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PhD Motion Graphics | Terminal degree of your study in Motion Media Design

Image Courtesy | JM Blay |

Extended Reading

Motion Graphics Term |

PhD. Motion Graphics |

The Doctoral court was composed by: Raquel Pelta | Alfonso Ruiz | Antón Arana | Maria Lorenzo |Sara Álvarez. Thesis Director: Rodrigo Pérez Galindo.

The research has been supported by Kyle Cooper and has been counted with the collaboration of numerous artists interviewed by the author as:

KYLE COOPER [Director PrologueFilms] DANNY YOUNT [Creative Director PrologueFilms] MASON NICOLL [Creative Director PrologueFilms] IAN DAWSON [Producer PrologueFilms] ELLEN STAFFORD [Producer PrologueFilms] NATE PARK [Editor PrologueFilms] TEO GUILLEM [Director Dvein] FERNANDO DOMINGUEZ [Director Dvein] GARSON YU [Director Yu+Co] BRANDON MARTINEZ [DirectorColourMovie] RICHIE ADAMS [Director RiverRoadFilms] JAMIE CALIRI [Director] *SCOTT COOPER [Kyle Cooper’s brother]



When we talk about motion graphics the first thing that you wonder is, what are motion graphics?

In Fact this is a term surrounded by a lot of controversy, a few artists said that they make motion graphics and there are many people from the research field devoted to establishing what are and what not motion graphics are.

But, what are motion graphics? Are graphics in motion? Are typography in motion? Both? For the time being we have had a lot of people who would tell us that we are right, but what if we add one picture to those graphics and typography, is it still being motion graphics? And what if that picture becomes an image in motion, are it still being motion graphics? And what happens if we divide the screen into two parts having a complex 3D animation in one of them, are it still being motion graphics? And if the typography suddenly disappears from this composition, are it still being motion graphics? There are many questions to answer. We could keep on making complicated possibilities but it would be very difficult in many cases to have an agreement with two theorists in order to classify an audiovisual work within a genre.

In fact, nowadays the same dilemma is being considered, even in the foundation of the film industry. For example, the films 300 and Sin City, what are they? They have more digital effects than real shooting scenes. How do we call that futuristic films made in 3D animation, those which no one can distinguish from real live action movies.

In the present research we analyse the work of Kyle Cooper as a way to shed some light on the subject.

This research is structured in three blocks based on general concepts. We focus on Kyle Cooper and the digital revolution that supposed the opening credits of the film Seven, directed in 1995 by David F