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Well hello! My name is Carey and in part 3 today we’re gonna design some final frames, talk about pacing, and give our whole sequence the extra juice it’s thirsty for!

We’re looking at storyboarding a motion graphics project, where you really get to establish the whole look and feel of a project through design and storytelling. You start with a blank page, so it’s really the part of a project where you have the most freedom to do what excites and interests you, so I’ve always thought it’s the most fun part. But it’s also more complicated than just pooping out a string of styleframes, as we talked in the first part about how the elements in any design have to be smartly curated for what they signify so that each frame really conveys what you meant it to. And then in the 2nd part, we talked about building frames as important beats in a story and defining a simple plot for what’s happening so that you can more easily figure out how you want to run the interesting visual and conceptual themes through your sequence of frames.

We started with this initial storyboard by Miguel Ortiz, which is one of his final projects for the Visual Design Lab where there are a string of challenges that build on each other, the last of which is to design a full title sequence. So this is an opening sequence designed for a show he imagined about the battle of Iwo Jima, and while the topic is a historical recount of that specific battle, it really seems like the themes about the burden of war are what’s really important here. It’s a really sincere message, and it’s heartfelt, but we were looking at executing it with a bit less gore, making each frame a little clearer, and as a sequence, as a story, creating a more coherent arc, like we talked about in part 2.

So I started with this frame, ditching some of the gore and clarifying what the focus should be. Then I cleaned up this frame a bit, for some of the same reasons. I dumped the first and last frames straight in the river, and then swapped these two, and I roughed out a whole new establishing shot before moving on to this one, where the action is ramping up a bit, and then adding this new one, where that action is ramping down. Now, I had planned on this one being the climax of the action before the story starts its way down to a resolution, beginning with this shot. And in your sort of classic story structure, you’d usually expect the build up to last longer so the climax comes more toward the end. That’s more standard. But we’ve got maybe 30 seconds, and this story is really about what happens after the battle. It’s about the aftermath. So this climax is really just where the action is most pitched, it’s not actually the focus of the story. So in swapping these two, that climax is moving earlier, because I want to make more time in the sequence to explore these themes about loss and fading memories and the burden of war.

So far, we’ve established some basics like where we are and what’s happening, which isn’t always important, but it is here, given that we are talking about a specific event in a specific place. And having established that stuff, we’ve also started introducing these visual themes about soldiers draining away, leaving a trail of bleeding inks in the wake of their struggle. That visual theme of inks draining away off of them evokes ideas about the messiness of battle, but how they’re used conveys this thought about them leaving themselves on the battlefield. Being worn down by it, and giving themselves over to it, which is kind of poetic. And now, in the final frames, we’re gonna tackle the idea that they’re also fading away, becoming lost to history and to memory. We’re also gonna pay attention to the emotional arc of this sequence as we do that, shifting toward making the imagery much less bold, so that the experience of looking at it from one frame to the next feels like it’s risen to action and then settled down into something more languid and thoughtful.

I want to figure out what that could actually look like, and I’m gonna start here, because it was a chaotic frame from the first half of the sequence, and now that it’s moved past the climax, I know I can probably start by stripping out most of the boldness and the chaos. We’ve still got this guy, and maybe this plane is useful because the idea of someone getting shot down goes with the story at this point. I’ll keep that for now. And there’s this smoke that I’d stolen and put into our climax. But where I’d kept the values of that smoke really dark, and the contrast pretty high in that frame, I’m gonna keep the contrast fairly low in this one.

Y’know, I don’t know exactly what I’m gonna do yet, I just know that this guy seems to be the focus, and the elements in this frame generally need to be lighter and smaller than in the ones before it, namely in this one. The rest I’m going to figure out by spending a few hours playing with the elements to see what occurs to me. I’m a big advocate for having a general goal, and playing with elements in a composition to give yourself some time to think about how they work, what they mean, and to kinda see them in action. It’s hard to go into something like this cold and to expect that you absolutely know what you’re trying to make, and know how to make it. Our minds are pretty good at thinking we have a clear vision when we don’t necessarily. It’s just one of our blind spots: we think we can see it, but when we get closer, it turns out our brains were slapping plaster over what was actually just a big gaping hole full of nothing. That’s not always the case, but it’s pretty common, and can lead to a lot of frustration when you thought you had the greatest idea ever and it’s just not coming together the way you thought it would. So I find that working with the elements and just trying things out leads to new ideas that you’re already succeeding at, and that are just as inspired as your original thoughts, if not moreso. If you work with it, and keep playing, it can lead to really surprising things you’d never expect, which is pretty cool.

Like, when I dropped this beach image in to give this guy something to stand on, it didn’t fill the whole frame. So I thought, “well this is a collage, I guess this doesn’t have to be a proper scene that goes from one edge of the frame to the other”. And then I thought it would make sense thematically to fade the edges out, and in looking at that I thought, “well why don’t I blend the edge into one of those bleeding inks?” It’s kind of interesting, although at first I don’t know entirely what it means to have the ground turning liquid, but it gives me a way to move forward, and I can keep assessing whether it makes thematic sense as I develop other parts of the image.

And after looking at it, it kind of makes the ground underneath him feel like it isn’t solid or permanent. That it’s draining away in the same way that these other things are, which is kind of cool. And that notion doesn’t have to be explicit to anyone who sees this. Y’know, no one has to think “oh I get it, he’s not on stable ground.” It still makes sense because it’s in keeping with the visual theme in the other frames of things liquefying. So it’s fine if it stays, and it’s a little idea that I can develop if I want.

And I’m gonna fumble around a little more, just trying these sorts of things. Figuring out where that landscape can liquify a little bit. Which elements do or don’t work. Trying out a little explosion with dirt flying, like in this one from a few frames back. Testing out how much of this blood idea should or shouldn’t make it in. Y’know, trying things out and looking at both how they affect things visually, and how they impact what the frame means. The splashes of red are a strong visual element that draws the eye, so it’s pretty high on that visual hierarchy of importance and adding it changes how your eyes scan over the frame. And as a reference to blood, it’s also a strong signifier that changes how you understand what’s going on, and how you feel about it. So for both reasons it’s pretty easy to see that it’s a bit overpowering and needs to be hidden amongst some other stuff. And that’s how this kind of play works, it’s just a process of trying things like that out, and seeing what they do. Time for the roots idea? Ehhh, maybe not.

But just pushing this plane over here makes me spot this sort of circular shape I want to build out a little bit. And reinforcing that circle just a touch makes this scene feel contained, and I kind of like that, and want to put more into that contained area. It’s a beach, so… maybe these ships? 😀 And like we talked about in earlier parts, I want to keep our main guy and the landscape delineated and dominant and easy to see, so these ships are gonna get toned down so they don’t compete for too much attention, and they don’t make him hard to read. But I like ‘em!

And by discovering a few things in the making of it, while still paying attention to what’s important and what the general goals are, we’ve got something kind of unexpected. It’s a little bit of a shift from the images that come before it in the sequence, but we need that shift. This is partly what I mean by “pacing”, which is really just another aspect of the storytelling, and closely tied to the idea of the emotional arc we’ve talked about. It’s really about the visual impact from one frame to the next. So you can kind of think of it as a visual hierarchy for your whole sequence. So like, which moments in the sequence are really big and bold, and which are quieter and calmer. Or maybe, where in the sequence are certain colors featured more dominantly? In each frame, you’re drawing the viewer’s eyes to an important area first by making some elements more prominent through heightened contrasts in scale, value and color, texture, density and so on. And then hopefully you also have less prominent elements by virtue of using maybe less scale, or more subdued value and color, or less contrast overall.

In one sense, “Pacing” refers to how you do that over time. In how you vary the scale and value and color and density and all the fun visual stuff from one frame to the next, and how those things ebb and flow from start to finish. It’s something common to most forms of art because it’s just something that people like. I occasionally come across this simple passage by Gary Provost, which is about writing, but check this out:

“This sentence has five words. Here are five more words. Five-word sentences are fine. But several together become monotonous. Listen to what is happening. The writing is getting boring. The sound of it drones. It’s like a stuck record. The ear demands some variety. Now listen. I vary the sentence length, and I create music. Music. The writing sings. It has a pleasant rhythm, a lilt, a harmony. I use short sentences. And I use sentences of medium length. And sometimes, when I am certain the reader is rested, I will engage him with a sentence of considerable length, a sentence that burns with energy and builds with all the impetus of a crescendo, the roll of the drums, the crash of the cymbals–sounds that say listen to this, it is important.”

So far, I’m paying a lot of attention to how the overall scales and values of the sequence start off, ramp up, and then start ramping down. It’s actually a pretty smooth arc of intensity, in line with the emotional arc of building to all of this action and then settling into the aftermath. So you can see how the emotional arc and the visual pacing are really closely related. As I mentioned in the last part, the experience of watching this, the emotional impact of it… is, in part, what you show. That’s true. This is a bunch of images of soldiers in battle and you’re gonna have feelings about what those images signify to you. But a lot of the emotional impact comes from how those elements are used. Is it big or small in the frame? Bright or dark? Densely detailed or sparse? High contrast or low? Candy colored or black and white? And then what’s the arc of those qualities over the course of the whole sequence? How do those things change from frame to frame?

In terms of scale, our sequence looks kinda like this at the moment. The frame that feels like it has the biggest stuff is our climactic frame, with the earlier frames ramping up to it, and later frames ramping back down. Where are the darkest values? I’d say it looks about like this. Pretty similar. Less intensity overall, but again, it ramps up to our climactic frame, and then back down again. Scale and value are both supporting this general arc of emotional intensity. Now how about this red color? It starts appearing in frame 3, but it’s kind of washed out. And then in the climax it’s dark but there’s more of it, and then there are multiple, brighter instances of it following that, and it starts tapering off. And I want that. I don’t want a gore-fest through the whole sequence, I want it to be an element that’s not really introduced until the intensity is the highest, and then I want it to be part of the aftermath.

And with the sequence not entirely filled out yet, there may still be some adjustments to each of these things, to dial them up or down, because for example, right now I’m using quite a bit of the liquid ink effect in the first couple of frames, but this is roughly where I think the liquid stuff should probably be in the story. Things should be fresh and sturdy in the beginning, to better contrast how they’re slowly worn down over the course of the sequence. But that’s just this story and how I want to tell it. We’ve focused a lot on this extremely basic story arc of rising action to a climax and then falling to resolution because it’s simple and it works here. But a different story may very well have a different curve. And the pacing and emotional arc may be different. You might want the whole thing to feel like a dance party with flashing lights and hard cuts from frame to frame, where it starts chaotic and and bumps all the way through. Or maybe you want more of a roller coaster swinging wildly but smoothly from mood to mood.

For the viewer, the story and the emotional arc and how the various qualities are paced are all part of the same experience. Your audience won’t really distinguish one from another, and you don’t necessarily want them to. You want them to feel it and experience it. But understanding your own films or animations or storyboards in these terms makes it waaaaay easier for you to see how you might want to adjust any given moment in them when they’re not working quite as well as you’d like. Just keeping these sorts of things in mind helps you spot opportunities to make sequences way cooler or more powerful or more moving or compelling. Right now, it’s giving me a general roadmap so I can see how I need to push the next frame in the sequence. I’m gonna use even less of the red than is currently here, for sure. And I should try to reduce the scale of things in general, and use more of the fading.

Now, I’m still gonna try to use basically the same elements as the original, but the image of these guys cuts off at their feet, so that’s a constraint I have to work with. And y’know, as I build it, that means I’m gonna have to play with the elements, slowly try some ideas out and see where it goes, but I’ll keep coming back to these basic goals: In the story, this is the aftermath. The intensity here is much lower. The values and colors should be less prominent overall. But within those constraints, I’ll keep creating details that fill out the story. Like, obviously I’m not gonna suddenly introduce a reference to… He-Man. Yeah, I wouldn’t do that! Do they have super cool hair? Yes! Are they the masters of the universe? Yeah, OF COURSE. But they’re not… you’re not in this story, get out!

Instead I’m gonna try things out like japanese buildings from that era. I’m gonna carry through some of the smoke we’ve seen in other frames. And figure out how to use the inks to help fade this guy more and more. I’m gonna keep bouncing around the frame, slowly discovering ways to use these elements together with an eye toward creating the details of this little story, and doing that by using our basic design stuff like setting these guys in the foreground by putting that building behind them and making sure you can see his fairly bright arm in front of it by darkening that side of the building just enough to delineate the edge between them with a slight contrast in values. Now I’m fairly quickly gonna undo that because I think this guy’s arm is a good place to have him start melting away, but that’s kinda how it goes. At any given moment I’m gonna try something and see what happens. I don’t necessarily have a strict plan on this one, I’m just finding it as I go by keeping in mind my general goals. I know the basic story of the sequence, and where this needs to fit in it. These guys should be the focus, and any other details should support the idea that they’re fading away, as well as ideas about the chaotic aftermath of the battle. So I want to find cool ways to convey that and He-Man in a santa hat is super cool, that’s pretty obvious, but i’m not… GET OUT! I have to find cool stuff that fits this story. I think these japanese houses from that era are appropriate, and they’re working, and I like the idea that they’re wrapped in the smoke and aftermath that’s literally bleeding off of these broken soldiers. In the collagey logic of this whole sequence, that makes a poetic kind of sense.

And all the while, i’m crafting each little bit with attention to the visual hierarchy of the frame. I’ve decided I want these guys to be the focus, so I don’t want any of these other elements to be more prominent. This crashed plane is an awesome idea, but I don’t want to overwhelm the frame with it either. It can still be noticeable, maybe I can make it second in the hierarchy so you see these guys first, then maybe you notice the plane and kind of spot the houses. So to do that, I’ve scaled that plane down and faded out the dark parts so it doesn’t stand out so much. It still has enough of the signifying details to tell you it’s one of those old bombers, but I’m obscuring parts of it in smoke. Same with the houses, they’re even more faded, more obscured by smoke. I’m dialing the elements up and down based on how much prominence I want them to have.

It’s this constant process of finding the right elements for the story, extracting and highlighting just the signifiers that matter most out of them, and treating them each in a way that tells the viewer’s eye what’s important. You’re gonna shape those elements by toning down certain qualities, defining and amplifying others, and maybe adding new qualities to them that they didn’t originally have. In almost every case, you have to work with them like that because you need them to do something juuuust a little different than they were meant for.

And as you’re fussing with all of that, you’ll be noticing the changes goin on in the frame, and some of those changes may spark new ideas. My favorite example of that is that while fussing with all of the fiddly little bits of working this plane crash in, I keep thinking that these smoke plumes look just a little bit like wings. And I’m like… “angels?” Is that a good idea? That seems kinda cheesy. But birds… innnteresting, we already have birds in a bunch of these frames. Ravens! Can I somehow work that in, again without making it scream for attention? Why yes, yes I can! And then it just takes balancing out its qualities to make sure it’s really low on the hierarchy. No one needs to see this, but if they do, it’s pretty cool! I really like this!

And finding it while playing doesn’t need to be your process all of the time. It’s just something to fall back on when you’re not completely sold on what you have in mind. Or when you thought you had a great idea and it turns out to have been an empty hole hidden behind that mental blind spot, this sort of playing around can help you develop incomplete ideas and take them further than you’d expected. Personally, I wouldn’t really come up with something like this just by brainstorming. It really takes seeing the actual forms and working with them, and investing the frame with lots of little ideas that come together over time.

And as for the sequence, I feel like these guys are a little big, but maybe that’s ok. We’ll see how it stacks against this last frame, which I’m aiming to make the simplest of them all. I want it to be even more stripped down. Feel more barren. Just like I took this frame and focused it on these guys, I want this moment to be really important. It tells you a lot all by itself. Although I think if any frame is going to make use of the root theme, it’s gonna be this one. I’ll still make it subtle, but this is the one frame where it really makes a certain kind of sense, so I’ll leave it a bit more visible. But mostly I’m gonna strip it back and highlight these central elements.

And it looks like things could be a bit smaller at this point in the sequence, turning this into an extreme wide shot, like the camera is pulling out, which is nice. And with things so sparse, the red doesn’t need to stand out nearly as much. I can also push the background toward brighter values. This frame is so simple that, as long as the central image is clear, it’s mostly about balancing out things like scale and value and all of that so that this frame plays its role in that emotional arc I’m trying to create. So in terms of pacing, it’s gonna be a quiet end. This is also the perfect place to use those inks, as long as they’re not too bold. I mean, the whole idea of these soldiers draining away on the battlefield, or however you read that metaphor, is kind of perfectly encapsulated here. This is sort of the apex of that idea. And having already established it in previous frames I don’t need to be loud about it here, which is great. I think that’s a really fitting end to the series.

So now that that’s adjusted a bit, the size of these guys is more apparent. And having a bump in scale right here might not fit the original plan of having a very simple arc from small to large, to small again, but I actually don’t mind it. I don’t think that progressively backing out of the large elements in the climax to this small figure, and then increasing scale again to see these guys better is necessarily a bad move. Again, this was a reeeally simple roadmap, mostly for the sake of demonstration. But in actuality, having these shots sandwich this shot is nice. In film language, we’re inserting a medium wide shot between two extreme wide shots. So, pacing-wise, it provides a little variety to the shot selection, but without being chaotic or jarring. And I think that actually works.

[FRAME 06] So now we can do some final tweaks, and I’m scanning over the set, and certain things are popping out to me. Y’know, some things are only going to seem obvious once you see all of the frames together, and i see this guy as a hiccup in the story because he looks like he’s fighting pretty fiercely, but I think the battle is over at this point. And maybe we just need someone who looks like they’ve already been in a battle and come out the other side. This guy looks tired, and like his feet are just sunk into the ground, which is a lot more fitting at this point in the story. It’s also a little opportunity to use the roots in a smarter way, although just like elsewhere, they’re gonna be waaaaay down on the hierarchy. But that still looks good, and it makes so much more sense for this beat in the story.

[FRAME 07] Another subtle story point is that in this frame, I want this guy juuust a little bit more faded out. Like he’s already lost to memory. Y’know, these are the kinds of things you just spend a little bit of time adjusting once you can see the whole sequence together, and coming back to them sometimes gives you some fresh insights and ideas. Like, I just wanted to see how subtly I could work in this wing idea, and I think this is the kind of thing no one’s gonna notice unless they’ve been looking at it for a bit, which is great. This is actually one of my favorite frames in the set.

[FRAME 01] If we were doing this for a job with a deadline, there probably wouldn’t be much time left at this point, so it kind of becomes triage where you sort out what needs fixing the most, and you may have to go at it quick and dirty. Way back in the first frame, two things stick out to me. First is that, thematically, I don’t want to use the inks to show things draining away so much just yet. I want that idea to ramp up over the first half of the sequence, so I think this frame should have less of it. I’m gonna take out most of the inks and use these clouds instead to kind of wrap them through here. I like that idea because you can read it both as clouds and maybe also as smoke, as if something is on fire. And I think this torii gate is also too bold. I want to start off quiet and ramp up to our visually bold climax, so I want to back it off a little more here. And then from there, it’s mostly about balancing out how much attention different elements and different parts of the frame are getting. These planes are really small, but they still need to be important in the frame. By contrast, the clouds are huge and have a ton of detail, so I have to make sure they don’t steal too much attention from those planes. I think this balances that out a little better, and the inks aren’t introduced until the next frame. These little touch-ups really do help!

This shot just needs to establish where we are and suggest what’s goin on. Then I imagine we cut in much closer, so you can really see and hear the action. Then we cut to guys charging in. And I think it would work well to have all of the action in slow motion from here on out as we watch the inks slowly bleeding off of the soldiers. Same with this shot, where the figures are slowly struggling to move right as they drain away to the left. Then the camera can do a fast dolly out to the reveal of them raising a flag and leaving a trail behind them, with this guy looking on. Then there could be a series of cross-dissolves between these fairly languid scenes, so you really give the audience some time to contemplate what’s going on, and to let them feel the pace as it slows to match the mood of this part of the sequence. And then we end here with a slow dolly out, leaving this guy standing here with his friend.

We spend the first few frames setting the scene and establishing what’s going on. There’s a nice lead-in to this big moment at the half way mark, and then it spends time exploring these ideas about loss and the personal cost of war that were so meaningful in the original boards. And I think it’s a bit clearer about those themes now, partly because each frame better directs your attention to what’s most important, and because the signifiers that it directs your attention toward are a little more cleaned up and clarified. Like, prime example: I actually did a variation on this frame, thinking I just wanted this foreground dude to be more prominent, and wanted to try out some other stuff… this is the luxury of not having a hard deadline. 😀 And at a certain point, I was tryin to figure out how to make this guy’s arm not be so weirdly stuck out here. It’s drawing attention to itself and it’s buggin me.

Now that’s mostly a compositional problem, but I’m so hyper-focused on that problem, that I’m actually going to try to solve it at the expense of including the wrong signifiers and conveying the wrong things. I could probably just erase that arm, but instead I’m thinking I should give his useless arm a reason for being stuck out there. I’ll put something in his hand! Maybe a gun? Maybe a radio? Or maybe I’ll use the silhouette of a knife with a clean straight edge. Ooh, that’s cool! That’s smart.

Nnnnnnope. No, no not that smart. Because it changes the story, big time. This one little signifier changes how we read what’s going on. It takes this guy from being a passive observer of what’s happening, and suddenly now he looks like a violent attacker. That’s appropriate for a lot of stories about war, but not this one. He was an onlooker as these guys go through their struggle, and now he might be trying to sneak up and cut their heads off. Ooooops.

That temptation to “add some cool shit” just to make a weak composition flashier or more intense, or like in this case, to make an excuse for why an arm is stuck out in the middle of the air… that temptation is constant. And cool shit can be great. But if you’re gonna add cool shit, you want the stuff you add to also be in service to the idea. Y’know, a red light saber would also have looked super dope, and been super stupid. You don’t really want to do that. You don’t wanna do it! […] Yeah, it doesn’t work out in the end. 😀 In the same way, arbitrarily adding a lens flare, or some speed lines or a sunburst or whatever your particular affliction is (we all have them) is most likely your lazy way of rushing to cover up something that’s not that great, without actually making it more interesting. So you know that if it’s not supporting the idea or evolving it in some way, it’s most likely design cream, or sparkle powder, or what you’d technically call… bullshit. In a lot of cases, we smear sparkles and cream all over the frame because the idea we thought we were crafting is actually still kinda stupid, and instead of developing that idea, we’re just glopping cosmetics on top. I am clearly no exception. It’s not the end of the world, it’s just something to be aware of when you’re mmmaybe glopping it on a little heavy.

Thankfully, the ideas in the original storyboard are meaningful, and kind of compelling, so lots of interesting stuff is already there, and I wasn’t quite as tempted to slap design cream and sparkle powder over the surface to compensate.

As far as this one goes, I don’t know that this frame is really any better. These two are still very similar. Maybe for you, one does a slightly better job than the other. I’ll let you decide. But that little example of the poorly chosen knife idea is a good reminder of one of the key takeaways of part 1, which is that you can grab attention with beautiful, striking imagery, and draw people’s eyes to it in the frame, but you need to craft the imagery they’re now focused on so that it means something, and crafting the right meanings is much easier when you really get down and look at the individual qualities of that imagery. The individual signifiers that tell them exactly what they’re seeing.

In part 2, we talked about how in almost any kind of animation or motion design, whether a 3 second endtag or a 5 minute short film, it’s really helpful to develop some kind of story structure and break it down into a plot, however simple it is, and the basic visual and conceptual themes that run through that plot. You need the actual A then B then C of what happens, and then all of the ideas that make repeated appearances, dipping in and out as that plot progresses. You can get more complicated if you want, but being able to identify those things, and separate them out, makes it easier to see if your basic story structure is working, or if one of your themes could make more sense. And then you can dial certain qualities up or down at different points to create an emotional arc that complements and accentuates your story. Maybe you want some emotional swells or dips at certain points, like maybe you have a bunch of chaos and heavy activity going on, but you want to highlight something for a moment, so you quiet everything down and focus on that before it gets energetic again.

Pacing is very much a part of how you craft that emotional journey. It’s how you evolve the different visual qualities like scale and value and color and density from one frame to the next, to imply a certain kind of energy. Tranquil or frantic, or whatever your ideas call for. Pacing really comes alive in animation and editing, but it you’re already thinking about it in the design phase, you can really make it work for the story and the themes, and the end product will be way more intense and attractive.

Surprisingly, the most powerful skill for making all of this stuff work is: contrast. And contrast is more useful than you might think, but also more complicated than you might think, so we spend a few chapters in the visual design lab learning about it and levelling up our abilities with it in the first challenges so we can make cooler stuff in general. Whether you’re into colorful character animation, or 3d abstracts, or incorporating live action… whatever your style is, that stuff is at the foundation and will get you way ahead, so check that out at division05.com if you’re really ready to go beast mode.

Thanks again to Miguel for letting his boards get a good spanking. In the future, we’ll do some simpler projects. Some critiques, some paint-overs, and other fun stuff. There are mountains of tutorials and quick tips and how-to’s out there already, so we’ll focus on what’s actually going to help you become a better designer and make stuff that’s really satisfying and exciting. So if there’s stuff you want to see included, bomb that comment section!

In the meantime, get back in there and make some cool stuff! See you soon.