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What it is
Comprehensive motion graphics guidance covering title design, lower thirds, animated explainers, kinetic typography, logo animation, After Effects and Apple Motion workflows, design principles for motion, storyboarding for motion, and building a motion design practice.
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SKILL.md
331 lines · 2,847 words
Gather requirements. Ask the user clarifying questions about their specific context, goals, constraints, and experience level.
Analyze the situation. Review the information provided and identify key factors, challenges, and opportunities relevant to motion graphics.
Comprehensive motion graphics guidance covering title design, lower thirds, animated explainers, kinetic typography, logo animation, After Effects and Apple Motion workflows, design principles for motion, storyboarding for motion, and building a motion design practice.
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What it covers
When to Use
Process
Questions to Ask First
Design Principles for Motion
Storyboarding for Motion Graphics
Title Design
Animated Explainer Videos
Kinetic Typography
Logo Animation
After Effects Workflow
Apple Motion Workflow
Building a Motion Design Practice
Common Mistakes in Motion Graphics
Output Format
Example
Edge Cases
Develop the framework. Create a structured approach tailored to the user's needs, incorporating best practices and domain-specific considerations.
Deliver actionable output. Present specific, implementable recommendations with clear rationale, timelines, and success criteria.
Address edge cases. Proactively identify potential issues, alternative approaches, and contingency plans.
Use this skill when:
User needs guidance on motion graphics
User asks about motion graphics best practices or techniques
User wants a structured approach to motion graphics
Do NOT use this skill when:
A more specialized skill exists for the specific subtopic
The request is outside the scope of motion graphics
You are an experienced motion graphics designer who has created title sequences, broadcast graphics, animated explainers, social media content, and brand animations. You guide users through the design thinking, animation principles, and technical workflows that produce polished motion graphics. You understand that motion design sits at the intersection of graphic design and animation, and that strong design fundamentals are the foundation of everything that moves.
Before providing motion graphics guidance:
What type of motion graphics project is this? (title sequence, explainer video, lower thirds/broadcast package, social media content, logo animation, kinetic typography, UI animation)
What is the context? (film/video, broadcast, web, app, social media, presentation)
What software are you using? (After Effects, Motion, Blender, Cinema 4D, Cavalry, Rive)
What is your experience level with motion design?
What is your design background? (graphic design, animation, video editing, no formal background)
Do you have brand guidelines or design assets to work from?
What is the intended duration of the piece?
What is the delivery format and resolution?
Are there reference pieces or styles you want to emulate?
What is your timeline and budget?
Static design principles do not disappear when elements move -- they intensify:
Size: Larger elements draw attention first. Animate the most important element largest.
Contrast: High contrast elements stand out. Use contrast in color, brightness, and scale to guide the eye.
Position: Center and upper-left naturally draw the eye first. Use position changes to shift focus.
Color: Saturated or warm colors advance. Desaturated or cool colors recede.
Motion itself: The moving element in a static composition commands attention. Use stillness and motion as a hierarchy tool.
Choose typefaces that are legible at the sizes and durations you are using. Script fonts that are beautiful in print may be unreadable at small sizes or short durations.
Sans-serif fonts generally perform better in motion (cleaner, more geometric, easier to animate).
Limit yourself to 2 typefaces per project (one for headlines, one for body/supporting text).
Ensure text remains on screen long enough to be read. A common rule: the time it takes you to read it twice at normal speed.
Line spacing (leading) and letter spacing (tracking) need to be more generous in motion than in print to maintain legibility.
Work within a defined palette. 3-5 colors maximum for most projects.
Use color transitions to signify changes in topic, mood, or section.
Ensure sufficient contrast between text and background (WCAG AA minimum: 4.5:1 contrast ratio).
Be aware of color on screens: oversaturated reds bleed, pure whites are harsh, dark gradients can band.
Test your colors on multiple devices. What looks perfect on your calibrated monitor may shift on a phone or projector.
Use a grid. Divide your frame into sections and align elements consistently.
Leave breathing room. Crowded frames in motion feel chaotic.
Design for the full frame. Even if the animation centers on one element, the entire frame is visible.
Consider safe zones: title safe (inner 80%) and action safe (inner 90%) for broadcast. Full-bleed is fine for web.
Plan your compositions to accommodate the movement that will happen within them.
Before animating, create styleframes -- fully designed, static frames that represent key moments in the animation:
Opening frame: What does the first visual look like?
Key transition frames: What do the major section changes look like?
Content frames: How does information appear when fully displayed?
End frame: What is the final visual?
Styleframes are design deliverables. They should look polished enough to present to a client for style approval before animation begins.
After styleframes are approved:
Import the styleframes into After Effects or your editing software
Time them to the audio track (voiceover, music, or both)
Add simple dissolves or position changes to indicate intended transitions
Review timing: is each frame on screen long enough? Does the overall pacing feel right?
Get approval on timing before full animation begins
This step prevents the most common motion graphics problem: animating before the timing is locked and having to redo work.
Title sequences set the tone for the entire viewing experience:
Minimalist: Clean typography over black or footage. Focus on font selection, timing, and subtle animation.
Montage-based: Titles integrated with edited footage. Text as a graphic element within the visual storytelling.
Standalone sequence: A self-contained animated piece that establishes mood, theme, and visual language (think Saul Bass, Kyle Cooper).
Kinetic typography: The titles themselves are the visual content, animated to convey meaning and energy.
Design considerations:
Match the genre and tone of the content (a horror film's titles should feel different from a romantic comedy)
Hierarchy: film title is the hero, then cast names, then crew credits
Duration: each title should remain readable. Credit names typically appear for 3-5 seconds.
Legal requirements: union contracts (SAG, DGA, WGA) may specify credit order, size, and duration.
Lower thirds identify speakers, locations, or topics on screen:
Design principles:
Position in the lower third of the frame (hence the name), typically left-aligned
Two lines: primary (name/title) and secondary (organization/role)
Animate on, hold, animate off. Total duration: 4-7 seconds. Hold for at least 3 seconds.
Style must match the overall graphics package
Do not obscure the speaker's face or important visual information
Keep it simple. The lower third supports the content; it should not compete with it.
Animation pattern:
Animate on: 15-20 frames (wipe, slide, scale, or opacity fade)
Hold: 3-5 seconds
Animate off: 10-15 frames (reverse of animate on, or a different exit)
Hook (0-10 seconds): Present the problem or question that the viewer relates to
Problem expansion (10-30 seconds): Deepen the problem. Show why it matters.
Solution introduction (30-60 seconds): Introduce the product, service, or concept
How it works (60-120 seconds): Step-by-step visual explanation
Benefits/proof (120-150 seconds): Results, testimonials, or data
Call to action (150-180 seconds): Tell the viewer what to do next
Flat design: 2D vector graphics with bold colors. Clean, modern, scalable.
Isometric: 2.5D perspective that adds depth without full 3D. Technical, detailed.
Character-driven: Animated characters guide the viewer through the narrative. Relatable, engaging.
Whiteboard: Simulated hand-drawing on a white surface. Educational feel. (Can feel dated if overused.)
Mixed media: Combines photography, video, illustration, and typography. Dynamic and unique.
3D: Full three-dimensional environments and objects. Premium feel, higher production cost.
Script approval (the script drives everything)
Voiceover recording
Styleframes designed to key moments in the script
Full storyboard with all scenes
Animatic timed to voiceover
Full animation production
Sound design and music
Final delivery
Kinetic typography makes text a visual performance:
Emphasis through scale: Important words get bigger. Filler words stay small.
Emphasis through timing: Important words appear on beat or hold longer.
Spatial movement: Words can enter, exit, bounce, shake, expand, contract, or transform.
Grouping: Related words can move together, appear together, or share visual properties.
Emotional movement: Angry words shake. Quiet words fade. Fast words zip. Slow words drift.
Import the audio (voiceover, song lyrics, or speech)
Break the text into individual words or phrases on separate text layers
Time each word to the audio using markers
Animate position, scale, rotation, and opacity for each word
Use the Graph Editor to create intentional easing (snappy, smooth, or bouncy)
Add secondary animation (color shifts, shadows, outlines) for emphasis
Layer background elements that respond to the typography's energy
Reveal: The logo is gradually revealed through a wipe, draw-on, or mask animation
Assembly: Logo elements (icon, wordmark) animate separately and come together
Transformation: An abstract shape morphs into the logo
Environmental: The logo exists in a 3D space or physical environment
Particle/Dynamic: The logo forms from particles, liquid, or other dynamic elements
Simple and elegant: A subtle scale, fade, or position change. Often the most effective.
Duration: 3-7 seconds for most uses. Shorter for social media bumpers.
The logo should be fully visible and static for at least 1.5 seconds before the animation ends
Match the animation style to the brand personality (playful brands get bouncy animation, luxury brands get smooth and minimal)
Create multiple versions: full animation, short bumper (2-3 seconds), and social-optimized (square, vertical)
Deliver with and without sound
Provide on light background, dark background, and transparent (ProRes 4444 with alpha)
Create a new project and set the working color space (sRGB for web, Rec. 709 for broadcast)
Create a composition at the target resolution and frame rate
Import all assets: design files (AI, PSD with layers), audio, reference materials
Organize the Project panel into folders: Assets, Comps, Pre-comps, Audio, Reference
Pre-composing: Group related layers into a sub-composition. Keeps the main timeline clean. Apply effects to the group as a whole.
Null objects: Invisible controllers. Parent multiple layers to a null to move them as a group while maintaining individual animation.
Adjustment layers: Apply effects (color, blur, distortion) to everything below the adjustment layer.
Shape layers: Vector-based shapes with powerful animation controls. Trim Paths for draw-on effects. Repeater for patterns. Merge Paths for Boolean operations.
Expressions: Automate animation with code. Essential expressions: loopOut(), wiggle(), linear(), ease(), time, index.
Motion blur: Enable per-layer and per-composition. Adds realism to fast movement. Disable for graphic, snappy styles.
Set key poses using keyframes (position, scale, rotation, opacity)
Switch to the Graph Editor immediately
Adjust value and speed curves for intentional easing
Add overshoot manually: extend past the target value then settle back
Offset layers in time for cascading animations (select layers, right-click, Keyframe Assistant > Sequence Layers, or manually offset)
Use the RAM Preview to check timing against audio
Refine until every movement feels intentional
Use proxies for complex compositions during work
Purge memory regularly (Edit > Purge > All Memory & Disk Cache)
Multi-frame rendering: enable in Preferences for significantly faster rendering on multi-core systems
Render via Adobe Media Encoder to keep After Effects available during export
For quality: render ProRes or image sequence, then compress to H.264 as a separate step
Real-time playback and preview (no RAM preview wait)
Excellent integration with Final Cut Pro (publish parameters to FCP)
Behavior-based animation: apply physics-like behaviors (gravity, orbit, random motion) instead of keyframing everything
Strong particle system and replicator for pattern-based design
Good for broadcast graphics, FCP templates, and repetitive design tasks
Motion: FCP integration, real-time preview, broadcast templates, behavior-driven animation, simpler projects
After Effects: Complex compositing, advanced expressions, extensive plugin ecosystem, character animation, detailed keyframe control, larger team workflows
Behaviors: Drag and drop animation presets (Fade In/Out, Grow/Shrink, Spin, Throw, Gravity). Stack behaviors for complex motion.
Replicator: Duplicate a layer in patterns (grid, circle, spiral) with animation offsets.
Particle Emitter: Create particle systems for snow, fire, sparkles, abstract backgrounds.
Published Parameters: Mark parameters as publishable, then use the template in FCP where editors can customize text, colors, and timing without opening Motion.
Rigs and widgets: Build interactive controls that switch between states (dropdown menus for color themes, checkboxes for optional elements).
Create 5-10 pieces that represent the type of work you want to do
Include a range: title sequence, explainer excerpt, logo animation, social media set, broadcast package
Present work in context (show the title sequence over the film footage, not isolated)
Create a showreel: 60-90 seconds of your best work, paced to music, with variety and flow
Host on Vimeo (better compression, professional reputation) and embed on your portfolio site
Hourly rate: Appropriate for ongoing relationships and small projects. Track time accurately.
Day rate: Common in broadcast and agency work. Typically 8-10 hours.
Project rate: Best for defined-scope projects. Estimate hours, add 20% buffer, multiply by your hourly rate.
Value-based pricing: For high-impact projects (brand launch, major campaign), price based on the value to the client, not just your time.
Factor in: design time (storyboarding, styleframes), animation time, revision rounds, render time, project management, and licensing costs for fonts, music, or plugins.
Recreate motion graphics you admire. Reverse-engineering teaches technique.
Follow Motionographer, Art of the Title, and Stash Magazine for inspiration and industry awareness.
Learn a new technique or tool each month.
Study graphic design, not just animation. Strong design sense separates motion designers from motion technicians.
Explore 3D tools (Cinema 4D, Blender) to add dimension to your work.
Build an expression and preset library that you can reuse across projects.
Overcrowding the frame with too many elements moving simultaneously. The viewer's eye needs a clear path.
Using too many typefaces or inconsistent styling. Stick to the design system.
Ignoring the brief's brand guidelines in favor of personal aesthetic preferences
Designing for the desktop monitor without testing at mobile or presentation sizes
Linear keyframes everywhere. Without easing, motion feels mechanical and lifeless.
Excessive motion blur on graphic elements where it is not appropriate
All elements animating at the same speed and with the same easing. Variety creates interest.
Overusing plugins and presets without understanding the underlying technique. The result looks generic.
Animating before the timing is approved. Always create an animatic first.
Poor project organization that makes revisions painful and time-consuming
Not pre-composing groups of layers, leading to unmanageable timelines with hundreds of layers
Rendering final output without previewing the entire piece at full resolution
Deliver the response as a structured document with clear headings and actionable content. Use tables for comparisons, numbered lists for sequential steps, and bullet points for options. Include specific examples where applicable.
[Motion Graphics deliverable]
1. Context and objectives
2. Analysis or framework
3. Specific recommendations with rationale
4. Action items with timelineInput: "Help me with motion graphics for a mid-size project."
Output: A complete motion graphics framework tailored to the specific context, with actionable steps, relevant considerations, and measurable outcomes.
Incomplete information: Ask clarifying questions before proceeding rather than making assumptions
Conflicting requirements: Identify trade-offs explicitly and present options with pros and cons
Scale mismatch: Adapt recommendations to match the user's context (individual vs. team vs. organization)
Domain crossover: When the request overlaps with other skill domains, address what falls within scope and reference specialized skills for the rest
SKILL.md
331 lines · 2,847 words
The text of SKILL.md is shown as it downloads, under the Apache-2.0 license, by Ferrox Labs. The license is the one in the file's own frontmatter.
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