (2015), motion and shape shifting are used to transition. The dynamic vision board uses similar techniques. But in the TED video, shape shifting is used to change one object into another or change the perspective. In the Riga motion graphic, while shapes are led into each other, it is meant more as two ideas coming together. Not as one idea taking over the other.
The music that was chosen combines traditional instruments with electrical. This brings in the theme of the crossroads by having traditional meet new. The high bpm also helps with creating fast transitions to get through the information in a quick manner.
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