Motion Graphics and Compositing | Task 1 - Exercises
|| Tee Zi Tong, 0366165
|| Motion Graphics and Compositing | Task 1 - Exercises
|| Week 1 - Week 3
INSTRUCTION
EXERCISE 1
For this exercise, I produced a looping motion graphic in Adobe After Effects by using simple geometric shapes and basic animation techniques. The main focus of this task was to understand how keyframes and timing can create continuous movement within a seamless loop.
I started by creating a new composition and designing several circular shapes with the Shape Tool. After completing the layout, I animated the circles using the Scale property. By setting keyframes at different intervals, I was able to create an expanding pulse effect. I adjusted the timing carefully in the timeline so the movement would feel balanced and rhythmic throughout the animation.
Once the core animation was complete, I refined the motion by applying Easy Ease and modifying the curves in the Graph Editor. This process softened the transitions between movements and created smoother acceleration and deceleration, making the animation appear more natural.
To create a perfect loop, I synchronized the first and last frames precisely. This ensured the animation could replay continuously without any visible jump or interruption.
Final Outcome
Google Drive Link: Project 1 _ Motion graphics Exercise - Google Drive
EXERCISE 2
In this exercise, I explored typography animation and motion graphics composition using Adobe After Effects. The objective of this project was to combine typography, grid systems, geometric elements, masking techniques, and animation to create a visually structured and dynamic motion graphics composition. Through this exercise, I gained a better understanding of how movement, rhythm, and composition can improve visual communication in design.
I first designed the typography layout in Adobe Illustrator using the custom typography that I had created during the previous semester. After completing the design, I imported the Illustrator file into Adobe After Effects to begin the animation process.
During the class session, Mr. Martin guided us through different animation techniques. While following the tutorial, I realized that my original layout did not leave enough space around the sides of the composition. Because of this, the skew effect could not be applied properly as some of the design elements moved too close to the edge of the frame.
After returning home, I redesigned the composition and created a second version with better spacing and arrangement. This adjustment allowed the skew effect to work more smoothly and improved the overall balance and visual flow of the animation.
After refining the layout, I designed a series of small square elements and animated them using masks. By applying keyframes to the Mask Path property, I created a mosaic-like effect where the squares appeared and disappeared over time, adding movement and visual texture to the composition. This process helped me understand how masks can be used creatively as animation tools rather than only for hiding layers.
For the typography animation, I applied the “Characters Shuffle In” preset from the Animation Presets library. This effect created a randomized text appearance before the letters settled into their final readable form. I also added Transform and Distort effects to introduce subtle scaling and positional variations, making the animation feel more dynamic and visually engaging. In the final stage, I duplicated the layout composition and experimented with an inverted color palette by switching the background and typography colors. This created a contrasting sequence and demonstrated how color changes can significantly affect the visual mood of a motion graphics composition.
To keep the project organized and easier to manage, I grouped related layers into pre-compositions. I then created a new 1920 × 1080 composition as the final composition and placed the layout composition over a solid background color. To simplify the animation workflow, I created a Null Object and parented the typography and layout layers to it. By animating the Position and Scale properties of the Null Object, I was able to control multiple elements simultaneously and create smoother overall movement within the composition.
Final Outcome
For Scene 5, I recreated a hanging lamp swinging above the floor. I animated the lamp using the Rotation property and added a wiggle expression to create a more natural pendulum movement.
The lamp was separated into two layers. The second lamp layer was parented to the main lamp layer so that both elements could move together. I also used Track Matte to control the area where the light appeared on the floor.
To create the flashing-light effect, I added an Adjustment Layer above the other layers and applied the Brightness & Contrast effect. A wiggle expression was added to the Brightness value to produce an unstable flickering effect. I also enabled “Use Legacy” to support the brighter lighting result.
This flashing effect helped create a tense and uncomfortable atmosphere that matched the visual style of Parasite.
For Scene 6, I created a horizontal panning movement across the composition. Instead of animating every element separately, I parented the layers to one main parent layer. I then animated the Position property of the parent layer to move the entire scene horizontally.
This method made the animation easier to control and ensured that all the elements moved consistently.
The antennae were animated using the Puppet Position Pin Tool. Puppet Pins allowed me to bend and move specific areas of the antennae without moving the entire object. I adjusted the pins across several keyframes to make the movement appear more organic.
For Scene 7, I enabled the 3D option for the window layer. I animated its Position, Orientation, and X Rotation properties to create a perspective transition from the window towards the tabletop.
The use of 3D properties gave the scene a stronger sense of depth. It also made the movement more dynamic compared to using only standard 2D position animation.
For the zooming movement, I parented the scene elements to a main parent layer and animated the parent layer. This allowed the composition to zoom smoothly while keeping the relationship between the different visual elements consistent.
The completed animation combines the three recreated scenes into one continuous sequence. I tried to maintain the visual composition, pacing, and atmosphere of the original Parasite title sequence while applying the techniques demonstrated during the exercise.
Google Drive Link: Project 1 _ Motion graphics Exercise - Google Drive
FEEDBACK
Overall, Exercise 1, Exercise 2, and Exercise 3 gave me valuable experience in learning the fundamentals of motion graphics design through Adobe After Effects. Exercise 1 helped me understand how simple geometric shapes, timing, and looping animations can create smooth visual motion. Exercise 2 introduced more advanced techniques such as typography animation, masking, grid systems, pre-compose, and parenting layers. Exercise 3 allowed me to apply these skills while recreating Part 2 of the Parasite title sequence.
Throughout the learning process, I found Adobe After Effects quite difficult and sometimes messy to manage, especially when handling multiple layers, effects, and compositions at the same time. There were moments when I felt confused while adjusting keyframes, organizing layers, and refining the animations. In Exercise 2, I faced a problem because my original layout did not leave enough space for the skew effect. Therefore, I had to redesign the composition again at home.
In Exercise 3, I worked on Scene 5 to Scene 7 of the title sequence remake. This exercise introduced me to techniques such as wiggle expressions, Track Matte, Puppet Pin Tool, 3D layers, perspective animation, and parenting multiple elements to a main layer. Scene 7 was particularly challenging because I needed to control the Position, Orientation, and X Rotation properties while maintaining a convincing 3D perspective. I also had to pay close attention to the movement and timing of the original title sequence so that my remake would appear similar.
Despite these difficulties, I was happy and satisfied when I finally completed all three exercises successfully. The process taught me the importance of patience, problem-solving, close observation, and attention to detail during animation work. I also became more confident in using After Effects tools such as keyframes, Graph Editor, masks, Null Objects, animation presets, pre-compose, Puppet Pins, Track Mattes, expressions, and 3D layer properties.
Although there is still room for improvement in terms of workflow organization, animation smoothness, and conceptual storytelling, I believe these exercises have built a strong foundation for my future motion graphics projects.
REFLECTION
Through all three exercises, I learned that motion graphics design requires not only creativity but also strong technical skills, organization, observation, and patience.
In Exercise 1, I learned how timing, repetition, and easing can transform simple shapes into smooth and visually engaging looping animations. Small adjustments to the keyframe spacing and motion curves in the Graph Editor made a significant difference in the overall quality of the animation.
In Exercise 2, I explored typography animation and learned how composition, spacing, and grid systems contribute to clearer visual communication. I also gained experience using masks, pre-compose, parenting systems, and animation presets to create more complex animations. Redesigning my layout because of spacing issues taught me the importance of flexibility and adapting a design when problems appear during the animation process.
In Exercise 3, I recreated Part 2 of the Parasite title sequence, which consisted of Scene 5, Scene 6, and Scene 7. This exercise taught me how professional title sequences combine subtle motion, lighting, composition, and perspective to create a particular atmosphere. In Scene 5, I used rotation and a wiggle expression to animate the swinging lamp. I also used Track Matte and Brightness & Contrast to create the flashing-light effect. This showed me how simple lighting changes could create a tense mood.
For Scene 6, I learned how parenting layers could make horizontal panning more organised and efficient. I also used the Puppet Pin Tool to animate the antennae, allowing the object to move in a more flexible and natural way. In Scene 7, I explored 3D layers and animated the Position, Orientation, and X Rotation properties to create a perspective shift and zooming movement. This scene was the most challenging because small changes to the 3D properties could greatly affect the perspective of the composition.
While learning Adobe After Effects, I sometimes felt overwhelmed because the software contains many tools and complicated workflows. Managing layers, effects, keyframes, and different compositions could become messy and confusing. Exercise 3 also required careful observation because I needed to study the original animation and recreate its timing and movement. However, overcoming these challenges made me feel more accomplished once the final outcomes were completed.
The most meaningful lesson from these exercises was understanding that motion graphics is a combination of technical execution, visual composition, observation, and continuous experimentation. I also realized that even subtle movements can communicate atmosphere and improve the visual experience. Although the process was challenging at times, I enjoyed seeing the animations gradually come to life. Completing all three exercises increased my confidence and motivated me to continue improving my motion graphics and Adobe After Effects skills in future projects.
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