At the initial workshop we randomly picked our words - Mine were Spin and float. We were tasked with researching each word as documented on my Design Context blog for float and also spin We also had to chose 20 fonts which we thought reflected our words then print them off small, medium and large.
The following workshop we were tasked with choosing a single letter form from each word and then produce five visualisations, single images which communicate the word. We were allowed to trace off the fonts we had chosen.
The next task was to either continue working with two words or we were able to focus on one word. We had to produce five idea storyboards and for each idea we had to produce five sequence variations with five frames. Black and white with one colour.
We also had to get two sets of 25 mim screen grabs of a kinetic type moving image. The first regular intervals the second 25 'key' frames which demonstrate key changes in the sequence.
These are blogged on my Design practice here.
In the next workshop Fred asked us to draw five 60 cm timelines with 10 regular intervals. The next task was to fit the 25 frame sequence within this space so that it made sense and you could see all the sequences. It would have helped if I had heard Fred originally say to print these off postage stamp size!
This was the result of mine:
The whole thing had to be spread over the whole sheet, even though the frames were not the correct size the sequence order is clear.
The second step was to put the 25 key frames across a timeline. This time we were allowed to cut our timeline. this was the result, mine is the second from the top:
I have learnt what a key frame and timeline is. I have also learnt when hand drawing storyboards it is advisable to work in seconds or parts there-of rather than in FPS (Frames per seconds). This avoids producing a 'flick' book of images and forces you to just storyboard key frames. The problems I encountered with the timeline exercise was working with a 'constrained' set of keyframes which I had printed off too large. In future I would think about what information i need from a timeline exercise and also not the frame number and time in the sequence.
The second timeline was useful in terms of enabling us to visualise the pace of the key frames throughout.
The following workshop with Lorraine was working with our five ideas but now re-drawing this time annotating with time and other notes. The sequences had to be five seconds long and contain at least five sequences. We were encouraged to think about pace, so not necessarily equal spaced. This needed to communicate our idea clearly to another person and also to include title safe zones.
These are the final sequences on the Issuu book. After completing these, in small groups we looked at each others work.
After completing these we in small groups we looked at each others work.
I was with Francesca. We had to try to tell the 'story' from each other's story boards. From this we discovered:
1. To give each sequence a number and name so it clearly identifies when one starts and when one ends.
2. To use arrows to indicate direction .
3. To use time to indicate where in the sequence the frame occurs and give an indication of pace.
4. To use annotation to clarify images.
5. To think about the title safe zone and what the person will actually see.
6. To communicate clearly opening and closing frames.
7. May be worth using a viewfinder