Motion graphic design, also known as motion design, is a subset of graphic design which combines design with animation and/or filmmaking, video production, and filmic techniques. Examples include kinetic typography and graphics used in film and television opening sequences, and station identification logos of some television channels. Both design principles and animation principles are important for good motion design. Some motion designers start out as traditional graphic designers and later incorporate motion into their skillsets, while others have come from filmmaking, editing, or animation backgrounds, as these fields share a number of overlapping skills.Technological advancements during the 20th and 21st centuries have greatly impacted the field; chief among these are improvements in modern computing technology, as computer programs for the film and video industries became more powerful and more widely available during this period. Modern motion graphic design typically involves any of several computerized tools and processes. Adobe After Effects is of the leading computer programs used by modern motion graphic designers. It allows the user to create and modify graphics over time. 3D software such as Cinema 4D and Blender are part of many modern motion designer's toolkits. Adobe Animate, formerly known as Flash, is a tool for 2D motion graphic design. Prior to the rise of HTML5, Flash was the primary tool for web animation. It has also been used for creating video animations, such as web series Homestar Runner. In more recent years, Adobe Animate is still used by motion designers, particularly for frame-by-frame, or "cel" animation. Adobe Premiere Pro is often used along with After Effects when combining video footage with motion graphics. Prior to animation, design tools are also used by most motion designers, commonly Adobe Photoshop for rasterized graphics, and Adobe Illustrator for vector art. Photoshop can also be used for cel animation. Motion by Apple Inc., now a part of Final Cut Studio is another available tool for working with motion graphics. Motion graphic design is often used in the film industry. Openings to movies, television shows, and news programs often use photography, typography, and motion graphics to create visually appealing imagery. Motion graphic design has also achieved widespread use in content marketing and advertising. In 2018, Cisco projected that 82 percent of all web traffic would be video by 2022. Because of this, marketers and advertisers have focused much of their efforts on the production of high-quality branded video and motion graphic content.[citation needed]. In addition to its myriad of uses in advertising, marketing, and branding, motion graphics are used in software, UI design, video game development, and other fields. Although motion design and animation share many commonalities, the difference between them lies in the fact that animation as a specific art form focuses more on cinematic effects and storytelling techniques to craft a narrative, whereas motion design is typically associated with setting abstract objects, text and other graphic design elements in motion. Bringing a graph, infographic or web design to life using movement is broadly speaking "animation", but more specifically, it’s a type of animation that’s called motion graphics.[citation needed]. Motion graphics take a variety of forms. While some are entirely animated, others incorporate live-action video and/or photography. The latter may include animation overlay, such as data visualizations, icons, illustrations, and explanatory text used to complement and enhance audiences' understanding of the content.[citation needed]. In content marketing contexts, there are three primary types of motion graphics which marketers choose to use depending on the goals they wish to achieve with the motion graphic. Explainer motion graphics seek to elucidate a product, process, or concept. Emotive motion graphics, meanwhile, aim to inspire a particular emotional response in audiences.[citation needed] And finally, promotional motion graphics are used to raise awareness about a service, product, or initiative. Because so many motion graphics are designed with particular goals in mind, it is often essential to partner with a designer or organization specializing in visual communication design[citation needed] to achieve a final product that conveys information in both an accurate and compelling way.[irrelevant citation]. UX, also known as user experience, works hand in hand with motion design. For example, when designing a phone app, motion design is used to improve user experience. Motion design improves the user experience tremendously and effectively by adding animations to any screen. Motion design is not only used in phone apps; it is used in computers, tablets, smartphones, televisions, and lots more. UX designers use motion design to create their prototyping, and experience with it to determine whether it is easy to use for an average person, or if it needs enhancing. Interaction designers (IxD) are responsible for understanding and specifying how the product should behave. This work overlaps with the work of both visual and industrial designers in a couple of important ways. When designing physical products, interaction designers must work with industrial designers early on to specify the requirements for physical inputs and to understand the behavioral impacts of the mechanisms behind them. Interaction designers cross paths with visual designers throughout the project. Visual designers guide the discussions of the brand and emotive aspects of the experience, Interaction designers communicate the priority of information, flow, and functionality in the interface. Technical communicators Historically, technical and professional communication (TPC) has been as an industry that practices writing and communication. However, recently UX design has become more prominent in TPC as companies look to develop content for a wide range of audiences and experiences. It is now an expectation that technical and professional skills should be coupled with UX design. According to Verhulsdonck, Howard, and Tham, "...it is not enough to write good content. According to industry expectations, next to writing good content, it is now also crucial to design good experiences around that content." Technical communicators must now consider different platforms such as social media and apps, as well as different channels like web and mobile. User interface (UI) design is the process of making interfaces in software or computerized devices with a focus on looks or style. Designers aim to create designs users will find easy to use and pleasurable. UI design typically refers to graphical user interfaces but also includes others, such as voice-controlled ones. Visual designers The visual designer ensures that the visual representation of the design effectively communicates the data and hints at the expected behavior of the product. At the same time, the visual designer is responsible for conveying the brand ideals in the product and for creating a positive first impression; this responsibility is shared with the industrial designer if the product involves hardware. In essence, a visual designer must aim for maximum usability combined with maximum desirability. Visual designer need not be good in artistic skills but must deliver the theme in a desirable manner. Testing the design Main article: Usability testing Usability testing is the most common method used by designers to test their designs. The basic idea behind conducting a usability test is to check whether the design of a product or brand works well with the target users. While carrying out usability testing, two things are being tested for: whether the design of the product is successful and if it is not successful, how can it be improved. While designers are testing, they are testing the design and not the user. Also, every design is evolving.[citation needed] The designers carry out usability testing at every stage of the design process and as early and often as possible. Jacques Charles: Fleeting silhouette photograms (circa 1801?) French balloonist, professor and inventor Jacques Charles is believed to have captured fleeting negative photograms of silhouettes on light-sensitive paper at the start of the 19th century, prior to Wedgwood. Charles died in 1823 without having documented the process, but purportedly demonstrated it in his lectures at the Louvre. It was not publicized until François Arago mentioned it at his introduction of the details of the daguerreotype to the world in 1839. He later wrote that the first idea of fixing the images of the camera obscura or the solar microscope with chemical substances belonged to Charles. Later historians probably only built on Arago's information, and, much later, the unsupported year 1780 was attached to it.[24] As Arago indicated the first years of the 19th century and a date prior to the 1802 publication of Wedgwood's process, this would mean that Charles' demonstrations took place in 1800 or 1801, assuming that Arago was this accurate almost 40 years later.Thomas Wedgwood and Humphry Davy: Fleeting detailed photograms (1790?–1802)English photographer and inventor Thomas Wedgwood is believed to have been the first person to have thought of creating permanent pictures by capturing camera images on material coated with a light-sensitive chemical. He originally wanted to capture the images of a camera obscura, but found they were too faint to have an effect upon the silver nitrate solution that was recommended to him as a light-sensitive substance. Wedgwood did manage to copy painted glass plates and captured shadows on white leather, as well as on paper moistened with a silver nitrate solution. Attempts to preserve the results with their "distinct tints of brown or black, sensibly differing in intensity" failed. It is unclear when Wedgwood's experiments took place. He may have started before 1790; James Watt wrote a letter to Thomas Wedgwood's father Josiah Wedgwood to thank him "for your instructions as to the Silver Pictures, about which, when at home, I will make some experiments". This letter (now lost) is believed to have been written in 1790, 1791 or 1799. In 1802, an account by Humphry Davy detailing Wedgwood's experiments was published in an early journal of the Royal Institution with the title An Account of a Method of Copying Paintings upon Glass, and of Making Profiles, by the Agency of Light upon Nitrate of Silver. Davy added that the method could be used for objects that are partly opaque and partly transparent to create accurate representations of, for instance, "the woody fibres of leaves and the wings of insects". He also found that solar microscope images of small objects were easily captured on prepared paper. Davy, apparently unaware or forgetful of Scheele's discovery, concluded that substances should be found to eliminate (or deactivate) the unexposed particles in silver nitrate or silver chloride "to render the process as useful as it is elegant".[19] Wedgwood may have prematurely abandoned his experiments because of his frail and failing health. He died at age 34 in 1805.Davy seems not to have continued the experiments. Although the journal of the nascent Royal Institution probably reached its very small group of members, the article must have been read eventually by many more people. It was reviewed by David Brewster in the Edinburgh Magazine in December 1802, appeared in chemistry textbooks as early as 1803, was translated into French and was published in German in 1811. Readers of the article may have been discouraged to find a fixer, because the highly acclaimed scientist Davy had already tried and failed. Apparently the article was not noted by Niépce or Daguerre, and by Talbot only after he had developed his own processes.Niépce died suddenly in 1833, leaving his notes to Daguerre. More interested in silver-based processes than Niépce had been, Daguerre experimented with photographing camera images directly onto a mirror-like silver-surfaced plate that had been fumed with iodine vapor, which reacted with the silver to form a coating of silver iodide. As with the bitumen process, the result appeared as a positive when it was suitably lit and viewed. Exposure times were still impractically long until Daguerre made the pivotal discovery that an invisibly slight or "latent" image produced on such a plate by a much shorter exposure could be "developed" to full visibility by mercury fumes. This brought the required exposure time down to a few minutes under optimum conditions. A strong hot solution of common salt served to stabilize or fix the image by removing the remaining silver iodide. On 7 January 1839, this first complete practical photographic process was announced at a meeting of the French Academy of Sciences,[30] and the news quickly spread.[31] At first, all details of the process were withheld and specimens were shown only at Daguerre's studio, under his close supervision, to Academy members and other distinguished guests.[32] Arrangements were made for the French government to buy the rights in exchange for pensions for Niépce's son and Daguerre and present the invention to the world (with the exception of Great Britain, where an agent for Daguerre patented it) as a free gift.[33] Complete instructions were made public on 19 August 1839.[34] Known as the daguerreotype process, it was the most common commercial process until the late 1850s when it was superseded by the collodion process.Niépce died suddenly in 1833, leaving his notes to Daguerre. More interested in silver-based processes than Niépce had been, Daguerre experimented with photographing camera images directly onto a mirror-like silver-surfaced plate that had been fumed with iodine vapor, which reacted with the silver to form a coating of silver iodide. As with the bitumen process, the result appeared as a positive when it was suitably lit and viewed. Exposure times were still impractically long until Daguerre made the pivotal discovery that an invisibly slight or "latent" image produced on such a plate by a much shorter exposure could be "developed" to full visibility by mercury fumes. This brought the required exposure time down to a few minutes under optimum conditions. A strong hot solution of common salt served to stabilize or fix the image by removing the remaining silver iodide. On 7 January 1839, this first complete practical photographic process was announced at a meeting of the French Academy of Sciences,[30] and the news quickly spread.[31] At first, all details of the process were withheld and specimens were shown only at Daguerre's studio, under his close supervision, to Academy members and other distinguished guests.[32] Arrangements were made for the French government to buy the rights in exchange for pensions for Niépce's son and Daguerre and present the invention to the world (with the exception of Great Britain, where an agent for Daguerre patented it) as a free gift.[33] Complete instructions were made public on 19 August 1839.[34] Known as the daguerreotype process, it was the most common commercial process until the late 1850s when it was superseded by the collodion process.Joaquim Corrêa de Mello (1816–1877). Looking for another method to copy graphic designs he captured their images on paper treated with silver nitrate as contact prints or in a camera obscura device. He did not manage to properly fix his images and abandoned the project after hearing of the Daguerreotype process in 1839[35] and did not properly publish any of his findings. He reportedly referred to the technique as "photographie" (in French) as early as 1833, also helped by a suggestion of De Mello.[36] Some extant photographic contact prints are believed to have been made in circa 1833 and kept in the collection of IMS. Henry Fox Talbot had already succeeded in creating stabilized photographic negatives on paper in 1835, but worked on perfecting his own process after reading early reports of Daguerre's invention.