15/02/2026 - 30/12/2026 / Week 3 – Week 5
Gabriella Grace
Christyanti / 0371915
Information Design / Creative Media / School
of Design
Project 2
1. Instructions
2. Lectures
3. Process Work
4. Feedback
5. Reflection
1. INSTRUCTIONS
In his manifesto, Manuel Lima introduces nine principles that help designers create effective information visualizations in the digital age. These ideas guide designers in turning complicated data into visuals that people can understand more easily.
1. Start with a Question
A good visualization usually begins with a clear question. This question helps guide the design process and keeps the focus on what the visualization is trying to explain.
2. Look for Patterns
When working with large amounts of data, patterns often appear. Finding these patterns helps designers understand the information better before turning it into visuals.
3. Embrace Complexity
Information today can be very complex. Instead of removing that complexity, the goal is to present it in a way that people can still understand.
4. Avoid Unnecessary Decoration
Visualizations should focus on communication. Too many decorative elements can distract viewers from the main message.
5. Choose the Right Structure
Different types of data need different visual structures. Designers should choose formats like networks, maps, or diagrams that best represent the relationships in the data.
6. Consider the Context
Data does not stand alone. Adding explanations or background information helps the audience understand what the data means.
7. Be Accurate
Accuracy is very important in visualization. The data should be presented honestly to maintain trust and reliability.
8. Make It Easy to Understand
Visualizations should be clear and readable so that many people can understand them without difficulty.
9. Tell a Story
A strong visualization often tells a story. A clear narrative helps guide viewers through the information and makes the message easier to remember.
These principles are discussed in Visual Complexity: Mapping Patterns of Information, which focuses on how complex information can be communicated through meaningful visual design.
For this kinetic typography project, we worked as a group. At the beginning, we discussed and divided the tasks so each member had a clear responsibility. We also had a consultation to confirm our concept. The font that we have chosen isEphesis (the caligraphy) and Black Han Sans. The song we chose was “Stateside” by PinkPantheress featuring Zara Larsson, and we organized our parts using Google Sheets.
Before I started animating, I first created the visual elements in Adobe Illustrator. I designed a sticky notes element using a blue box as the base shape, following the color palette that my team had decided earlier. This helped keep the design consistent with the overall concept before moving the assets into After Effects for animation.
I created several elements such as sticky notes and some text. In the animation setup, all of these elements are connected using parenting. The text layer (Loose) is parented to the sticky note, and the sticky note itself is parented to Null 1. This structure helps control the movement of multiple elements together more easily during the animation.
Null 1 is used to make the screen follow the text according to the beat of the song. It allows the camera to zoom into each word when it is sung, making the animation feel more dynamic and synchronized with the music.
For the transition, I used Position and Rotation to animate the elements. This helps create a falling motion so the sticky note looks more natural when it moves on the screen. By adjusting both properties, the movement feels smoother and more realistic during the animation.
For the transition to the next scene, I used a solid red background and animated its size horizontally to create a smooth effect. At the same time, I moved the words “for” and “a” apart from each other. This combination of background and text movement makes the transition more dynamic and keeps the animation in sync with the song’s rhythm.
For all of these elements, the parent is Null 2. The text layers “Yeah,” “I’ve Been it,” and “I’m That Girl” are parented to Minute 1 and Minute 2, which are both also parented to Null 2, so they follow its movement. Minute 1 controls the short clock hand, and Minute 2 controls the long hand. Both clock hands have their anchor points set at the center of the clock, so when they rotate, they move just like a real clock hand, making the animation more realistic and synchronized.
For the clock transition, I used the same technique we learned when creating the donut chart. Using Null 2 as the parent, I made all the elements spin and zoom in together. The transition is timed to occur under the long clock hand, which guides the movement and makes the animation feel smooth and synchronized with the song.
For this transition, I used a Linear Wipe effect, with all elements parented to Null 3. The same linear wipe transition is applied to the text and repeated three times, creating a consistent and rhythmic visual effect that matches the timing and flow of the song.
For Null 3, I animated the Scale to make everything zoom in with each beat of the song, and used Position to make it follow the text. This way, the elements stay aligned while dynamically responding to the rhythm, creating a more engaging and lively animation.
For the “ha-ah” typography, I repeated the animation three times so that each repetition has the same movement. This keeps the animation consistent and synchronized with the rhythm of the song, making the repeated sounds visually match the audio.
For this scene, I applied the same transition to every section, but with slight variations for the background. The top and bottom colored rectangles move from right to left, while the red rectangle moves from left to right.
The text enters slightly later on purpose, with the top text appearing first and the bottom text following at the same speed but delayed, creating a layered and dynamic entrance that adds depth to the animation. This timing helps the viewer’s eye follow the motion naturally while keeping the overall rhythm consistent with the song.
Null 4 is animated to follow and zoom in with the middle text as it reaches the climax of the scene. This emphasizes the peak moment in the song. After this, the animation transitions smoothly to the next part, which is handled by another group member, Katherine, maintaining continuity and flow between different sections of the project.
FINAL KINETIC TYPOGRAPHY VIDEO
For this task, we were asked to animate a chart, and the type of chart was assigned by Sir Martin. I was given the pie chart, or donut chart, to work on for the animation. This allowed me to focus on creating smooth transitions and movements that clearly represent the data while keeping it visually engaging.
The data used for this project was provided by Sir Martin and is based on findings from the American College Health Association National College Health Assessment II: Spring 2014 Reference Group Executive Summary, but I changed it into ACHA NCHA 2014 Report Summary.
For the donut chart, I created eight separate layers following Sir Martin’s tutorial, with each layer having a stroke size of 200px. All of these layers are parented to Null 1, which allows me to control the entire chart’s movement and animation easily, keeping all layers synchronized during the transitions and rotations.
Null 1 is animated to move downward quickly at the start and then slow down toward the end, creating a floating effect. This gradual deceleration makes the movement appear smooth and natural, giving the donut chart a sense of weight and realism as it gently settles into its final position on the screen.
I used a Range Selector to animate the text, making it appear gradually for both the explanations of each segment and the corresponding percentages. This allows the information to be revealed in a smooth, controlled way, keeping the animation organized and easy to follow while maintaining visual interest.
For the lines, I used the Pen Tool to draw them and applied a Linear Wipe effect to animate their appearance. This makes the lines gradually reveal on the screen, creating a clean and smooth visual connection between the chart segments and their corresponding labels.
For this exercise, we completed the task in class under Sir Martin’s guidance. The focus was on practicing vector animation, allowing us to learn how to manipulate shapes and paths smoothly while applying the techniques demonstrated during the session.
I divided the character into multiple layers to give more control over the animation. For instance, the man was broken down into separate parts, and his hand was isolated so it could be animated to wave naturally. This setup lets each piece move on its own, making the overall motion more flexible and lifelike in After Effects.
For this animation, I focused on making each character appear dynamically to create a lively scene. The girl on the left enters first using Position, growing smoothly into view to give a natural appearing effect. The guy in the middle also uses Scale so he appears in a similar smooth manner, maintaining consistency in the entrance of the characters. The guy on the right enters using Position, sliding into place from the side, which adds variation and visual interest to the scene. After their entrances, I added subtle bounce movements to all characters to make them feel more alive and responsive.
I separated the guy’s hand into its own layer, moved the anchor point to the wrist, and applied a slight wiggle expression so the hand moves naturally while following the body. For the girl, I used pins to fix certain parts of her body while animating her head and arms independently. I duplicated keyframes for her head to create a continuous waving motion, keeping the animation smooth, engaging, and visually dynamic throughout the scene.
For this vector animation project, we were asked to animate a vector illustration provided by Sir Martin. I was assigned illustration B, which appears to have a Chinese New Year theme. My task involved bringing the static elements to life, adding movement and effects to make the scene more dynamic, while following the techniques and guidance shared by Sir Martin during class.
In Adobe Illustrator, I separated the illustration into different layers and carefully named each part. This organization makes it easier to identify and animate individual elements later in After Effects, ensuring that each piece can be controlled independently and that the animation process remains smooth and efficient.
The I import everything to AE, I started animating the coins by creating a curved motion path using Position. Each coin moves out quickly at first and then slows down as it falls, giving a natural, gravity-like effect. This approach makes the coins appear dynamic and realistic while keeping the movement smooth and visually engaging.
For the background, I animated it to rotate 90 degrees, creating a slow, subtle movement. This adds depth and keeps the scene from feeling static, while ensuring the focus remains on the main animated elements in the foreground.
For the angpao, I animated it to appear using a Scale effect, making it grow smoothly into view. At the end of the animation, I added a small bounce to give it a lively, playful feel, making the movement more dynamic and engaging.
I also animated the stars to glimmer by scaling them in and out. This subtle scaling effect creates a twinkling appearance, adding a sparkling, lively touch to the scene and enhancing the festive atmosphere.
For the ornaments, I used the Puppet Pin Tool to animate them, making them swing gently as if moved by the wind. This adds a natural, dynamic motion to the scene and makes the decorations feel more lively and realistic.
For the clouds, I animated them to move slowly left and right, creating a gentle drifting effect. For the fans, I set their rotation so they spin in opposite directions, adding contrast and dynamic movement that enhances the overall liveliness of the scene.
For the girl, I used the Puppet Pin Tool along with Scale to make her pop into the scene. I also animated her arm to move naturally, giving her a lively and dynamic presence that draws attention and adds interaction to the composition.
Lastly, I used the Puppet Pin Tool on the rabbit and its eye to make it appear as if the rabbit is smiling. I also animated the heart to pop in using Scale and added a slight rotation to make it move gently, giving the scene a playful and lively finishing touch.
FINAL VECTOR ANIMATION VIDEO
4. FEEDBACK
Sir Martin didn't like how much of the original Stateside video was in the kinetic typography so I changed those parts using more kinetic typography instead.
Working on these animation projects was both challenging and rewarding, especially the kinetic typography task where we collaborated as a group. At the beginning, we organized our workflow by dividing responsibilities, confirming our concept through consultation, and planning everything in Google Sheets. This helped ensure clarity and consistency throughout the project. Before animating, I designed visual elements in Adobe Illustrator based on our chosen color palette, then imported them into After Effects. I learned how to structure animations efficiently using parenting and null objects, which allowed multiple elements to move together and stay synchronized with the beat of the song. Techniques such as Position, Rotation, Scale, Linear Wipe, and timing adjustments helped me create smooth transitions and dynamic movements that matched the rhythm. I also explored how visual hierarchy and motion can guide the viewer’s attention, especially during key moments like zoom-ins and scene transitions.
Across the chart animation, vector exercise, and final vector animation projects, I further developed my technical skills and understanding of motion design. I learned how to organize layers properly, animate elements with more control, and apply tools like the Range Selector, Puppet Pin Tool, and motion paths to create more natural and engaging movements. Observing how small details—such as timing, easing, and subtle secondary motions—affect the overall quality of animation helped me improve both precision and storytelling. These projects also strengthened my patience, time management, and problem-solving skills, especially when dealing with complex animations and software limitations. Overall, the experience taught me how to balance creativity with technical execution, and it gave me greater confidence in producing cohesive, dynamic, and visually engaging animations.
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