The code can be found here.
The code can be found here.
This is a commercial for an app I conceived and designed, that also serves as a concept video.
UX & Animation. The app was initially prototyped in proto.io, but I had to redo the already existing interface in Illustrator to give it a “finished” look, and to incorporate those assets to After Effects. After user testing the proto.io version, I incorporated user feedback to the new design, which included, inter alia, removing text from menu, redesigning the thumbnails, and eliminating a few visual cues that were confusing.
Some of the animation in this production could have been less linear, I should have applied more “ease in and ease out” animation principles to parts of it.
The first version of the video is slower, I edited the final one to make it more engaging.
Credits. Some icons were taken from the Noun Project, most were my design. Very limited native iPad UI elements were used from: http://www.iconshock.com (icon sets by iconshock). Music: Dayvan Cowboy — Boards of Canada (great song!!!).
You can find more documentation on this production here.
Preparing a commercial for my app “Meta” was an interesting challenge. At first I thought I would tell a story, “life-in-a-day” approach, of how someone would use the app. However, because the app is not that easy to understand without laying out its features (it is more a system rather than only a stand alone app), I decided to make a video showing all of its features, which meant not using a bunch of assets and designing and “shooting” a lot more.
The good thing about preparing the commercial for this final was that it made me think and redesign the interface a few times, and even the app’s user interaction.
There is something about creativity that makes people nervous. It sometimes can be quite intimidating to face a blank canvass, piece of paper, word processor, sketch pad, or weapon of choice. The pressure mounts as yours and others’ expectations for what will come out of your efforts, your personal expression, your intellect, takes a seat beside you, looking at you impatiently.
This book addresses that and many other fears artists, and I would add designers, have to deal with in the course of their productive existence. This book is brilliant at that. In a little under 120 pages the authors take you down a philosophical-psychological tour of what it really feels to be someone who has chosen to make art/design for a living.
After the first and second chapters, I felt so understood by the authors that it felt impossible to let go of the book. In almost axiomatic fashion, they state a powerful reality: an artist must imagine the possible. By this they mean that artists can produce numerous ideas and versions of ideas constantly, and often do so paying the price of not focusing on the present work, on the task at hand. Imagine the possible is almost a commandment, ordering the artist/designer to ground himself in the reality that he must execute, work, do, not limit herself to thinking and ideating. I agree that it is a great gift to be able to frequently develop ideas and conceptually scale them to amazing proportions, but this gift can also lead to what I like to call a “post-it” surplus, where you find yourself surrounded by post-its containing amazing ideas but often they never get to be nurtured because there are too many to care for. And where they are not nurtured, they fade away and after a while one discards them for being a senseless phrase on a yellow piece of sticky paper. Or maybe you nurture an idea that seems brilliant but in the midst of your excitement you fail to asses the feasibility of this grand idea, which then makes you feel like you failed, calling upon you the ultimate artist fear: maybe I’m not supposed to be doing this. Imagine the possible. What can you execute?
“Art & Fear” also is powerful at bringing up systematic questions about the academic world, artists’ careers, and cultural notions about what it means to be an artist or making a living by making art. My main insight from reading the systematic problems surrounding artistic education is that there needs to be better advice for students who wish to pursue and are pursuing an artistic career, advice that goes beyond the default (and accurate) warning that the artist is, statistically speaking, doomed to not make a lot of money, or comfortable living. For example, couldn’t art students be provided with mandatory clases in their curriculum that reinforce analytical skills, “left-brained” processes, and other tools that could be transferable in combination with their artistic talent. Or, should we not advise a potential art student that maybe going to college is not the best education for price available for artists? After all, with university becoming more and more costly, why are we selling “education” to artists who — again, statistically speaking — will probably have a very difficult time paying for it. The authors in a way make a call to action to readers, asking them to reimagine art education for the new world. In my opinion, I felt that university education has to become more tailored to balance students’ ambitions and the realities of the world economy and the jobs markets that operate within them (i.e., what is the balance between education that provides lifelong value but is very costly as opposed to training-based education that provides tangible short term value at a fairer price). The task, because of its economic, cultural, and global implications, seems insurmountable.
Perhaps what I enjoyed the most was how this book made me think more about a question that had been crawling around my head for a while: what is the relationship between art and design? Is there a difference, are they mutually exclusive, or are they two words that often describe the same thing at different degrees of a continuum. Though I haven’t gotten to a conclusion yet, I’ve thought about a few aspects worth mentioning:
I could go on for long on the countless number of ideas and insights I got from “Art & Fear”, but since it’s a book that touches the reader personally, I encourage you to explore what it means and insights it brings to you, and what questions you can come up with. Off the top of my head, I can cite the following:
What will you feel when exploring the fears of artmaking?
As part of our effort to create create an interactive experience that communicates to an end user what it is like to live on a dollar a day for the Trickle Up Foundation (initial blog post), we iterated our idea a bit more and developed a lo-fi prototype by shooting with an iphone our cutouts to simulate navigation. Jonas incorporated our film by importing frames on After Effects and adding them to a parallax scroll script. (note: please be patient because it is def very lo-fi, at times it might seem like the scrolling is “stuck).
Hope you enjoy this 30 second dream drift.
Project post-mortem lite: I’d work on this more but there’s other work to get done, lots to do. I’d definitely work on that front walk scene. Process-wise, I’d plan the bigger picture better, and storyboard more accurately.
MANY THANKS TO SHANTELL MARTIN FOR LENDING HER VOICE FOR THIS.
My concept, so far, is to projection map a wall with many blank canvases. I was testing Madmapper and modul8 for the first time, trying out different shapes for the outputs, drawing from single original image. I’m also considering looking into VDMX.
Here is the image of the test. If there were canvasses, according to what I set up for this test, they would be square, circular and triangular canvases.