Introduction This design portfolio blog post will explore how Edward Tufte’s five theories were implemented into the final 3D metamorphosis animation. A series of screenshots will communicate each stage of the design development process across Autodesk Maya, Photoshop, Illustrator and Premier Pro. 3D Design Development in Autodesk Maya The final design development process can be seen below and consists of a series of screenshots, communicating the overall final animation construction. Image planes were used as references to the original Stonehenge, this aided with the placement and shapes of the rocks. Henge Brand Design in Adobe Illustrator and Adobe Photoshop The below screenshots show the development of the animation purpose. A new crisp brand, handcrafted in Salisbury, with the flavour of Swiss cheese.   Arnold Rendering and Lighting Implementation of Edward Tufte’s Theories The theories that have been put into practice throughout the final design include, Use of Colour Edward Tufte’s colour theory has been applied to the final animation of Stonehenge and relates to his statement that ‘Nature’s colours are familiar and coherent, possessing a widely accepted harmony to the human eye.’ (Tufte. E.R, 1990). This theory applies to the animation as it projects all aspects of natural colours and nature throughout, which provides familiarity to all viewers. The colours chosen for the animation also convey logical information, using realistic colours close to the real Stonehenge. Comparison of Small Multiples Edward Tufte’s comparison of small multiples can be seen throughout Stonehenge’s rocks and throughout the final animation. The rocks are all different shapes and vary in size, although similar none are the same. This adds depth and realism to the overall design. Narrative over Space and Time Narrative over space and time is demonstrated throughout the Stonehenge animation. The overall animation purpose is revealed as time goes on, the camera flyby reveals the narrative of the new crisp brand and where it is made. Layering and Separation Edward Tufte’s layering and separation theory is demonstrated throughout the animation but is heavily seen in the final packaging design inspired by the existing brand, Tyrrells. Saturated spots of the yellow flowers in the photograph not only make use of his colour theory but also help communicate the flavour of the crisps whilst the rest of the image is in greyscale. Animation Reflection The Stonehenge animation can be viewed in the final Design Portfolio blog post. Reflecting on the final metamorphosis animation, changes were made to the original narrative plan. The ending scene was changed from crisps falling to a zoom-out to frame the crisp packet, advertising the brand and packaging. Moreover, when animating the animation through keyframes I came across a design fault, which can be seen when Stonehenge transitions into Swiss cheese. One of the rocks disappears and I couldn’t find an explanation as to why this was happening. I tried multiple times to restore the rock through keyframing although couldn’t find a solution, this is something I would focus on fixing if I were to do it again and had more time. I would also change the texture settings of the Swiss cheese to have a rougher appearance as it is too shiny. If I were to redo the animation in the future I believe the skills I have learnt creating this piece would aid me in creating smoother transitions as the animation transforms. References Atchabao, N. (2015) Download free cheese seamless vector for free, Vecteezy. Available at: https://www.vecteezy.com/vector-art/94524-free-cheese-seamless-vector (Accessed: 21 May 2023).  Newsroom. (2021). TYRRELLS ‘TYRRELLBLY TYRRELLBLY TASTY’ Campaign Back On TV At Easter With £1M Investment – FAB News. [online] FAB News. Available at: https://fabnews.live/tyrrells-tyrrellbly-tyrrellbly-tasty-campaign-back-on-tv-at-easter-with-1m-investment/ [Accessed 28 Mar. 2023].‌ Tufte. E.R. 1990. Envisioning Information. Cheshire, Connecticut: Graphics Press. (p. 91).

Introduction This design portfolio blog post will explore Edward Tufte’s five design theories and demonstrate how the theories will be put into practice throughout the final 3D metamorphosis animation. Edward Tufte’s Five Theories The five theories that will be put into practice include, Use of Colour The use of colour is an extremely important part of all visual design. Colour can be used to tell a story, create an atmosphere and/or cause a reaction in a viewer. Edward Tufte used colour throughout his career to convey logical information in an organized manner, colour was not used for artistic purposes. This theory is evident throughout the map design below (Figure 1 and Figure 2). Colour is used to show the high and low points of land and deep and shallow points of the ocean through lighter and deeper natural colours. This theory will be used to logically represent where natural shadows from the sun, form on the 3D metamorphosis animation of Stonehenge. (Tufte. E.R. 1990). Comparison of Small Multiples The visualization concept of small multiples was introduced by Edward Tufte. He described them as ‘Illustrations of postage-stamp size are indexed by category or a label, sequenced over time like the frames of a movie, or ordered by a quantitative variable not used in the single image itself.’ (Tufte. E.R. 1990). The concept of small multiples can be applied to the final 3D metamorphosis animation of Stonehenge as there a multiple similar shapes seen throughout the formation of rocks. The rocks can also be logically organized as there is a loose pattern to the overall layout. Therefore similar shapes can be distinguished throughout the formation, including sizing and shape with limited variables. Narrative over Space and Time The narrative of space and time can be seen throughout almost all animations and other media projections. The narrative is the story of events, for instance, past, present, and future. Narrative time refers to the time it takes to tell the story, for example how long it takes viewers to understand Tufte’s graphs. Narrative space could refer to a real place such as space, or a theoretical place. The narrative of space and time could also refer to visual design, the layout of information, and how it is consumed such as a bus timetable. (Harry Hagan, O. 2021). The narrative of space and time may be used in the final animation to communicate movements and atmospheres of each scene overtime. Layering and Separation Layering and separation are the art of simplicity, removing unnecessary visuals from a design can aid the viewer’s focus on what’s truly important. This can be seen in the image below, ‘Note the effectiveness and elegance of small spots of intense, saturated colour for carrying information – a design secret of classical cartography.’ (Tufte. E.R, 1990). The layering and separation theory may be used in the final animation to create focus surrounding the main message of new brand communication. Macrocosm Macrocosm can be described as the whole of a complex structure, such as the universe. Tufte, used this concept to communicate principles of thought throughout his graphs. ‘It is worth mentioning that when principles of design replicate principles of thought, the act of arranging information becomes an act of insight’ (Tufte, 1942) (Silva, A. 2022). This can be seen in graphs that communicate the effects of an event over time, such as graphs communicating the effects of the Covid-19 pandemic on a worldwide basis over time. Macrocosm may be used in the final design to express the effects of Stonehenge’s conspiracy’s over time. References Editors, A. (2016) The adorable side of Andy Warhol: See 10 of the pop master’s little-known pet portraits, Artspace. Available at: https://www.artspace.com/magazine/art_101/book_report/phaidon-andy-warhol-animal-portraits-53996 (Accessed: 14 May 2023).  Harry Hagan, O. (2021) §3. narrative time and narrative space, Elements of Biblical Narrative. Available at: https://pressbooks.palni.org/biblicalnarrative/chapter/3-narrative-time-and-space/ (Accessed: 14 May 2023).  Silva, A. (2022) Tufte (envisioning information) micro-macrocosm – Aury Silva. Available at: https://www.aurysilva.co.uk/design/tufte-envisioning-information-micro-macrocosm/ (Accessed: 15 May 2023). Small multiple (2023) Wikipedia. Available at: https://en.wikipedia.org/wiki/Small_multiple (Accessed: 14 May 2023).  Thatcher (2017) Narratives of time and space comments. Available at: https://cms633.github.io/Spring-2017/commentary/narratives-of-time-and-space-comments.html (Accessed: 14 May 2023).  Tufte, E. (2022) Global weather requires global maps,not boring local non-news on Brooklyn Car Parking Difficulties Beautiful Reporting, Financial Times Steven Bernard + emiliya mychasuk note byline with name of Cartographer!#DDJ #dataviz #graphicdesign #maps https://t.co/cyzs5xnm5o pic.twitter.com/jpkrfbkvbj, Twitter. Available at: https://twitter.com/EdwardTufte/status/1606970997395128321 (Accessed: 14 May 2023).  Tufte. E.R. 1990. Envisioning Information. Cheshire, Connecticut: Graphics Press. (p. 91). Tufte. E.R., 1990. Envisioning Information. Cheshire, Connecticut: Graphics Press. (p. 63) Tufte. E.R., 1990. Envisioning Information. Cheshire, Connecticut: Graphics Press. (p. 43).

Introduction This design portfolio blog post aims to develop a storyboard for the 3D metamorphosis animation flyby of Stonehenge made of Swiss cheese, advertising a new crisp brand. The storyboard must convey the overall message of the animation and communicate keyframes and significant manipulations throughout the animation. Developing a storyboard for the final 3D animation will ensure a clear visual plan is available when it comes to producing the final outcome. Animation Storyboard The storyboard below communicates when significant changes will take place throughout the animation. These key frames are important for ensuring the final animations purpose is communicated in an orderly manner. Each significant change is an aspect of the metamorphosis element throughout the final design. As seen in the storyboard above the animation begins as a flyby of rocky Stonehenge. This design choice was made to communicate where the new crisp brand will be produced. The animation will then see its first metamorphosis transition where rocky Stonehenge will begin to change into Swiss cheese, communicating the mature flavours of the new crisp brand. The final metamorphosis aspect of the animation will see a Swiss cheese rock turn into a crisp packet, communicating the final purpose of the animation. The final scene will see crisps fall, filling the bag. The above storyboard communicates the flyby angles of the animation, which will aid in the production of the final animation. Both of the storyboards above use Edward Tufte’s theory of layering and separation, ‘to direct attention towards the information at hand’ (Tufte. E.R. 1990). The above Tyrrells crisp adverts both show good use of camera direction and metamorphosis elements, which have inspired directional elements in the final animation. The metamorphosis camera will start high and pan the whole of Stonehenge before zooming in to show each metamorphosis transition. References Glenday, J. (2017) Tyrrells crisps fabulously Curly Social Film, YouTube. Available at: https://www.youtube.com/watch?v=wz7W-Fi7CXw (Accessed: 17 May 2023). Official , T. (2017) Tyrrells crisps – very important potatoes, YouTube. Available at: https://www.youtube.com/watch?v=erdMJw93SJM (Accessed: 17 May 2023). Tufte. E.R., 1990. Envisioning Information. Cheshire, Connecticut: Graphics Press. (p. 63).

Introduction This design portfolio blog post aims to develop a conceptual metamorphosis 3D animation idea that fits the design brief, (Create a flyby of Stonehenge that is made of Swiss cheese). Secondary research will provide me with inspiration to design a purposeful 3D animation, gathering different imagery of Stonehenge and Swiss cheese will provide me with an understanding of how to layout my 3D designs and give me an insight into different lighting techniques and textures. Following secondary research development of a specific animation purpose will be determined along with the metamorphosis element. Stonehenge Research Stonehenge is a prehistoric monument located on Salisbury Plain, Wiltshire, England. The monument is an archaeological site, made up of large stones, with no definite evidence of its purpose. The site has many assumed purposes such as a calendar, religious worship site, cemetery and many more. It is believed that Stonehenge was built in six different stages between 3000 and 1520 BCE, which adds to the overall concept of the metamorphosis animation. As Stonehenge grew and changed over the years. (Pearson, M.P. 2023). Swiss Cheese Research Swiss cheese is inspired by Emmental cheese, originating in Switzerland. Emmental cheese can be distinguished by its pale-yellow colour and holey appearance. The cheese is noted to be slightly hard which holds its shape at high temperatures well. This will bode well when remodelling the cheese in Maya to form Stonehenge. (Hallal, F. 2022). Developing Animation Purpose When developing an animation purpose for the metamorphosis of Stonehenge and Swiss cheese, the mind map below provides evidence of potential and initial ideas. The chosen purpose is to advertise a new crisp brand inspired by Swiss cheese, made in the Salisbury Plain, Wiltshire. This concept combines Stonehenge and Swiss cheese and opens new possibilities for the metamorphosis animation. Stonehenge will be used to represent the origin of the crisp brand and Swiss cheese will communicate the inspired flavour. The overall brand will have a mature and elegant appearance, complementing the mature flavours of the cheese. Below are some images which inspired the animation idea. Conceptual Metamorphosis Idea As seen in the diagram below a conceptual metamorphosis idea surrounding the Stonehenge and Swiss cheese crisp brand has been developed to form what will be a captivating 3D animation. The concept follows regular Stonehenge at the beginning, which transforms into Swiss cheese. The Swiss cheese Stonehenge concept will then transform into a packet of crisps where Stonehenge-shaped crisps will fall, filling the bag. The camera angle will follow the animation transformations in a flyby manner, zooming into certain aspects to help communicate the overall concept. Following on from this post, an animation storyboard will be developed to communicate each keyframe and camera position to help form the basis of the flyby animation. Reference list  Barton, A.-L. (n.d.). Picnic time at Stonehenge with #Guinness – Want more could you want?! Original 1954 advert. | Picnic time, Vintage beer, Guinness. [online] Pinterest. Available at: https://www.pinterest.co.uk/pin/297870962849083406/ [Accessed 28 Mar. 2023]. Hallal, F. (2022) Swiss cheese: Nutrients, benefits, downsides, and more, Healthline. Available at: https://www.healthline.com/nutrition/is-swiss-cheese-healthy (Accessed: 13 May 2023). HeritageDaily – Archaeology News. (n.d.). New study on how Stonehenge may have served as an ancient solar calendar. [online] Available at: https://www.heritagedaily.com/2022/03/new-study-on-how-stonehenge-may-have-served-as-an-ancient-solar-calendar/142954 [Accessed 28 Mar. 2023]. Kestler-D’Amours, J. (2015) How did swiss cheese get its holes? scientists know, thestar.com. Toronto Star. Available at: https://www.thestar.com/news/world/2015/05/29/how-did-swiss-cheese-get-its-holes-scientists-know.html (Accessed: April 23, 2023). Meier, J. (2019) Why does swiss cheese have holes?, The Spruce Eats. The Spruce Eats. Available at: https://www.thespruceeats.com/why-does-swiss-cheese-have-holes-591200 (Accessed: April 23, 2023). Newsroom (2021). TYRRELLS ‘TYRRELLBLY TYRRELLBLY TASTY’ Campaign Back On TV At Easter With £1M Investment – FAB News. [online] FAB News. Available at: https://fabnews.live/tyrrells-tyrrellbly-tyrrellbly-tasty-campaign-back-on-tv-at-easter-with-1m-investment/ [Accessed 28 Mar. 2023].‌ Novak, S. (2022). Stonehenge May Be an Ancient Solar Calendar. [online] Discover Magazine. Available at: https://www.discovermagazine.com/planet-earth/stonehenge-may-be-an-ancient-solar-calendar [Accessed 28 Mar. 2023]. Pearson, M.P. (2023) Stonehenge, Encyclopædia Britannica. Available at: https://www.britannica.com/topic/Stonehenge (Accessed: 13 May 2023). sueism1 (n.d.). Kraft Swiss Cheese Ad 1957 | Vintage food posters, Vintage sweets, Vintage advertising art. [online] Pinterest. Available at: https://www.pinterest.co.uk/pin/310537336790234153/ [Accessed 28 Mar. 2023]. Trex, E. (2016) How 8 famous cheeses got their names, Mental Floss. Mental Floss. Available at: https://www.mentalfloss.com/article/26792/how-8-famous-cheeses-got-their-names (Accessed: April 23, 2023). Unsplash (2020). Photo by Hulki Okan Tabak on Unsplash. [online] unsplash.com. Available at: https://unsplash.com/photos/gcTYKP1UVcw [Accessed 28 Mar. 2023]. Unsplash (2021). Photo by Robert Anderson on Unsplash. [online] unsplash.com. Available at: https://unsplash.com/photos/Rt6GY40Ll64 [Accessed 28 Mar. 2023].‌