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This installment of the Creative Inspirations series takes viewers into the life and home studio of one of the entertainment industry's most sought-after motion graphics designer. Rick Morris is a classically trained illustrator who successfully transitioned into the world of motion graphics. His highly expressive works have appeared as opening titles for films such as Mi Vida Loca, television programs like "Survivor," and commercials for Toyota, Kyocera, and Michelin. He's also designed the menu titles for the DVD of "The Sopranos." This installment of Creative Inspirations shows how Rick evolves his skills and applies them to moving images, how he continually develops his creative perspectives, and how he became a popular teacher at Art Center College of Design in Pasadena and Otis College of Design in Los Angeles. To learn more about Rick Morris, visit his website at nobleassassins.com.
(Music playing.) I keep up with emerging technology by staying connected with the right three or four people. We basically like share the same information. We're pretty much cross-platform. But saying that I've got a pretty extensive roster of folks that I toggle back and forth with as far as like I was checking in with each other, staying up on things, but clients' needs are becoming more expensive and demanding now.
So yeah, it's not enough to know After Effects. There was a time when it was just simple as just adopting a style. There were the forefathers that brought the whole print look into motion graphics. Got away from that whole light shiny thing. I've realized the need to incorporate 3D. If I can't be a master of virtuoso of Maya myself, I sort of build out my alliances and my troops accordingly.
I have got my 3D people. I have got my Flash people. We work on-- we will all sort of converge on a project and work out every aspect of it depending on what we need. As far as the crisscross platforming thing goes, I worked any number of variations. I mean you know we have done Flash animations that were brought in to After Effects and we've done like 3D modeling and all kinds of stuff depending on that. I think about the most challenging thing for me is not to let the business get in the way of what I am trying to do.
I don't let the up times or the down times make me feel like I am either ahead or behind in the game. There's times I am just banging on three to four jobs at one time. There's times when I have nine people running around me. There's times when I am just working alone on my laptop because that's all the job calls for. But even in between jobs and if it's a little bit slow, I don't take that as a negative. I use that time enthusiastically to get caught up on work that is on the back burner.
By other work I really do mean personal work. I want I get more deeply involved in that. I think that is just going to add another layer on to what I am already doing. I don't worry too much about keeping up. I think staying vital is just saying something with your work. Stylistically you can pretty much like pull any rabbit out of a hat trick you need to in order to please a client with how they want it to look cosmetically on the surface.
I mean there is a lot of ways of going about that. But you're telling a story. I think you're telling a story. I think you are trying-- Even if you are selling like garbage, you're still like telling a story and that's like your biggest challenge ever. If you can like sell garbage and tell a story too, then you've done your job right there.
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