Introduction to Motion Design
Color and Choreography
Introduction to Color and Color Spaces
Color is the characteristic of human visual perception described through color categories, with names such as red, orange, yellow, green, blue, or purple.
Within the human eye, different wavelengths of light are interpreted as different colors.
A color space is a specific organization of colors that allows for reproducible representations of color, in both analog and digital representations. Each color spaces has a range of possible colors that it can be used to represent. Color spaces are optimized for specific use cases.
Introduction to Color and Color Spaces
In the physical world colors “blend” together in one of two ways:
Additive mixing occurs when different colored lights are combined, such as in the image to the right where red and green are combined to make a yellow color.
Subtractive mixing occurs when different color pigments (such as layers of paint) on an object absorb certain wavelengths of light and reflect others. When colors are combined, they absorb more colors.
Image Composition Review: Additive vs Overlay
Additive: Individual RGB Channels are added together
Overlay: Images layered on top block out parts of image layers in the back
Over Mix: Adjust the opacity (overall transparency) of the overlay image layers to create non-additive mixes
Introduction to Color: Additive Color
Additive color is a method to create color by mixing a number of different light colors, with shades of red, green, and blue being the most common primary colors used in additive color system.
In nature, additive color is found when different wavelengths of light are combined together.
For instance, one can additively mix yellow and blue by shining yellow light together with blue light, which will result in not green but a white light.
Introduction to Color: Subtractive Color
A subtractive color model explains the mixing of a limited set of dyes, inks, paint pigments or natural colorants to create a wider range of colors, each the result of partially or completely subtracting (that is, absorbing) some wavelengths of light and not others. The color that a surface displays depends on which parts of the visible spectrum are not absorbed and therefore remain visible.
For instance, in subtractive mixing, combining yellow paint and blue paint results in the color green, whereas with additive mixing this would result in white.
Introduction to Color: Properties of Colors
Hue: The major chromatic group of the color. Defined technically, as "the degree to which a stimulus can be described as similar to or different from stimuli that are described as red, green, blue, and yellow",
Saturation: Defines a range from pure color (100%) to gray (0%) at a constant lightness level. A pure color is fully saturated. From a perceptional point of view saturation influences the grade of purity or vividness of a color/image.
Brightness: Defines a range from dark (0%) to fully illuminated (100%). Any original hue has the average lightness level of 50%. You can lighten or darken a color by changing this value.
Luminosity: Similar to brightness, when speaking of light, the luminosity can refer to the intensity (the number of photons) that a light source emits for a particular color.
Introduction to Color: Color Spaces
A color space is a specific organization of colors that allows for reproducible representations of color, in both analog and digital representations. Color spaces often define colors relative to a set of reference primary colors. A color space may not be able to represent every single possible color, only a particular range.
Color and Gestalt principles
Like with shapes, Gestalt principles can be applied to working with colors to create “unified wholes” – often this is accomplished by using colors that fit well together.
A color palette is a grouping of one or more colors that are to be used together for design. Palettes can include white, black and specific shades of gray.
Some examples of methods to create color palettes that are pleasing to the eye:
Complementary Colors
Variations of a color that are created by shifting the hue by equal amounts without adjusting the brightness and saturation levels are called complementary colors.
In this example the colors of the RGB color model at a highest brightness and saturation levels are shown with different hues.
Pairs of complementary colors are opposite each other, such as blue + yellow, or magenta + green.
Triplets of complementary colors are found at 120 degree angle shifts, such as blue + red + green, or cyan + magenta + yellow.
Shades / Tints and Tones
Color Shades / Tints: Variations of a color that are created by darkening (shading) or lightening (tinting) while keeping the same hue value.
Tones: Colors of the same hue and lightness, but of different saturation, are called tones.
Color Palette Creation
Tools like the online Adobe Color wheel can be used to automatically create groups of colors based on different variation techniques such as complementary, compound, shades and monochromatic, as well as the ability to make your own custom palettes.
Choreography
Photo: Charles Atlas, Tesseract
Choreography
To create a more complex environment, a live visual performer will conceptualize and compose the choreography of various elements temporally (timing) and spatially (arrangement).
By manipulating the basic shapes’ attributes over time and space using controlled animation, we can extend the motion design fundamentals into dynamic, synaesthetic compositions.
Often associated with dance and theater, choreography can also be a vital element of any live performance.
Choreography: Sequence Design
Early examples of choreography in film and animation can be seen in the work of Busby Berkeley, where he used dancers, sets, and costumes to create mesmerizing, kaleidoscopic displays of bodies in motion.
Designers such as Saul Bass choreographed layers of stylized forms to set the theme, setting and mood for film and TV title sequences. His sequences are most masterful in symbolizing pure emotion.
The degree to which a choreography is explicitly planned out can vary; sequences can be highly detailed, or include abstract directions to be carried out with some degree of improvisation from the actors or performers.
Choreography: Busby Berkeley
Busby Berkeley was most known for devising elaborate musical production numbers that often involved complex geometric patterns. Berkeley's works used large numbers of showgirls and props as fantasy elements in kaleidoscopic on-screen performances.
This clip with musician Artie Shaw.
Choreography: Saul Bass
Saul Bass was a famed graphic designer who was equally known for his work in cinema; in particular for changing the the concept of the intro sequence to what we now find common place within film.
Bass once said that the audience’s involvement in the film should begin at the very first frame. He believed title sequences were responsible for setting the mental and emotional tone for the story that was about to be told.
Bass knew how to leverage simplicity—primary colors, basic shapes, playful animations—to create what was ultimately perceived as complex emotions.
Choreography and Live Visuals
Death Cab for Cutie: You Are A Tourist (April 2011)
This music video (directed by Tim Nackashi) was shot using multiple cameras and mixed on the fly, all in one take that was live streamed online.
The highly choreographed scenes include actors, dancers, video projection and lighting.
Note that many of the shots pay homage to the styles of Busby Berkeley and Saul Bass.
Color and Choreography: Visual Categories
Demonstrations