It was a few years into my video editing career that I discovered “Motion Graphics.” Wanting to make my work stand out, I downloaded After Effects and stumbled into an obsession. My videos went from “iMovie” to “Cinemaaaaa” with just a handful of keyframes, and I would spend the next few years dedicating my keyboard to motion design.
The timing was perfect. Social media was betting on video content, and I was eager to create. Instagram stories, Facebook videos, and YouTube became the kings of video content (and ads). Competing with each other and the wider world, these videos were short, saturated, and attention gripping. I spent my first five years animating for these kings, but, after the 500th meeting of: “how we can grab the users attention faster/longer/moreoften” — I was hungry for something new.
I was fortunate enough to join the growing Customer Experience team at General Motors. These extremely smart folks, with a midwestern drive and Michigan charm, introduced me to the world of User Experience.
Conversations that once asked how we could nip at a user’s attention were replaced with thoughtful questions about a user’s happiness. Animation, a luxury inside a product design team, was to be used purposefully. How can we press a button to reflect reality? If a user gets lost, can we shake an icon to help them along their way?
As I developed a UX approach to animation, my role as “Motion Designer” — for maybe the first time — felt important. Inside the world of advertising, animation was the frosting on a cake. Within UI/UX, motion became a key ingredient; without it, the cake was stale.
Motion can show you that a page is loading with delightful animation. Motion can teach you how to send an emoji or swipe through a carousel. Motion can nag you to fill a low tire, or schedule an oil change. Motion can save lives.
Of course, the opposite is also true. Motion can distract; it can frustrate those with motion sensitivities; motion can be annoying as hell. Thankfully, unlike my past experiences inside advertising, my colleagues understood that “motion design” might mean no motion at all.
Today, beginning my second year with General Motors, it’s seems only appropriate that my approach to motion design now is: How can I get you to where you’re going? (And hopefully the ride there ain’t boring!)