MARLEN SARMIENTO

When looking through the various virtual sessions on Adobe Max, there was so much to choose and learn from. Topics ranging from graphics to video, I took the opportunity to listen to a few.

Session 1:

I first saw the “Creativity Super Session: Motion Design for Graphic Designers -SS2,” since motion design has been an interest of mine. Victoria Nece introduces herself and discusses the importance of motion and how it can evoke a range of emotions or reactions while communicating a message. I’m still learning After Effects, so it is fascinating to see how the software offers a range of tools and presets to build upon and for convenient purposes. Michelle Higa Fox is then introduced and she first mentions how she was an illustrator before getting involved with motion graphics which brings me ease as it is never too late to change your career path throughout your life. She shows one of her first professional animations revealing how complex and versatile motion design can get with a mixture of live visuals. Other projects she worked on were trying to convey a story just using Google’s user interface, Patriot Act, and Meta x Buck augmented reality. As she states:

“‘Screens’ are becoming more ubiquitous and fluid. The need for effective communication, beauty, and delight is as great as it has ever been. In times of uncertainty what matters most is resilience and skills that can adapt.”

There is so much opportunity available, all it takes is the courage to try something new and expand one’s skill set. With my interest in UX design, I am still eager to learn beyond it and through other tools that amplify my future, and motion design is one of them. Trajectory, formation, momentum, and match cuts are some key points she brings up and how they can be applied through any design aspect.

Paola Chen Li is then introduced presenting her background through an animation using presentation slide software. She then offers a demo of After Effects while using still illustration from Illustrator. It’s incredible to use a piece of work you’ve made and bring it to life through motion. She used three different techniques covering the music note in a 3D shape, trim path, and a boil effect. Overall I enjoyed this session I came across.

Session 2:

I then found a new session called “Movies, myth, Metaphor: Art of Film and TV Title Sequences – S6000” with Karin Fong as the speaker. She discusses her approaches to designing title sequences with the use of metaphors and her key takeaways from these projects. The first things she notes are following the requirements title/context from the assigned documents and contract but taking the opportunity to set a tone. Next is by being specific and innovative to be effective and to stand out learn and collect as much information on the tasks on hand. As she similarly mentions, being a designer and working on a major project doesn’t immediately start designing the visuals but rather starts with collecting research. She worked on an end title sequence for Spider-Man No Way Home and I enjoyed the process of how the team worked with the director and collected various illustration references to develop the visuals. When it comes to filmmaking, it takes a whole team and she advocates and encourages us to work with others as she mentions that everyone brings their own superpower.

Another aspect I wanted to highlight is her and her team’s process when it came to a Stephen King film and how they wanted to work with puppetry rather than CGI, they were motivated to pursue this in a different direction which the director accepted. Their process isn’t always linear in terms of looking at a screen constantly to design as it can expand with the exploration and its outcome even if it means creating physical puppets to get this concept across.

The next thing she brings up is distill as they were working on another project, Boardwalk Empire, and what they pitched didn’t work due to the amount of various themes and storylines being presented. It is important to set the scene and a specific pov. Sometimes less is more with the direction of the sequence as she states, “create more questions than answers” as it can push for curiosity and deeper understanding of the show itself develops. She also brings up how it is important to listen to the work and what is needed.

There is also the discussion of skipping the title sequence or how the audience’s reaction and outcome can’t be controlled. For example, the success of Stranger Things Title sequence expanded to parodies for things such as Burger King commercials to clothing. Overall, I enjoyed her process and how many of the title sequences she took part in. I have wanted to be part of the film industry in some way and it is nice to know ways a designer can take a part in it.

Session 3:

In the third session, I wanted to see the “Digital Material Capture with Adobe Substance 3D – S6710” with the speakers Davoud Ohadi, Laura Vitolina, and Kevin Peter He being introduced by Chris Hillyer. I have never heard of this software or HP Z Captis so I wanted to learn more about it. I learned that they have found ways to collect, scan, and create stunning visuals using various physical materials and implement them into the digital world and into one’s work. I am also interested in wanting to create 3D visuals as it opens up to a wider range of opportunities and creativity. This process might be very complex and overwhelming right now to fully understand, but it is nice to see tools such as a 3D sampler for a designer to use to create realistic and amazing graphics that can express different kinds of products and graphics. As Laura mentions it scans even the imperfections of a material to add to the sense of realism and Kevin brings up the balance of realism and digital imagination and how going too far in digital realism can make it or break it. Digitizing can also be resourceful and helps smooth out the work load as Davoud mentions the flexibility of creating these products and samplers rather than producing and potentially wasting physical materials.

Session 4:

The final session I came across is called “Finding Character Inspiration in Everyday Objects – OS300” presented by Cody A Banks. He first talks about what to consider when creating a character such as facial expression, hands/feet, and overall pose as it can set the mood of the visual overall. He mentions the frustrations of developing character and how looking around your environment can create inspiration such as everyday objects. It can even go into detail with the “expression” an object might give off. I would to expand further with not just characters, but as well as establishing a setting. A stack of books can be used as a reference to creating a building or a stapler to create a spaceship. Depending on the object, one can look at different angles as it can also uncover different ways to express the character(s).

Overall, this was my first hearing about Adobe MAX and even though this was through a virtual setting for my experience, I have thoroughly enjoyed the sessions I watched.