From the course: Graphic Design Tips & Tricks
How to put motion on a static page
From the course: Graphic Design Tips & Tricks
How to put motion on a static page
- Hi everyone, John McWade, we live in world that's full of motion, it seems like almost everything is moving almost all of the time, so when you're designing a static page, whether it's a print page or web screen, that doesn't move. How do we create on that page, a sense of movement? There are several ways, let's have a look. This simplest way is to use a photograph that was taken of something in motion, race horses, in this case, the blur emphasizes that motion. But you look at this, and you get the sense that these horses are moving, that's the simplest thing. The dancer has three kinds of movement, one is that she's obviously moving, two is that she has these physical lines, that convey movement, and three, what's coming off of here are also phantom lines, her line of sight, the line her arm is facing, the line her leg makes. And our eyes will follow those lines, so when we add her to a design, we get the energy of her movement, in front of the static type, which creates a dynamic layout. We can take advantage of the phantom lines we just saw, by having them all point to a piece of copy that we would like the viewer to read. So that's a way to create motion. The third way, and this is a way that's commonly overlooked, is that the motion happens, not on the page, but because the viewer's eyes are moving. The easiest way to show that is with a panoramic image like this, where your eyes must span the distance from the left to right. Your eyes physically move to see this page, in this case, that line is emphasized, because of the horizon line, and the near horizon line, that create a left to right sweep. We can take advantage of that side to side motion, by creating a band that runs from left to right, and in that band, we'll add our copy, our eyes are going to read that copy left to right, and on the right side of this, put a picture of the cafe. So all the lines in this image are moving you from the left side of the screen to the right side of the screen, and your eyes are in motion, and so when you look at the picture you'd say, well, that's not a moving picture, and yet, there's a lot of engagement in that picture, because you have to move to see it. Another example, this star burst is full of lines that our eyes follow, they radiate out from a center, and just like the dancer with those phantom lines, we tend to follow those lines out beyond where they actually go. Set our type in the middle of this image, and then spread it out in a panoramic line as well, and our eye now follows from left to right, and there's motion in this image. And you have a sense that this image is dynamic, and although not physically moving, that there's the sense of movement here. We can do this typographically, simply like this. Nothing is moving, except your eyes, and because of that, this is an engaging setting. You do follow from the left to the right. Our eyes love lines, our eyes will always follow a line, and especially converging lines. Converging lines are very fast, and we will tend to go from the wide end to the narrow end, and speed up as we get toward the narrow end. Curve lines are super fast, our eye will not only follow that curve, but then it will continue, in the phantom off the end of that curve. You see converging curves used like this a lot in swirls, in swooshes, and so on, and that's because they convey so much movement. Our traffic lines lead right to our title, these converging gears create a strong line that our eyes will follow. This flag is fairly static, but if we make this into a pennant, now we create motion, because our eyes want to follow those converging lines. If we look at it from the other side, however, our eyes tend to move left to right, and now they have to go up against the convergence, and the motion is much slower. Angles always create motion, again, our eyes follow these lines, and when we make this tilt, we have converging lines, as well as, just the energy of an unstable line. So we've taken an otherwise static picture, and put it in motion. You can see this really happen when we have true converging lines. The car at an angle is much faster than it would be, if it were simply horizontal, when we add our type to it, if we make sure that type is in italics, everything on this page is now moving fast. Speaking of type, there is some movement in this setting, because the XR600S is an extended type face, so your eyes do have to move to some extent, from the left to the right. If we italicize this, however, it adds a lot of motion to it. We can add even more motion with a blur, but when we do that, we lose readability, so a blur effect like this should be used very sparingly. Italics don't automatically mean fast, however, italics in a block of text aren't fast, because the dominate line is not horizontal, but vertical. So italics here, would just be used for emphasis, or for a style point. You can't tell by looking at the cartoon car, if it's parked or if it's moving, if we slant the car, however, we italicize the car, it's now obviously moving. If we add speed lines, it's moving even faster, these speed lines suggest a blur that we saw in our race horse. And if we position it leaving the page, it now looks like it's moving super fast. Another way to create motion. Our cute little bee, looks like it's flying, because of the dotted lines, we can see its flight path. If those lines are gone, now the bee is just static on a page, it's as static as if it's hanging from a string, like a mobile. The closer together the dots are, the faster the movement, arrows with dashed lines, look like the parts they're referring to are moving, or are to be moved. Another way to create motion. Noting on the page is actually moving, but on the left, for example, you get a clear sense that those two parts move and snap together. And then the center, that the microphone snaps down into the stand. On the right, the solid line serves simply as a pointer to the part, you don't have a sense of movement there. This layout has movement in it, and it's the phantom line that we saw earlier on in our dancer, right there. The Southbounders line creates movement to the right, and our eyes tend to follow that line on out, so there's plenty of movement in this static layout. Anything in a burst has motion, this circle in the center of the page is static, but when we radiate out from the center, like saw with the earlier burst, this image has a lot of movement in it, especially because of those converging lines, that all converge toward the center. You can see that again, a lot of motion in this image. Anytime we put things in a sequence, like a stop action photo, we have a clear sense of movement. A clear progression here, something is moving, this is useful when you want to show how something works, create a sequence. Anytime you repeat an element, you create motion, in this case, we have a strong left to right line, we also have five separate objects, that are engaging the eye, and when they go together in this display, we have a lot of movement, a lot of motion. And this an engaging layout. Similarly, put an image on this card, and rather than making that image big, simply repeat it. This is like the wall of video that you will see at the TV store, you know, where there are 12 sets up on the wall, and they all have the same channel turned on. What's interesting here, is that although all those pictures are the same, your eye is busy moving around that field. We are pattern seekers, and we're looking for similarities, we're looking for differences, we're looking at each one of those images, and your eye's very busy over there. There's a lot of movement that's been created by your eye. We can add, on the right side of the card, a different kind of movement, and that's this cute curly cue typeface called Hairspray, our eyes follow those lines too. So this card has a lot of movement in it, your eye is very busy doing a lot of things. Patterns can often create movement, this one has a lot strong movement, rows of toucan birds facing opposite directions. Because the bill of the bird is actually a pointer, like a phantom line, our eyes, you know, as we scan this picture, our eyes are snapping right, then left, then right, then left, then right, then left, this is a very lively image, full of movement. The position of elements in a layout can create movement, everything on this card is centered, the center is a very strong position, all eyes converge on a center, it's stationary, it's very strong because it's stationary, it's placid. But if we move these elements, the name to the left, the copy to the right, now we create an asymmetrical tension, where our eye, looking at the name, is either moving out to the left, or it's coming in from the left, and the copy on the right. This is a very lively card, there's a lot of action here, it's a vigorous design. Similarly, if we put everything on the right side of the card, now we have an imbalanced card, that itself is full of movement. It's full of movement because of where it is on the far right. Note in this case that, although we have a green field here, the O, if you drew a vertical line here, the O lines up with the copy below it, so all the copy is aligned along a right line. Perspective creates movement, and this is the same as those converging lines. Here's a deck of cards going from front to back, if you have just a little less of each card showing, as it gets smaller, you get the sense of a straight line here. If, as the cards get smaller, you have the same amount of each card showing, it creates a curve for you. In both cases, this is a strong line that your eye follows, just like it followed that converging line earlier, to this, and it wouldn't work with cards, but if you had a different kind of object here, that had more natural distance, if you begin coloring those smaller objects light, we have a sense of atmospheric perspective, the farther away things are, the more they become like their background. That creates motion also. Squeezing, or compressing space, creates movement, here's our typeset word, we'll color it, just kind of a wild array of color, smash all the letters together, overlap them, and then apply a multiply filter so we can see through them. A lot of movement, a lot of interactive motion among these letters. For this effect to work, you have to have very bold type, and pretty plain type, if you try it with very light type, it's just too thin, you don't get that effect. If your type is too busy, you get these very active shapes in between. If your letters are too alike, or your letters are too narrow, that will defeat the effect. And finally, you can offset imagery, we start by setting our basic type, outline it, offset the outline, create a second outline, and offset it further. This is a fun, lively way to create a vigorous sense of movement. And that's your design for today. See you next time.
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Contents
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Design a modern cover: Think simple, clean, and angular3m 22s
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Transform a product sheet: Put your words here, not there3m 1s
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Design a business card: Make it look like what it says4m 40s
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Double your artwork for free: Use the same picture twice3m 49s
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Design a ghosted logo: A picture always goes with itself5m 39s
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Design a business card using repetitive shape4m 38s
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Why round letters are bigger than straight ones1m 49s
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Design a powerful poster: Work with your photo, not against it7m 13s
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Design stationery that’s almost a brochure: Picture your product, not your logo7m 42s
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Alignment: Your ruler’s good only for regular things4m 32s
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Logo design: Think simple3m 40s
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Your design needs a focal point: Dramatic photo anchors a strong makeover8m 5s
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Chart your data with images2m 26s
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Make a beautiful logo with off-the-shelf type3m 30s
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How to transfer your look to a new format13m 55s
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Angles4m 52s
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The (very!) versatile art of the silhouette8m 14s
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Easy, functional one-line design6m 30s
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Signage: Consistency makes the brand7m 59s
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Elementals: How black, white, and gray make depth2m 43s
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A beautiful desk calendar you can make yourself9m 28s
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Lesson of the counterintuitive logo5m 24s
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How to design visual instructions5m 42s
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Design a beautiful CD package9m 7s
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Simple brochure presents your face to the public2m 37s
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Soften the edge2m 49s
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Small layout packs a big punch6m 59s
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Shape it: Part one6m 52s
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Shape it: Part two4m
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A logo makeover: Part one5m 3s
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A logo makeover: Part two5m 22s
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Grid collage3m 8s
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People in a group on a grid5m 24s
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Magazine cover redesign4m 33s
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Designing cards with type alone7m 7s
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Designing a small-space advertisement4m 11s
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Designing a business card for a photographer5m 17s
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Designing names with type and basic shapes4m 17s
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Review of an outdoor sign logo7m 58s
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Creating a small multipage brochure9m 21s
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Designing with black, white, and gray5m 19s
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Gestalt techniques: Isomorphism6m 40s
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Redesigning a business card7m 48s
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How to put motion on a static page11m 59s
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The color wheel6m 36s
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Layout decision points5m 3s
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Designing a tiny brochure3m 53s
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Panoramic spacing3m 23s
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Multi-use format for a business card7m 57s
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The boring book cover challenge: Part 17m 31s
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The boring book cover challenge: Part 24m 21s
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The single space practice5m 1s
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Incorporating hairlines into your design4m 22s
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Close enough with color choice4m 39s
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More design techniques with grids4m 35s
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Lanzarote calendar assignment4m 11s
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Foreground focal point2m 58s
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Stop, look, observe3m 50s
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Working with a rule of thumb (dynamic) grid8m 24s
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The humble power of negative space9m 37s
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Go with the flow9m 52s
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Learning by doing11m 43s
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For the love of design!4m 7s
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The boring book cover challenge, part 35m 50s
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Bold moves5m 6s
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Simply beautiful4m 51s
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Common but versatile looks5m 37s
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Audacious philanthropy5m 50s
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Simple slides12m 48s
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Every face has a place5m 8s
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Those little extras1m 53s
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Seeing sight lines13m 34s
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Swiss style grids, part 15m 26s
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Swiss style grids, part 26m 54s
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Poetic type5m 20s
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Visual continuity4m 53s
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Find your balance5m 25s
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Procrastiworking with album covers10m 21s
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Looking around: Why it works4m 17s
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Don't fake it2m 3s
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Find the focal point6m 5s
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Tooth and texture8m 35s
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Small and simple5m 37s
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Design challenge: Dino Water3m 36s
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Looking around: Address the audience2m 52s
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Experimenting with borders5m 20s
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Magazine layout triple threat5m 48s
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Product ad comparison4m 5s
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Lanzarote calendar assignment: Revisited5m 24s
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Rewind: Simply beautiful4m 59s
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Rewind: Seeing sight lines13m 33s
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Find your center with typefaces4m 59s
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Maki poster, part 15m 40s
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Maki poster, part 26m 35s
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Quick look: Decoded wallet case1m 2s
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A type of luxury2m 32s
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Quick look: Saltwater restaurant1m 15s
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Quick look: Nick's Cove1m 1s
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Less is more: Book covers5m 22s
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Less is more: Notices5m 25s
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Less is more: Posters4m 44s
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Movement in design4m 16s
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The British Academy: Logo4m 36s
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The British Academy: Type3m 48s
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The British Academy: Grid4m 45s
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Quick look: Teavana rock sugar53s
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Ask John: Authentic advice2m 33s
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Blue Note: Donald Byrd album cover3m 50s
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Blue Note: Caddy Daddy, Part 14m 45s
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Blue Note: Caddy Daddy, Part 24m 28s
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Blue Note: Caddy Daddy, Part 33m 56s
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Ask John: Finding your passion2m 41s
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It's all in the details: Lineweights1m 49s
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Paper flyer redesign4m 6s
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Set a headline with Gossamer3m 54s
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Ask John: New business logo1m 52s
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A new type: Helvetica Now5m 48s
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In detail: Line values2m
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Typographic silence6m 46s
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Rebranded: Uber4m 6s
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Capture connection with authenticity5m 27s
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