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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.) This would be one of my first favorite, first and foremost favorite tools, is getting something down on paper in whatever manner I can. Even if they are thoughts, scribbles, ideas, just kind of conjectures, things off the top of my head, I want to get those notes down as quickly as possible. I am not one to jump straight into Illustrator and Photoshop.
I sort of get there by matter of process. I'll tend to do that once in a while, but I find that if that's my first route, unless I am just creating basic shapes and elements that need to be clearly defined or highly stylized. I will go there, but that's usually my second stage and then I'll go into like a combination of Illustrator and Photoshop. I usually have them open at the same time so I can kind of like create elements and move them back and forth.
Once I get enough elements created in Illustrator that most likely most times would be inspired by something that I kind of like hand drew, just to get a jump on things. Image recording wise, I've been through a series of cameras. The larger format mini DVs to the smaller format, hand-held like consumer grade mini DVs. I seem to be like progressively downscaling because I like the sort of like low fineness of just point-and- shoot and the accessibility of it as well.
I'm constantly importing photos from the iPhone, because everyday I've got that thing. I am shooting as many pictures as I am making phone calls with that thing. So I start to import like different elements in. And I know that they are just temporary elements but they really help me start to build kind of like what I am going for. At the end of it all my most important tools are my-- I like to think of my brain as the factory and I like to think of my eyes and my hands as the tools.
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