Motion Graphic Design is a subset of graphic design in that it uses graphic design principles in a filmmaking or video production context (or other temporally evolving visual medium) through the use of animation or filmic techniques. Examples include the kinetic typography and graphics you see as the titles for a film, or opening sequences for television or the spinning, web-based animations, three-dimensional station identification logo for a television channel. Although this art form has been around for decades, it has taken quantum leaps forward in recent years in terms of technical sophistication.
Motion Graphic Design is a subset of graphic design in that it uses graphic design principles in a filmmaking or video production context (or other temporally evolving visual medium) through the use of animation or filmic techniques. Examples include the kinetic typography and graphics you see as the titles for a film, or opening sequences for television or the spinning, web-based animations, three-dimensional station identification logo for a television channel. Although this art form has been around for decades, it has taken quantum leaps forward in recent years in terms of technical sophistication.
The Mill
Monday 16th March
http://www.themill.com
The Mills Introduction to themselves (present of the mills website):
Twenty five years of innovation has established The Mill as a recognised global brand for creating seamless visual effects, but we are also leaders in design, animation, live action content direction, VFX brand accounts, versioning and global adaptations, digital content creation and distribution. Our ability to package multiple services allows us to deliver both schedule and budget efficiencies and to create with the multi-platform world in mind. This helps clients create great looking content for any screen.
We collaborate with groundbreaking directors, creative agencies and visionary brands, who trust us to bring their ideas to life. We value the two-way nature of these partnerships, understanding that our clients give us opportunities to improve our craft and astound their audiences.
Our reputation is built on our people. We find, train and nurture the most talented creative, technical and production teams in the industry and our scale enables us to work individually, in teams or as an international network via our bases in London, New York, Los Angeles and Chicago.
The Mill is respected for high-end visual effects, award-winning moving image, design and digital projects for the advertising, games and music industries. The Mill is usually well represented at the numerous Advertising and Visual Effects awards ceremonies world-wide each year.
The Mill is involved in a range of visual effects and design projects in the commercial, gaming and music industries. From the design of simple characters to the complex creation of CGI sports stadiums. The company’s supervisors, producers and artists support all stages of production, from pre-visualisation and conceptual artwork, shoot supervision, 3D, 2D and colour grading through to delivery of the finished project
http://www.themill.com
The Mills Introduction to themselves (present of the mills website):
Twenty five years of innovation has established The Mill as a recognised global brand for creating seamless visual effects, but we are also leaders in design, animation, live action content direction, VFX brand accounts, versioning and global adaptations, digital content creation and distribution. Our ability to package multiple services allows us to deliver both schedule and budget efficiencies and to create with the multi-platform world in mind. This helps clients create great looking content for any screen.
Our passion is for great ideas, beautifully executed, that engage audiences irrespective of platform, device or venue.
We collaborate with groundbreaking directors, creative agencies and visionary brands, who trust us to bring their ideas to life. We value the two-way nature of these partnerships, understanding that our clients give us opportunities to improve our craft and astound their audiences.
Open Evenings (starting job Opportunities at the mill)
Runners: "Our Runners are our future talent".
"The position of runner exposes you to every department and best equips you for choosing your own career path. Runners hold a key client service role, providing the highest standards of assistance and support to both internal and external clients, and ensuring first-rate hospitality."
"We are very keen to hear from you if you are an enthusiastic, hard-working, talented individual with a passion for creative digital media and visual effects. Our preference would be for media graduates or candidates with relevant experience in other areas of the industry.We are continuously looking for new talent with the desire to work in the VFX industry and are always on the hunt to encourage new talent into the industry."
"We are very keen to hear from you if you are an enthusiastic, hard-working, talented individual with a passion for creative digital media and visual effects. Our preference would be for media graduates or candidates with relevant experience in other areas of the industry.We are continuously looking for new talent with the desire to work in the VFX industry and are always on the hunt to encourage new talent into the industry."
Open Evenings are aimed at those who are passionate about the VFX industry, but are unsure of how to get that foot in the door.
The evening will be a chance for runner applicants to meet like-minded people as well as some of The Mill's leading talent who will be able to guide you through what to put in your showreels (and what not!), what entry level positions are available as well as lots of their own work which you can pick their brains about.
If you are interested in applying, please send a cover letter, your CV and any relevant work via email to runners.recruitment@themill.com with 'Open Evening' in the tagline.
What Work They Do:
The website for this company shows the clients they have worked with and the work they have produced to be on a large scale and have created pieces for numerous commercials many of which we will have seen on tv ourselves such as pencil adverts, burger king adverts, nhs adverts and more.
Cancer research the lump:
AMV worked with director Sam Caadman out of Rogue to create a poignant reminder that lumps that go un-noticed and un-treated can be deadly.
The ad highlights how people often ignore the early signs of cancer, featuring a lump in the road, left to grow, being seemingly ignored by hundreds of passers by.
The Mill's 2D team helped to integrate the lump seamlessly into the pavement in Flame, whilst Mill colourist Matt Osborne added a natural grade.
The ad highlights how people often ignore the early signs of cancer, featuring a lump in the road, left to grow, being seemingly ignored by hundreds of passers by.
The Mill's 2D team helped to integrate the lump seamlessly into the pavement in Flame, whilst Mill colourist Matt Osborne added a natural grade.
They also display a lot of their work done for music videos such as marina and the diamonds 'Forget', cocacola, prada, god of war cinematic game footage promotions and loads more.
History Of The Mill And A Bit More About It:
The Mill is a visual effects, animation and design studio launched in 1990 with offices in London, New York, Los Angeles and Chicago.The Mill is respected for high-end visual effects, award-winning moving image, design and digital projects for the advertising, games and music industries. The Mill is usually well represented at the numerous Advertising and Visual Effects awards ceremonies world-wide each year.
in 1990, Robin Shenfield and Pat Joseph opened The Mill in Soho, London. Starting as a visual effects house for the advertising industry, it was the first VFX company in Europe to use exclusively digital methods. Then in 2002 The Mill opened a studio in New York, becoming the first uk visual effects house to do so.
Following the success of this studio, The Mill was launched in Los Angeles in 2007 - the first UK visual effects house to open on the West Coast - and once again, the new venture was highly successful.
2002 saw The Mill open a studio in New York, becoming first the UK visual effects house to do so. The extension of operations to the US was successful, with the company growing to employ over 100 staff by 2009.
Following the success of this studio, The Mill was launched in Los Angeles in 2007 - the first UK visual effects house to open on the West Coast - and once again, the new venture was highly successful.
Why i chose to look into this company:
The videos available on their website showing the work they have created shows a vast range of the aspects and nieces within motion design showing work that uses CGI, stop motion, Visual effects, 3D, 2D, commercial, music videos, gaming, filming shoots etc and probably more examples than what i have listed. I love the variation and room for creativity that this company offers and find the work they produce massively inspirational.
I think this studio is a good place for me to start looking into the industry to start to develop my path in the this career and help me find work to inspire my own. It is all precision and pristine work yet the creativity has not been squeezed out and there is still the presence of that creative spark that makes the audience think, or enthralled or question what it is they are viewing etc and is done very well.
Scape Goat Research
The Scapegoat' remains one of the best known religious images of the 19th century. His continuing interest in religious subjects for his paintings and a determination to paint directly from Nature culminated in his first trip to the Holy Land in 1854-6. Here he could pursue his desire to paint religious narratives in the landscape in which they took place.His continuing interest in religious subjects for his paintings and a determination to paint directly from Nature culminated in his first trip to the Holy Land in 1854-6. Here he could pursue his desire to paint religious narratives in the landscape in which they took place
He travelled to Jerusalem in June 1854 and then on to Oosdoom, on the southern shore of the Dead Sea, in October of that yeahe bought a rare, white goat in Jerusalem then spent about ten days working on the Lady Lever canvas at Oosdoom, painting the distant mountains and lake and making sketches of the goatWhen poor weather forced Hunt to return to Jerusalem for the winter, the goat died on the journey home.(this is why there are 2 versions of the painting)
By early 1855, Hunt had purchased another goat for use as a model and completed its image and the sky in his Jerusalem studio, having waited most of the winter for the right sort of clouds. In his diary he describes standing the long-suffering goat in a tray of salt and mud, collected in Oosdoom, to create the dried and cracked lake shore beneath his hoofs. In March he bought a camel skeleton and borrowed an ibex skull from a friend to add these grisly details to the painting.
Hunt took his subject from Leviticus XV1 and the Jewish ceremony of Atonement held in the Temple at Jerusalem. Two goats were used during the proceedings; one was sacrificed as a burnt offering to God, the second was led out of Jerusalem to carry the sins of the community. A crowd followed this goat, jeering and chasing it. Tied between its horns was a scarlet cloth which, if their offerings were accepted, would turn white. The whole episode was regarded as typological, a biblical Old Testament narrative prefiguring a NewTestament event, in this case the sacrifice of Christ to carry away the sins of the world.
(pre raphelire) a member of a group of English 19th-century artists, including Holman Hunt, Millais, and D. G. Rossetti, who consciously sought to emulate the simplicity and sincerity of the work of Italian artists from before the time of Raphael.
-Raphaelite art played in changing concepts of vision and truth in representation, as all wrestled with the question of how to observe and represent the natural world and the human face and figure. This rich dialogue between photography and painting is examined in the exhibition's thematic sections on landscape, portraiture, literary and historical narratives, and modern-life subjects.
all wrestled with the question of how to observe and represent the natural world and the human face and figure. This rich dialogue between photography and painting is examined in the exhibition's thematic sections on landscape, portraiture, literary and historical narratives, and modern-life subjects.
The philosophy of these founding brothers was recorded at their first meeting as follows:
1. To have genuine ideas to express.
2. To study nature attentively, so as to know how to express them.
3. To sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote;
4. And most indispensable of all, to produce thoroughly good pictures and statues.
After eventually entering the Royal Academy art schools, having initially been rejected, Hunt rebelled against the influence of its founder Sir Joshua Reynolds. He formed the Pre-Raphaelite movement in 1848, after meeting the poet and artist Dante Gabriel Rossetti. Along with John Everett Millais they sought to revitalise art by emphasising the detailed observation of the natural world in a spirit of quasi-religious devotion to truth. This religious approach was influenced by the spiritual qualities of medieval art, in opposition to the alleged rationalism of the Renaissance embodied by Raphael. He had many pupils including Robert Braithwaite Martineau.Rest, rest, a perfect rest
Dante Rossetti Poem (description of landscape and mood similar to how scape goat looks) :
Dream Land
Dream Land
Shed over brow and breast;
Her face is toward the west,
The purple land.
She cannot see the grain
Ripening on hill and plain;
She cannot feel the rain
John William Waterhouse, ‘Ophelia’ 1889:
it's the darker reaches of the Pre-Raphaelites that make the most interesting fodder for fashion, and the most modern. That's why Millais' doomed Ophelia is undoubtedly fashion's Pre-Raphaelite inspiration-board pin-up of choiceSomewhat surprisingly, the chocolate-box imagery of the Pre-Raphaelite Brotherhood has inspired some of the most exciting and brave new fashion, says Alexander Fury
Pre raphellite in fashion:
Photographed by Cuneyt Akeroglu and styled by Ece Sukan, Malagosia Bela appears in the April 2011 edition of Turkish Vogue. The cover girl (Vogue Turkey and Numero in the same month) dons a wardrobe of long flowing dresses from the likes of Christopher Kane, Christian Dior and Fendi. An amazing garden filled with flowers surrounds the Polish top-model, while Malgosia looks like a Pre-Raphaelite woman.
Unforgettable actress Rooney Mara poses beautifully in a new editorial for Vogue magazine. As the lead in the highly anticipated movie The Girl with the Dragon Tattoo, she plays Lisbeth Salander, a character very unlike the one portrayed in this Vogue editorial. Though she plays an outcast in the movie, she portrayed an incredibly fierce girl for photographers Mert Alas and Marcus Piggott. The November issue features an in-depth look into the movie star's world now that she's been handed this coveted role.
The image above reminded me of John Everett Millais painting Ophellia. This shows just how far the influence of the pre raphellites has traveled through out time.
John Everett Millais:
In this picture his subject is 'Ophelia' from William Shakespeare's 'Hamlet' who driven out of her mind by Hamlet's neglect and the murder of her father drowns in a stream ...
Determined to depict Shakespeare’s waterlogged maiden with utmost accuracy, but recognising that the chances of persuading someone to pose in the freezing Hogsmill were distinctly slim, Millais came up with the wheeze of getting his model – the 19-year-old Elizabeth Siddall, future wife of Dante Gabriel Rossetti – to lie, fully clothed, in a full bathtub. Oil lamps were placed underneath the tub to keep the water warm, but when they went out the artist was too engrossed in his work to notice. Lying deathly still in chilly water for hours on end left Siddall with a stinking cold.
Dante Gabriel Rossetti and Elizabeth Siddal.
http://preraphaelitesisterhood.com/pre-raphaelite-marriages-dante-gabriel-rossetti-and-elizabeth-siddal/
Fruit of jesus Sacrifice (II) (llse Kleyn)
Relates to scape goat as shows jesus’s sacrifice scapegoat is symbol of this. and has biblical nature a modern version.
Pomegranates - The Fruit of Jesus' sacrifice. When cut open it exudes RED Juice. Its skin is Purplish in color, suggestive of God Manifestation and royalty
The 613 seeds found within the pomegranate represent the 613 commandments in 1st five books of the Old Testament, which is "the law". We know that the 613 commandments are the law. The law condemns us, but Jesus came to fulfill the law and now we live under grace by His work on the cross.
SACRIFICE -
Hunt took his subject from Leviticus XV1 and the Jewish ceremony of Atonement held in the Temple at Jerusalem. Two goats were used during the proceedings; one was sacrificed as a burnt offering to God, the second was led out of Jerusalem to carry the sins of the community. A crowd followed this goat, jeering and chasing it. Tied between its horns was a scarlet cloth which, if their offerings were accepted, would turn white. The whole episode was regarded as typological, a biblical Old Testament narrative prefiguring a New Testament event, in this case the sacrifice of Christ to carry away the sins of the world.
Pre Raphellite -
a member of a group of English 19th-century artists, including Holman Hunt, Millais, and D. G. Rossetti, who consciously sought to emulate the simplicity and sincerity of the work of Italian artists from before the time of Raphael.Raphaelite art played in changing concepts of vision and truth in representation, as all wrestled with the question of how to observe and represent the natural world and the human face and figure. This rich dialogue between photography and painting is examined in the exhibition's thematic sections on landscape, portraiture, literary and historical narratives, and modern-life subjects.
all wrestled with the question of how to observe and represent the natural world and the human face and figure. This rich dialogue between photography and painting is examined in the exhibition's thematic sections on landscape, portraiture, literary and historical narratives, and modern-life subjects.
SUFFERING- First goat he used as a model died, second goat he made stand on cracked dirt in a studio for prolonged period of time. In the Book of Leviticus chapter 16, God instructed Moses and Aaron to select two goats every year for an offering. One was to be used as a sin offering to atone for the sins and trans-gressions of the people. Once killed, it’s blood was to be sprinkled on God’s mercy seat on the Ark of the Covenant.
The high priest would then lay hands on the second goat which was allowed to live, and he would confess the sins of the people putting them on the head of the goat. The goat would then bear the blame for all the transgressions of the people and would be set free into the wilderness, where God would remember their sins no more. The goat became known as the scapegoat.The last scape goat, jesus sacrificed himself and no more scape goats would be accepted by god. He did the same thing as the goat with sins.
DANTE ROSSETTI- The poem he wrote seems to relate very closely to the atmosphere of the painting scape goat. He was apart of the pre raphellite group and so would have been close to hunt.
Shed over brow and breast;
Her face is toward the west,
The purple land.
She cannot see the grain
Ripening on hill and plain;
She cannot feel the rain
The colours of the scape goat painting are similar to this description along with the landscape etc.
Jo Spence (suffering) :
Jo Spence was born on 15 June 1934 in London to working class parents. Before she became a photographer, she was a writer, cultural worker, and a photo therapist. She started off as a wedding photographer and ran a studio from 1967–1974. Soon afterwards, she began documentary work in the early 1970s, motivated by her political concerns
The colours of the scape goat painting are similar to this description along with the landscape etc.
Jo Spence (suffering) :
The photograph of her, taken whilst having a mammograph done, exemplifies her vulnerability, as semi-naked, she literally has to place her body under the control and scrutiny of this machine.
Jo Spence responded to this by deciding to document what was happening to her through photographic records, thereby becoming the active subject of her own investigation, rather than the object of the doctors' medical discourse.
Following a lumpectomy she decided to undertake a holistic approach to managing her illness, and opted for Traditional Chinese Medicine in preference to undergoing radio- and chemotherapy. In conjunction with this she used phototherapy (literally using photography to heal) to tackle the emotional crisis which suffering from cancer created for her.
Through phototherapy she explained how she felt about her powerlessness as a patient, her relationship to doctors and nurses and her infantilisation whilst being managed and processed by a state institution. This work included photos of her dressed as an infant, and to some extent echo her feelings about the class struggle, and her fight to stand as an individual, on an equal footing with those who hold power in our society.
http://www.jospence.org
Capturing Memories - Gabriel Barcia Colombo
I found this video of an artist explaining his idea and process of adaptation on his work. This explanation he haves of the stages of how he organised and thought about the development of his work relates to how i am being expected to work and adapt on my own ideas and was inspire ring to see how he had taken on this process to create an interesting conclusion.
In the video it shows how he has videos his friends and family and projected them into jars as small memorials for them. He then decided he wanted to take it a step further and make it more realistic by having them to react when a person come near them (for example scared when the person come near the jar or trying to ask the person to help them escape). This is an interesting way of creating an involvement with the audience and having an interaction with his work. Again this is a brilliant idea to display his work that stems from the idea of having a memorial. Having a living memory of his friends and family is the best representation of them he can have and having them interact is only again more life like.
I think the idea behind his idea is very unique and i could use this as inspiration for my work in projects to come. The colours of the projection are perhaps a bit too cold in my opinion however and take away from the feeling of a warm nice memory and make them feel less precious. However this could be a difficult thing to change when projecting onto glass.
Group Discussion
23/02/15
Freedom Of Speech And Censorship
For my personal development project i was asked to host a discussion to the rest of my group on the subject freedom of speech and censorship. I was to work in a pair to gather some research on the topic and to think of potential question to ask to get the group thinking and involved in the discussion.
We started off the discussion by explaining the definitions of freedom of speech and censorship and the legal restrictions on the freedom of speech rights we have so that the group have at least a basic understanding of the topic we are discussing in order for them to then later get involved without being too confused on what it is they are talking about.
The questions and involvement we presented to the group where they had a chance to get involved we kept basic and related them to everyday normal situations so that the group would be able to contribute.
We started off the presentation by showing a contrast of restriction in different places. The examples we used for this was the west burro baptist church street protests, which we explained were offensive and insulting in the manner that they did so to some people (for example they are very homophobic and state some nasty things about gay people) these protests however are not stopped by the police. we placed this next to a situation in England where a drunk man was immediately arrested upon being racist to another individual. We asked the group after this slide and got them to think more about the universal moral code of this idea of freedom of speech and asked that if its restrictions are put in place to stop offence or upset being caused to some then should there be this amount of variation (for example some subjects are ok others are not), and as a whole reminded them that these restrictions are laws put in place by other people and not necessarily right or wrong (for example in your own company you can say what ever you want with no restrictions, your mind will not restrict what you say or think).
The questions and involvement we presented to the group where they had a chance to get involved we kept basic and related them to everyday normal situations so that the group would be able to contribute.
We started off the presentation by showing a contrast of restriction in different places. The examples we used for this was the west burro baptist church street protests, which we explained were offensive and insulting in the manner that they did so to some people (for example they are very homophobic and state some nasty things about gay people) these protests however are not stopped by the police. we placed this next to a situation in England where a drunk man was immediately arrested upon being racist to another individual. We asked the group after this slide and got them to think more about the universal moral code of this idea of freedom of speech and asked that if its restrictions are put in place to stop offence or upset being caused to some then should there be this amount of variation (for example some subjects are ok others are not), and as a whole reminded them that these restrictions are laws put in place by other people and not necessarily right or wrong (for example in your own company you can say what ever you want with no restrictions, your mind will not restrict what you say or think).
We then moved on to censorship in design and posed the question of what aspects should censorship be present in. For example we showed them some information on the Charly Hebdo incident in paris where terrorist murdered designers who made offensive cartoon of muslims in their opinion. We then asked that if the situation is going to cause a dangerous situation should censorship be enforced. This got the group talking a bit more as it was a topic that instigates feeling of oppression if this was to happen.
We also asked if the artists involved in these cartoon abused their rights of freedom of speech by having these cartoons available to the public. Or if it was just harmless jokes (they did not just target one religion they also included christianity and other religious cartoons in their work).
Moving on from this example we also included a perhaps more relatable example of whether things should be censored if they will cause dangerous situations by showing the group the topic of the recent cyber terrorist threats made by north Korea with regards to the recent film 'The Interview" which the majority of our group had heard about and was targeted at our groups age swell so this was perhaps a more personal example to give. (should we not be allowed to see this film because of these threats or other peoples offensive take on the piece).
Again keeping the topic ideas relatable to the group we looked into the censorship of games. And the idea of video games causing violence in game players. We used some facts in the slide to show points from both sides of the argument of the censorship of games and then asked the group to give their opinion on this and a lot of debate was created.
To turn the debate in a more unusual way also and to get the group thinking about things they probably hadn't thought of to bring to the discussion yet we decided to look at personal censorships. With regards to tattoos and the female body as our two examples but the group got involved and more examples were included and discussed into the debate. This also got us talking about the more subliminal censorships that exist in modern society and social pressures that are created. Religion, women's make up, tattoos in work place, woman's body exposure, piercings in the workspace, hair colours. These were some of the topics of personal censorship we discussed.
We discussed how this could be bad but also good and gave example s for both in our presentation
REVIEW:
overall i thought our discussion went well, the points we made flowed from one another and everyone in the group had something to say and often brought in their own personal findings and examples of the topics which were interesting to hear. We showed the group various videos swell to break the presentation up so that the group was not just reading things of a screen the whole time (even though when there was things to read we did speak to the group and explained them ourselves), videos also show more real examples. We also included many pictures to gives more of a sense of what we were talking about.
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