In the realm of motion design and advertising, we’re constantly shape-shifting between one aesthetic and the next on the whims of the client, current trends, and technology. It’s a nebulous landscape and it can be hard to find ownership over the work we do.
Additionally, since so much of what makes up motion design is simply repurposed techniques and remixed tech, you could argue that true ownership is an impossibility. It’s all a remix of a remix of a remix… Regardless, it’s interesting how our views of the work and who we associate with what shift over time. The collage aesthetic is one that has very deep roots in our industry, but also in filmmaking and animation as a whole. What makes animation so magical though is that even with something as ubiquitous the collage aesthetic, it can still be possible to identify an individual’s approach.
Case in point:
— Zach Christy (@Zachinpublic) January 24, 2018
Before it was even public, it was clear from a mile away who made this animation. While Ariel Costa/BlinkMyBrain can’t ever truly have ownership of this approach, he is definitely the one owning this space, right now.
Be sure to head over to The New York Times to view the full piece as it’s a great example of animation and journalism working hand in hand.
Make sure to check out some behind the scenes from Ariel himself below:
Due to this political time we’re facing, not just the American but worldwide, I think it’s really nice when we have a chance to express something through our craft.As Storytellers and visual artists it’s important for our industry to understand how powerful our skills are.Sometimes we can and should make more than just cool transitions….but, if we find a way to add those damn transitions, why not? :)