What is motion design? Toggle Studio is here to share their unique perspective and shed light on the dynamic field of visual storytelling. By blending traditional techniques with modern technology, they redefine how stories are told across various industries.
hube: What is motion design, and how would you describe its significance in visual storytelling across various industries?
Toggle Studio: In simple terms, motion design is about adding movement or animation to graphic design. But to put it more casually, it’s like weaving stories using abstract visuals.
h: How does Toggle Studio approach motion design differently from other creative studios?
TS: Most studios set themselves apart by their techniques or the types of content they create (like music videos, advertisements, etc.). What makes Toggle different is that we’ve chosen not to confine ourselves to just one thing, such as exclusively doing 3D graphics or focusing solely on advertising. For us, it’s all about starting with the project’s core meanings and then deciding which tools to use from there. The real thrill for Toggle comes when a project lets us experiment and push the boundaries, keeping things fresh and exciting.
That’s why our core team at Toggle comprises individuals who specialise in visual storytelling, handle art direction and manage the process. At the same time, we bring in additional creative talents as needed for specific projects. This setup keeps us open to collaborating with new people, each bringing their own unique flair to the table. Trying to squeeze creative minds into rigid frameworks often stifles their brilliance. It is very important to us that the talents who work with us enjoy collaborating on our projects. We don’t see Toggle as just a workplace where talented individuals are confined; it’s more like a dynamic community where professionals come together, interact and clients reap the benefits of our collective talents.
h: Can you walk us through the process of conceptualising and executing a motion design project at Toggle?
TS: Every project kicks off in its unique way. Sometimes a client comes to us with a crystal-clear vision of their end goal while other times they bring a product (like a song, clothing line or food item) and a desire to evoke a specific emotion through graphics. Our job at Toggle is to tap into those emotions, going beyond just showcasing the product and delving into the realm of feelings and vibes.
We don’t just make videos; we’re often tasked with designing graphics for events too. In these cases, the process may vary but the core idea always remains central. The big question is whether the client presents us with a fully formed concept or if we’re starting from scratch. The journey typically begins with brainstorming and refining the idea, followed by crafting the visual style. These initial stages are crucial as they set the tone for the entire project. We work closely with the client to establish a common ‘language’ that will guide us throughout. Then comes the fun part: fleshing out the story with scripts, animatics and storyboards. This helps the client visualise the end product as closely as possible.
Finally, we dive into the technical aspects, all while keeping the client in the loop at every step. Communication is key to ensuring we deliver exactly what they’re looking for.
h: How do you ensure that your motion design work effectively communicates the intended message to the audience?
TS: Motion design has its functions, but let’s not get too caught up on the word ‘ensure’ here because creativity is at the heart of what we do. We’re in the business of emotions. That’s why we take the time to pick our clients’ brains about the vibes they want to stir up in their audience. Their answers serve as the building blocks for our visual style.
h: How does motion design intersect with the realms of fashion and art, and what unique opportunities does it present?
TS: As more tools flood into the motion design world, it’s weaving tighter knots with various art forms. Take, for instance, a recent project where our client wanted to breathe life into paintings for an ad concept. Sure, it’s been done before but we wanted to put our own spin on it.
Fashion and motion design are practically joined at the hip these days. Digital clothing isn’t just about pretty pictures of garments anymore — it’s entire collections with intricate designs, patterns and even fabric physics. It’s like the catwalk went digital. With this tech boom, online fitting rooms have become a game-changer, revolutionising the way we shop for clothes. Plus, it’s a win for sustainability. Crafting 3D threads is like sculpting art for its own sake. Designers can skip the whole production line ordeal and still showcase their creations in all their glory.
Sure, motion design can stand alone as art but when it rubs elbows with other industries, things get even juicier. Right now, we’re teaming up with a sound design studio in London, Father, to blend our crafts. See, motion design and sound often play second fiddle in projects but they’re the unsung heroes of storytelling. We’re out to shine a spotlight on these crucial art forms that add depth and texture to our shared human experiences.
h: Could you share some examples of how Toggle’s motion design projects have influenced or been influenced by the fashion industry?
TS: One of our recent projects is a music video for Musia Totibadze. In this video, the character undergoes a transition from the real world to the digital realm. During the on-location shooting, our protagonist wore attire from a prominent brand, and we felt it was conceptually appropriate to maintain this style in the digital universe without replicating the exact look. For this endeavour, we enlisted the expertise of a digital tailor, who meticulously crafted the character’s 3D appearance. The video took on the aesthetic of a computer game, with the character exhibiting dynamic movement throughout. Our digital tailor ensured that the 3D attire seamlessly integrated into the virtual environment, adhering to the laws of physics, and enhancing the overall visual experience.
PIC
h: In what ways does motion design contribute to the visual branding and advertising strategies of fashion brands?
TS: Various brands leverage motion design to different extents. While some incorporate it within filmed videos, others opt to entirely replace traditional shooting with motion design content. This approach grants them the flexibility to manipulate, or establish the context in which their clothing and accessories are showcased. Take Nike, for instance. They heavily lean on motion design, constructing a digital realm around their products – simultaneously abstract, modern, and enchanting. Through this innovative presentation, Nike sneakers transcend their conventional identity as mere footwear, evolving into artistic masterpieces and conceptual embodiments. It’s akin to witnessing a magical spectacle. Intriguingly, the environments depicted in Nike’s advertisements or campaigns sometimes diverge so far from reality that these collections appear surreal, or impractical in everyday life.
h: How do you foresee the role of motion design evolving within the art and fashion sectors in the coming years?
TS: Right now, blending graphics with reality is a big thing, making it hard to tell what’s real and what’s not in videos. But we think this trend will fade out soon. Instead, we see content going two ways: either super realistic, like it’s all happening in real life, or totally embracing graphics, not trying to look real at all. At Toggle, we’re not fans of hiding graphics. Sure, they’re useful in movies, but we’re more into making graphics stand out as their own art form. As digital stuff keeps mixing with the real world, obvious graphics become more important, giving cities and spaces a new vibe, instead of just blending in.
h: How has the field of motion design evolved over the years, and what recent trends or innovations have you observed?
TS: These days, everyone’s talking about AI, and it’s changing everything, even motion design. Making content has never been easier. But what’s next? Well, people are getting kinda tired of it all. Just churning out pictures of fake people using AI might not be that entertaining in the long run. It’s like a short-term fix. At Toggle, we see AI as just another tool in the toolbox, not the ultimate solution. They’re cool and all, but there’s still a lot more to explore and innovate.
h: With advancements in technology, how do you incorporate new tools and techniques into your motion design projects?
TS: The industry moves so fast that it’s basically our job to keep up. We’re all about adapting quickly and making the most of these changes. Take AI, for example. At Toggle, we’ve developed our own approach to using them. They’re great for streamlining the technical stuff. Like, instead of offering a client just a handful of character designs, we can give them a whole bunch – like, a hundred! But here’s the thing: we don’t let AI do all the heavy lifting when it comes to creativity. Once the client picks out their favourites from the bunch, we dive in and pour all our creative juice into crafting one unique character that really hits the mark.
h: What challenges do you face in staying ahead of the curve in terms of innovation and creativity within the motion design industry?
TS: Becoming proficient in motion design isn’t a static achievement. It requires ongoing effort to stay updated on new software, advancements in neural networks, and the work of peers. We also draw inspiration from the past when needed. At Toggle, we prioritise innovative problem-solving over blindly following trends. Our goal is to find unique and effective solutions rather than merely imitating what’s popular. That’s where we believe true progress lies.
h: Can you discuss any specific projects where Toggle has pushed the boundaries of traditional motion design?
TS: From our perspective, traditional motion design is a bit of a misnomer. Since its inception, the field has constantly evolved. It began with paper and pencil, then moved to computers, and now encompasses a myriad of tools. We don’t see ourselves as breaking any boundaries; rather, we adapt to the evolving landscape of motion design.
h: With the rise of artificial intelligence, how do you see it impacting the future of motion design?
TS: While it’s undeniable that artificial intelligence is reshaping content production in terms of quality and quantity, its impact on the essence of art is debatable. AI may streamline certain processes but can’t replicate the human touch that resonates with people. Humans bring unique perspectives to problem-solving, especially when tackling unconventional challenges. While AI may flood the market with average content, truly remarkable creations still require human ingenuity to stand out amidst the deluge of AI-generated content.
h: In what ways does Toggle leverage technology and automation in its motion design processes?
TS: It’s important to note that we do not use AI to solve creative tasks – only technical ones. This is partly our principle, but overall, we do not believe that AI is capable of creativity at all. An artist’s perspective is always unique, while artificial intelligence is not. However, any tool that helps quickly convey the idea to its final form is welcome. We strive to use AI-driven tools thoughtfully, always asking ourselves why we need them at a particular stage of production. This helps us understand whether these tools will work or not. For example, when we need to increase the number of iterations, AI is a functional tool. But the next step – choosing from multiple options and justifying the choice – is up to us. Although theoretically, this stage could also be handed over to AI, practically, the project would lose its meaning.
Imagery courtesy of TOGGLE STUDIO
