1.) Conceptual Design Idea (metamorphosis) and Research (500 Words plus visuals with captions)
I found interest in this topic because a lot of people my age are targeted by energy drink advertisements, so I know how they are presented and I can use that to my advantage. For example, to help boost product engagement and overall brand awareness. The brand name for my energy drink company will be called THRIVE. The word means to flourish, stay strong and to be full of life, which aligns with the idea that energy and wellness does not stop for over 60’s. The name avoids youth-focused branding and doesn’t scream extreme sports unlike ‘Monster’ or ‘Redbull’. This makes the brand feel more welcoming and approachable for the older adults. The logo for the brand has been conceptually designed by replacing the ‘I’ with an upwards arrow. This instantly tells consumers that this product will boost your energy and get you up and active. The use of the retro style font was also intentional in attracting the right target audience and not teenagers for example.
Metamorphosis animations are a technique used where one object transforms into another in a seamless manner. There are many different types of metamorphosis animations including shape morphing, organic growth/evolution, and Perspective-based transitions. Organic growth/evolution is often used in nature-inspired animations the elements evolves/expands into a different state whereas perspective-based metamorphosis uses camera angles and depth to change elements in a 3D space. For inspiration I decided to try and find examples of these different types of animations and in doing so found this one below.
Metamorphosis | Svasti
This metamorphosis animation caught my attention because the transition is subtle and not in your face like other animations can be. Using a more subtle approach for my animation could be a good idea because as my consumers are a mature audience, gradual transformations can allow them to follow the narrative more comfortably, ensuring the message is clear and engaging. The text morphing into the butterfly gave me inspiration to possibly transition my logo into another object. Although, I liked the idea of using a perspective-based metamorphosis, using the camera angles to mask the transition into the can. This then gave me the idea to combine the text morphing into the can with the help of using perspective-based metamorphosis.
After researching, my conceptual design idea involves easing in the viewer by introducing the name of the product and its purpose. Then with the use of perspective-based metamorphosis the text will turn into the energy drink itself. The transition will focus on zooming into the arrow on the logo to the point where it takes up the entire screen. This will act as a mask allowing all the previous elements to move out of the cameras view. The arrow will then seamlessly change into the can by colour matching the arrow with a section of the can together, so it looks like the object has not changed.
2.) Animation Storyboard (500 Words plus visuals with captions)
The storyboard was the first time I visualised my ideas for this animation. Looking at the board from a whole I think the animation does a good job in not only including the use of metamorphosis but showing the viewer what the product’s intended use is. For example, the slogan ‘Because energy has no age limit’ instantly tells us that it is an energy drink and its suitable for the target audience – people over 60.
I used a different slogan to finish the animation off with than the start. This is because people tend to remember the first and last things they see in a sequence. So, in having two different slogans it allows the brand to communicate multiple aspects of its identity. This marketing approach helps enhance the brand’s audience engagement and the brand’s recall.
I plan for the project to use one continuous camera making it a one-shot animation. By eliminating abrupt cuts, one shot animations allow for a more fluid viewing experience, reducing distractions and keeping the audience focused. Smith (2016) argues that “continuous motion helps in sustaining attention, as viewers are naturally drawn in to the uninterrupted sequence.” The method is beneficial to this animation because retaining the viewers interest is crucial to effectively communicate with the brand’s message.
3.) Visual Design Treatment- How will you incorporate Edward Tufte’s five theories into your work? (500 Words plus visuals with captions)
Edward Tufte’s principles of data visualisation provides great guidance for designing impactful and clear visuals. The principles that were originally developed for presenting quantitative data can also be applied to motion and animation graphics. The animation I am creating where the Thrive logo zooms into itself and transitions into the energy drink can, will include these principles to ensure clarity, purpose, and audience engagement.
Graphical Excellence
Tufte (1983) highlights that “well designed graphics should convey information clearly and efficiently without being too complex.” In my animation, I plan to do this by using a smooth zoom transition that leads from the logo to the product, ensuring that the transformation feels intuitive and engaging. This approach will make the animation easy to follow for the target audience, by keeping the movement simple and avoiding any complex transitions.
Graphical Integrity
“Maintaining honesty and accuracy in visual representation is essential” (Tufte, 1983). My animation will go by this principle by avoiding misleading transitions that might distort the products perception. The zoom effect acts as a direct and authentic connection between the product and the brand’s identity which results in reinforcing trust.
Data ink ratio
Tufte’s data ink ratio concept (1983) talks about the importance of “eliminating non-essential elements to keep the designed focused and purposeful.” In my animation, I intend to follow this by removing any decorative effects that do not contribute to the core message. The background will be kept clean, and any additional effects like glows and motion blurs will be kept subtle so the focus remains on the transition.
Avoiding chart junk
Unnecessary additions, which Tufte (1983) refers to as “chart junk”, can distract people from the core message. For example, having excessive motion and lots of sudden colour changes can not only confuse the viewer but it may make them drift away from the importance of the animation. To prevent this, I will avoid excessive colour changes, rapid movements, and flashy effects. Instead, the animation will remain clean and simple with a limited colour palette and smooth motion. This will ensure the audience remains engaged with the brand transformation rather than being overwhelmed by any excessive visual noise.
Multifunctional elements
Tufte (1990) suggests that visual elements “should serve multiple purposes to enhance efficiency.” In my animation, the logo will act as both a branding element and a transition device. Instead of simply fading out, the logo will transform directly into the can, reinforcing the direct connection between the brand and the product. This dual functionality will help create a fluid and engaging experience, ensuring each element contributes to the effectiveness of the animation.
4.) Final Design- How did you incorporate Tufte’s five theories into your work? (500 Words plus visuals with captions)
After completing my animation, I noticed some differences between my initial plan and the final execution. Refinements were made to enhance the clarity and engagement of the sequence.
Graphical Excellence
Initially, I planned for the zoom effect to be simple, but during development I did some adjusting. Tweaking with the easing and timing helped create a smoother and more engaging transition. I found that adding a slight pause before the zoom into arrow helped build anticipation, making the transformation more visually appealing for the audience.
Graphical Integrity
Originally, I intended for the zoom to transition directly to the product, but I refined this by introducing a brief glow effect on the arrow before it morphed into the can. This small addition helped reinforce the energy drink theme whilst keeping the motion the same, so it’s still easy to follow for the target audience.
Optimising the Data-link Ratio
My initial plan focused on minimising unnecessary elements but through testing, I realised some subtle enhancements could be beneficial. I added a soft background gradient to create depth to the animation without overwhelming the viewer. This kept the animation focused but improved its visual look greatly.
While my initial approach was focused on strict minimalism, the final version balanced clarity with small refinements that enhanced the overall animation viewing experience. By carefully considering Tufte’s theories during the development phase, I ensured that the animation remained engaging, purposeful, and visually coherent, successfully translating his principles in quantitative data into an effective motion design.
5.) 3D Metamorphosis Animation (30 Seconds, 24FPS)
https://youtu.be/hPpBft8yAXs
References
Tufte, E. R. (1983). The Visual Display of Quantitative Information. Cheshire, CT: Graphics Press.
Tufte, E. R. (1990). Envisioning Information. Cheshire, CT: Graphics Press.
Smith, M. (2016). Engaging Visuals: The Power of Seamless Motion in Media. Cambridge University Press.
GeeksforGeeks (2024) Power of Data Ink. Available at: https://www.geeksforgeeks.org/mastering-tuftes-data-visualization-principles/ (Accessed: 9th March 2025)
Svasti, U. (2020) Metamorphosis. Available at: https://www.svastiujagar.com/metamorphosis (Accessed: 9th March 2025)