{"id":2239,"date":"2026-01-25T16:47:25","date_gmt":"2026-01-25T16:47:25","guid":{"rendered":"https:\/\/acmgd.info\/md1B\/?p=2239"},"modified":"2026-01-26T18:24:22","modified_gmt":"2026-01-26T18:24:22","slug":"snow-day-class-1-26-at-home-mini-project","status":"publish","type":"post","link":"https:\/\/acmgd.info\/md1B\/snow-day-class-1-26-at-home-mini-project\/","title":{"rendered":"Snow Day Class 1\/26: At-Home Mini Project"},"content":{"rendered":"\n

Seeing Design Over Time<\/strong><\/h2>\n\n\n\n

Format:<\/strong> Asynchronous \/ at-home
Purpose:<\/strong> Observation, analysis, shared discussion
What you bring to class:<\/strong> Notes, link(s) to video w\/ timecodes, and observations<\/p>\n\n\n\n

Due to the snow, class 1\/26 will take place asynchronously. Please complete the at-home assignment below during our scheduled 2 hour 50 minute class time<\/strong>. There is nothing to submit, but you should come prepared on Wednesday to share your observations and film excerpts with the class.<\/p>\n\n\n\n

This mini project is about learning to see time and motion<\/strong>.<\/p>\n\n\n\n

Motion design does not replace traditional design principles \u2014 it extends them into time. Before we begin making motion work, we need to understand how design attributes behave over duration<\/strong>, and how time itself becomes a design material.<\/p>\n\n\n\n

This assignment will help prepare you for the Motion Studies<\/strong> project.<\/p>\n\n\n\n

The definitions below are included to give you a shared vocabulary for talking about motion. Use them as reference as you watch and take notes.<\/p>\n\n\n\n

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Design Attributes (Reference)<\/h2>\n\n\n\n

Traditional Design Attributes<\/h4>\n\n\n\n

+ Composition<\/strong> \u2013 arrangement of elements within the frame
+ Shape<\/strong> \u2013 form and abstraction
+ Depth<\/strong> \u2013 illusion of spatial layers
+ Contrast<\/strong> \u2013 difference that creates emphasis or hierarchy
+ Tension<\/strong> \u2013 imbalance or opposition that creates energy<\/p>\n\n\n\n

In motion, these attributes change behavior over time<\/strong>.<\/p>\n\n\n\n

Time \/ Motion Design Attributes<\/h4>\n\n\n\n

+ Progression<\/strong> \u2013 how elements evolve or accumulate over time
+ Pacing<\/strong> \u2013 how quickly or slowly events unfold
+ Rhythm<\/strong> \u2013 repetition and variation over time
+ Sequence<\/strong> \u2013 order of events and resulting meaning
+ Velocity<\/strong> \u2013 speed and acceleration of movement
+ Kinetic behavior<\/strong> \u2013 how elements move, interact, and relate to the frame
+ Narrative arc<\/strong> \u2013 rise and fall of tension over time (not necessarily a story)<\/p>\n\n\n\n

Think of these as design decisions<\/strong>, not effects.<\/p>\n\n\n\n

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Assignment Instructions<\/h2>\n\n\n\n

1. Watch<\/h4>\n\n\n\n

Watch 3\u20135 short experimental films<\/strong> from the provided collection below
(Duchamp, L\u00e9ger, Richter, Fischinger, Ruttman, etc.).<\/p>\n\n\n\n

2. Analyze One (or two) Films (Close Observation)<\/h4>\n\n\n\n

Choose one film<\/strong> to focus on more closely. You will be identifying specific moments<\/strong> where design decisions become noticeable because they unfold over time.<\/p>\n\n\n\n

This is not about summarizing the film.
It is about pointing to a moment and explaining what the design is doing<\/strong><\/p>\n\n\n\n

a) Identify ONE Traditional Design Attribute<\/h4>\n\n\n\n

(Composition, contrast, tension, shape, depth, etc.)<\/p>\n\n\n\n

First, choose one traditional design attribute<\/strong> that you already know from static design.<\/p>\n\n\n\n

Then, identify a specific section(s) of the film<\/strong> where this attribute plays an important role in how the film communicates over time.<\/p>\n\n\n\n

Ask yourself questions like:<\/p>\n\n\n\n

Composition<\/strong>
+ How are elements arranged within the frame?
+ Does the composition start simple and become more complex?
+ Do elements enter, exit, or re-organize the frame over time?
+ Is framing itself (what is inside vs. outside the frame) doing work?<\/p>\n\n\n\n

Contrast<\/strong>
+ Are there strong differences between moments (light\/dark, large\/small, dense\/sparse)?
+ Does contrast increase, decrease, or shift as the film progresses?<\/p>\n\n\n\n

Tension<\/strong>
+ Is there visual imbalance, instability, or opposition?
+ Does tension build, hold, or release over time?<\/p>\n\n\n\n

In other words:
Choose a moment where the use of a traditional design principle becomes part of how meaning is communicated through time<\/strong>, not just how it looks in a single frame.<\/p>\n\n\n\n

b) Identify ONE Motion-Based Attribute<\/h4>\n\n\n\n

(Rhythm, pacing, progression, velocity, narrative arc, etc.)<\/p>\n\n\n\n

Next, choose one motion-based attribute<\/strong> that depends on time.
Identify a specific section of the film where you can feel time doing something.<\/p>\n\n\n\n

Ask yourself questions like:<\/p>\n\n\n\n

Rhythm<\/strong>
+ Is there repetition that creates a visual beat?
+ Does that beat stay consistent or get interrupted?<\/p>\n\n\n\n

Pacing<\/strong>
+ Does the film move quickly or slowly at this moment?
+ Does the pacing suddenly change?<\/p>\n\n\n\n

Progression<\/strong>
+ Does something gradually build, accumulate, or transform?
+ Is there a sense of moving toward or away from something?<\/p>\n\n\n\n

Narrative arc (without plot)<\/strong>
+ Do you feel a rise in tension, a peak, or a release?
+ Does the film establish expectation and then fulfill or disrupt it?<\/p>\n\n\n\n

Also ask:<\/p>\n\n\n\n

+ Where do you feel repetition, anticipation, acceleration, disruption, or release?
+ I am asking you to describe how time is structured<\/strong>, not what the film is \u201cabout.\u201d<\/p>\n\n\n\n

c) Connect the Two<\/h3>\n\n\n\n

Finally, consider how these two attributes work together<\/strong>.<\/p>\n\n\n\n

For example:<\/p>\n\n\n\n

+ How does composition<\/strong> support or disrupt rhythm<\/strong>?
+ How does contrast<\/strong> intensify a moment of acceleration<\/strong> or release<\/strong>?<\/p>\n\n\n\n

<\/div>\n\n\n\n
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3. Integrate Prior Homework Readings<\/h2>\n\n\n\n

As you watch and take notes, draw loosely from ideas in the following readings:
+ Act 1 | Action, Design is Storytelling, Ellen Lupton<\/a> (pg 16 – 43 )
+ Gestalt Principles and Affordances Reading<\/a><\/p>\n\n\n\n

You are not required<\/strong> to formally apply or name Gestalt principles at this stage. Instead, focus on noticing patterns of perception that may feel familiar from the reading.<\/p>\n\n\n\n

Consider questions such as:<\/p>\n\n\n\n

+ Do you notice repetition, grouping, continuity, or interruption over time?
+ How does motion shape expectation or anticipation?
+ How does time reinforce or disrupt how elements are perceived as related?<\/p>\n\n\n\n

If referencing a Gestalt principle helps you describe what you are seeing, you may do so \u2014 but clear observation and description are more important than terminology.<\/p>\n\n\n\n

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Required: Timecode-Based Notes<\/h2>\n\n\n\n

Because motion design happens in time, your observations must reference specific moments<\/strong>.<\/p>\n\n\n\n

For your chosen film(s), note:<\/p>\n\n\n\n

+ Film title
+ Timecode(s) (minutes:seconds found at the bottom-left of video (See image reference below.)
+ Traditional design attribute
+ Motion-based attribute
+ Brief explanation<\/p>\n\n\n\n

Example:<\/strong>
“Rhythmus 21,” (Hans Richter) 1:17-1:25
Contrast + Rhythm:<\/strong> Repeating geometric shapes create a consistent visual beat, but sudden shifts in size and placement disrupt that beat and heighten tension over time<\/p>\n\n\n\n

*You will play the small section(s) of the film you are speaking about in class by using their link and timecode as reference.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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What to Be Ready to Share in Class<\/h2>\n\n\n\n

Be prepared to:<\/p>\n\n\n\n

+ Name the film you analyzed
+ Play one or two short excerpts<\/strong> (each approximately 20\u201330 seconds) using your timecode(s)
+ Identify:
One traditional design attribute
One motion-based attribute
+ Briefly explain how time changes the design experience<\/p>\n\n\n\n

You may use:
One excerpt<\/strong> if it clearly demonstrates both attributes, or
Two excerpts<\/strong> if different moments better illustrate each one.
<\/p>\n\n\n\n

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Bridge to Motion Studies<\/h2>\n\n\n\n

In the Motion Studies project, you will work with one Gestalt principle<\/strong> as a constraint and explore how perception and meaning operate across time<\/strong>. What you practiced here \u2014 isolating moments, naming behaviors, and recognizing narrative arc without plot \u2014 is the foundation for that work.<\/p>\n\n\n\n

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