Motion Graphics represents an exploration of temporal design, narrative rhythm, and the intersection of typography with moving image across four distinct projects that challenge conventional title design approaches.

The Clips:

The reimagining of A Clockwork Orange's opening sequence draws directly from the film's Ludovico technique sequence, translating the horrific behavioral conditioning treatment into a typographic experience. Working within a stark palette of orange, white, and black, the piece employs rapid-fire cutting between disturbing imagery from the film and title typography, mimicking the forced viewing that transforms Alex from violent delinquent to conditioned subject. The solution deliberately recreates the visceral discomfort of the aversion therapy through relentless quick cuts and overwhelming visual stimuli, positioning the viewer in Alex's restrained perspective while maintaining the film's exploration of free will versus systematic control.

My integration into SEVEN's title sequence required careful consideration of Fincher's methodical visual style, inserting personal identity into the film's obsessive, hand-scratched aesthetic without disrupting its psychological intensity. The solution emerged through mimicking the killer's meticulous documentation process, treating my name as evidence to be catalogued, scratched, and revealed through the same unsettling macro photography and jittery movements that define the original sequence.

"The Hidden History of Science's Secrets: Observing the Observer" imagines a Discovery Channel program honoring Jane Goodall's revolutionary fieldwork through a title sequence that merges scientific documentation with intimate observation. The design juxtaposes archival research footage textures with contemporary motion tracking techniques, creating layers of visual information that mirror Goodall's patient methodology while emphasizing the reciprocal nature of observation—suggesting that in studying primates, we ultimately study ourselves.

The Joy Division piece transforms "Love Will Tear Us Apart" into a kinetic typography experiment that visualizes the song's emotional dissonance through fractured letterforms and opposing directional forces. Rather than illustrating heartbreak literally, the sequence employs stark monochromatic aesthetics reminiscent of Factory Records' visual identity, with text that physically tears, drifts, and reconstitutes itself in sync with Ian Curtis's haunting delivery, creating a playful yet poignant meditation on separation and connection.