Information Design-Final Project
Information Design-Final Project
08/03/2026 -22/03/2026
Valenz Jycee Primadi / 0373407
Vehicle and Props Design / Creative Media / School of Design
Final Project
We created our storyboard in Procreate, starting by planning the sequence from the opening scene to the ending. After discussing the ideas together as a team, we organized the flow of the animation. Once the storyboard was ready, we consulted Sir Martin for feedback. He suggested that we keep the animation simple first, so the focus would be on the clarity of the concept and movement before developing it further.
After creating the storyboard, we made a moodboard. This moodboard helped us communicate the overall style we wanted to use, including colors, fonts, and visual references. It served as a guide to ensure that our design choices were consistent and aligned with the concept of the cooking tutorial animation.
We selected a video from Pasta Grannies that demonstrates the process of making pesto gnocchi. The video clearly shows the ingredients and the step-by-step cooking process, which helped us better understand the flow of the recipe. This made it easier for us to visualize the scenes and translate them into our design project.
This infographic poster by Jycee is the reference we used for our project. We chose it because the cooking steps are presented clearly and the layout is structured in an easy-to-follow way. The organized design helps us understand how the information flows, which inspired us when planning and designing our own cooking tutorial infographic.
Fig 1.1 Jy's Infographic Gnocchi Pesto
The animation style references we used are Cooking Mama making gnocchi and the curry recipe example provided by Sir Martin. We chose this style because it presents the cooking process in a clear and playful way. This approach helps visualize each step of making gnocchi while keeping the animation engaging and suitable for our cooking tutorial concept.
Reference Style Vector
For the vector illustration style, I used several references. Some elements, such as making and chopping the dough, were inspired by Cooking Mama. Meanwhile, the rest of the vector style was developed in my own way, allowing me to add a more personal approach and give the illustrations a unique visual identity.
After further discussion, Gaby and I decided to split our tasks for this project. I will focus on vector illustrations, while Gaby handles After Effects. Even though our work is divided between AI and AE, we still help each other, with the AE and AI. We also hold regular Google Meet sessions since Gaby has returned to Indonesia, which helps keep our collaboration smooth despite the distance.
Gaby also sometimes needs help. For instance, there was a time when an AE file she was working on had some issues, which caused several AI elements that had already been animated to get mixed up or reversed. I helped by opening her AE file and carefully figuring out what could be changed and what steps needed to be done before making adjustments. I checked everything thoroughly, one by one, to identify the source of the problem.
Adobe Illustration Progress
Adobe Illustration Part 1
After our discussion, I began working on Adobe Illustrator. I divided the work into three parts so that the AI files wouldn’t be too heavy, since we have 36 storyboard frames in total. So far, my progress includes creating the introduction and the ingredients sections, which will serve as the foundation for the rest of the animation. I used Pentool to make the shape and the color, I mimic the real object to make it more realistic.
The main focus of Part 1 in Adobe Illustrator is the potatoes. I created them using the Pen Tool, specifically designing red potatoes, and made a total of three red potatoes for this section of the illustration.
After that, I created the cooking scene. Here, I made vectors for the timer, cooking pot, fire, and stove using the Pen Tool. I separated several elements for animation later for example, the pot lid, the timer hand, and even the fire so each part can move independently in After Effects.
After that, I worked on peeling the potatoes and creating the smashed potatoes scene. For the peeling, I followed the reference example provided by Sir Martin. For the smashed potatoes, I used a high-angle view as shown in the storyboard to make it visually appealing. I also designed the potato smasher using the Pen Tool and basic shapes, preparing it as a separate element for later animation.
Next is the part where I created the gnocchi dough scene, which will continue into the second file. Here, I made the wooden board using basic shapes and added details with the Pen Tool. I also designed the flour using the Pen Tool to shape it naturally, preparing all elements for the animation in After Effects.
Adobe Illustration Part 2
Next, I continued to Part 2 of the file, where the process of making the gnocchi dough and the pesto sauce is shown. As seen below, this section illustrates the dough-making process where the ingredients are poured onto the flour. For this part, I reused several elements from the previous scene and adjusted them as needed using the Pen Tool and basic shapes to fit the new composition.
I also separated the elements into different layers. As shown, I grouped the salt into smaller pieces so that when Gaby animates it later, the motion will look smoother. I also separated other elements such as the oil and water, so each part can be animated independently and more easily in After Effects.
Next is the mixing the dough scene. In this part, I had some difficulty creating the hands. I used Cooking Mama as the main reference for the dough-making process. To make the hands stand out from the wooden board, I darkened the skin color slightly so they wouldn’t blend into the background.
I also created two hands one holding the board in place and the other mixing the dough so the action looks clearer and more natural for the animation. I used the Pen Tool to create both hands. As seen on the artboard, there is already mixed dough placed above, which will later be used as a transition to the next scene in the animation.
For the gnocchi shaping part, I think this section is very interesting. First, I created a vector showing the dough being cut, using a reference from Cooking Mama. After that, I illustrated the shaping of the gnocchi process using the back of a fork, as shown in our storyboard. I made three stages: the raw dough, the partially shaped gnocchi, and the final finished shape. All of these elements were created using the Pen Tool.
Then I created the strainer scene, where I separated the water into different elements so it can be animated more easily later. After that, I worked on the pesto-making part. I illustrated a mortar and pestle to give it a more traditional feel.
There are also several steps where the ingredients are added. This part took the longest because I had to copy and place many basil leaves, pine nuts, and parmesan shavings, and separate them individually for better animation control.
This is the last part of creating the vector illustrations for the gnocchi pesto project. In this section, I worked on the final storyboard scene where the pesto sauce is poured over the gnocchi from above. I created this illustration using the Pen Tool and basic shapes to form the gnocchi and the flowing pesto sauce.
After that, I created a scene where the pesto dish is garnished with a basil leaf on top. This part was quite simple because I just copied the basil leaf element from before and adjusted the layout and position to fit the composition of the final dish.
To end the stop motion, Gaby and I planned to create an animatic-style ending. We were inspired by the Strawberry Shortcake game, which was one of my childhood games. In the game, after the food is finished, the whole dish gets eaten and leaves bite marks. For our animation, I created four bite marks using shapes to show the gnocchi dish gradually being eaten. This adds a playful and nostalgic ending to the scene.
During our consultations, there were several revisions and adjustments that I needed to make in Adobe Illustrator. These changes were mostly because some elements were getting cut off when imported into After Effects. To fix this, I created separate files for the revised elements based on Gaby’s feedback so she could animate them properly without any issues.
For the first revision, some elements were positioned outside the artboard, such as the smashed potatoes effect, the hands for dough mixing, pesto, and other objects. I moved all of these elements inside the artboard, as shown below, to make it easier for Gaby to animate them smoothly in After Effects without any cropping or alignment issues.
For the flour in the dough-making scene, during our consultation, Sir Martin mentioned that the shape of the flour wasn’t quite right and looked messy, especially when the ingredients were poured onto it. So, Gaby and I came up with an idea to create two flour layers: one shaped like a small mound and one shaped like a bowl.
I also added a pointed finger to suggest shaping the flour into the bowl, with the ingredients planned to be poured neatly into it. Sir Martin also suggested making the flour packaging look tidier, so I adjusted that as well.
For the pointed finger, I used the hand model I had already created and reshaped it with the Pen Tool. Honestly, this part took me a long time because I had to carefully study the hand anatomy and its proportions. I didn’t want to use another reference since it might clash with our style, so I decided to reshape it myself to keep everything consistent.
For the next revision, Sir Martin noticed that the dough-cutting scene looked awkward during the animation the dough only appeared as an effect instead of actually being sliced, making it feel unnatural. He suggested that I divide the dough slices properly according to the slice effect I had created. To fix this, I used the Pen Tool with the Minus function to separate the pieces and cleaned up the shapes, making the cut look realistic and ready for animation.
For this revision from Gaby, she wanted me to create an empty mortar. I made it hollow and separated the background into different layers behind it, giving the impression that the mortar is empty with nothing inside. This setup makes it easier for animation and keeps the focus on adding ingredients later.
Next, Gaby requested that the pesto sauce have a more rounded tip with a slight swiggle effect, so I adjusted the shape accordingly.
I also received a revision from Sir Martin for the stop-motion ending. He suggested that the gnocchi with pesto should be eaten first, followed by the plate, because doing both at the same time looked awkward. To fix this, I separated the elements so the bite animation could happen first on the gnocchi, and then the plate could follow smoothly.
Adobe After Effects Progress
Overview
For my part of the project, Gaby worked on the animation in Adobe After Effects. Similar to Jycee’s workflow in Adobe Illustrator, Gaby's work was also divided into three parts to match the structure of the storyboard and to keep the files organized and manageable.
Gaby mainly followed the storyboard that we had prepared earlier, using it as the foundation for timing, transitions, and scene arrangement. Only minor adjustments were made where necessary to improve the flow of the animation.
After Effects Part 1
When Jycee sent me the first Illustrator file, Gaby immediately began testing and preparing the animation setup in After Effects.
Font Selection
Before starting the animation, Gaby first explored and selected suitable fonts for the title and ingredient sections. The fonts were chosen from Google Fonts to match the playful and cooking-themed style of the project:
Title font: Nothing You Could Do (Regular)
Section title ("Ingredients"): Indie Flower
Ingredient text: Exotc350 Bd BT Demi-Bold
These fonts were selected to create a clear visual hierarchy while maintaining a consistent and engaging aesthetic.
INITIAL LAYOUT AND PANELS
After finalizing the fonts, Gaby created a rough layout of Part 1 in After Effects based on Jycee’s Illustrator assets. The animation was structured into panels following the storyboard sequence:
Panel 1: Title screen displaying “Pesto Gnocchi”
Panel 2: Section title “Ingredients”
Panel 3: Ingredients list (garlic, olive oil, parmesan, and salt), with corresponding illustrations placed above the text
Panel 4: Additional ingredients (flour, pine nuts, water, basil leaves, and potatoes), also arranged with illustrations on top and text below
Panel 5: Title card “How to Make Gnocchi”
Each panel was designed to clearly present information while maintaining visual consistency with the illustrated assets.
Panel 6
For the cooking section, Gaby made a slight adjustment from the storyboard. Instead of separating the boiling process into multiple panels, I combined everything into a single panel for better flow.
This panel includes:
Stove and fire
Cooking pot and lid
Potatoes
Timer
Steam/smoke effects
This approach helped simplify the sequence while keeping the visual information clear. Basic animation was also tested in this panel, which was further refined later in the process.
Panels 7–8
The next panels focused on the preparation of the potatoes:
Panel 7:
Three unpeeled potatoes
Three peeled potatoes
Potato peels
Panel 8:
A mortar
Peeled potatoes in a bowl
Mashed potato effects
Potato masher
From this point onward, the animation relied more on visuals, with little to no text, allowing the actions to communicate the process.
Panel 9
The last panel of Part 1 also slightly differs from the storyboard. While the original storyboard spreads this sequence across multiple panels, Gaby combined it into a single scene.
This panel includes:
A wooden board/tray
A flour bag
A pile of flour
This marks the transition point to the next stage of the animation, where the dough-making process begins.
ANIMATION DEVELOPMENT
After completing the initial layout and panel arrangement, Gaby proceeded to develop the rough animation for Part 1. This stage focused on applying basic motion, transitions, and timing to bring Jycee’s illustrations to life while still maintaining a rough draft approach.
Title Animation (Panel 1)
To begin, Gaby enhanced the title screen (“Pesto Gnocchi”) by introducing a pesto sauce animation. Gaby reused a pesto splatter asset from Part 2 and modified its color slightly to better match the overall palette.
Gaby animated the pesto sauce falling downward and used a null object to guide and control its movement. As the pesto landed, it specifically interacted with the letter “O” in both “Pesto” and “Gnocchi”.
To create the effect of the letters being “stained” by the sauce, Gaby duplicated the letter “O” and placed it directly on top of the original. Gaby then timed its appearance so it only became visible when the pesto covered the letter. This created the illusion of a color transformation without using opacity or blending effects.
For the title text animation, Gaby applied a Fade In Per Character preset (Range Selector), allowing the text to appear smoothly instead of abruptly.
Transition to Ingredients (Panel 2)
The transition from the title to the ingredients panel was designed to follow the motion of the falling pesto sauce. The camera effectively moves downward, guiding the viewer into the next section.
In this panel, the “Ingredients” title was animated using the same Fade In Per Character effect to maintain consistency.
Additionally, Gaby created a background gradient transitioning from a light cream color to a soft baby blue. This was initially challenging, as Gaby was unfamiliar with creating gradients in After Effects, but Gaby learned the technique through tutorials. Once completed, Gaby reused this gradient across multiple panels for visual consistency.
Ingredients Animation (Panels 3–4)
For the ingredient panels, Gaby focused on simple motion to establish timing and placement.
The ingredient illustrations (e.g., garlic, olive oil, parmesan, and salt) were animated using basic position keyframes, making them appear to rise upward and settle into place.
The movement was intentionally simple, with minimal physics, as this was still a rough draft.
Gaby applied Easy Ease to the keyframes to smooth out the motion.
To reveal the ingredient names, Gaby used a Typewriter effect, animating the text word by word. Each ingredient appears sequentially (garlic → olive oil → parmesan → salt), creating a clear and readable flow.
For transitions within the ingredient section, Gaby animated the panels to slide horizontally. Since the ingredients appeared from left to right, I matched this direction by moving the scene accordingly, creating a continuous flow between items.
In the next ingredient panel (flour, pine nuts, water, basil, and potato), Gaby reused the same animation approach. However, due to the rough stage, some elements (such as pine nuts and basil) were grouped in single layers, resulting in less realistic motion, such as objects appearing to “float” or ignore gravity.
Transition to Cooking Section (Panels 4–5)
The transition into the “How to Make Gnocchi” section was driven by the potato animation.
After appearing, the potato rolls across the screen, passing through the ingredient text and continuing into the next panel. The rolling motion also acts as a visual guide into the next section.
The “How to Make Gnocchi” title appears as the potato continues rolling along the bottom of the frame, ensuring that it does not obstruct the text.
Cooking Animation (Panel 6)
In the cooking panel, Gaby introduced several layered animations:
The potato drops into the pot, initiating the scene
The pot lid closes using position animation
The lid then rattles slightly using rotation (small angle shifts such as -2° to +2° repeatedly)
The fire is animated using scale, appearing when activated and disappearing afterward
Steam is added using scale and opacity, growing larger and fading out as the lid opens
These combined elements helped simulate the boiling process, even in a simplified form.
Peeling Transition (Panel 7)
After cooking, the potatoes transition into the peeling stage:
Unpeeled potatoes appear first
Potato peels then appear below them
The potatoes quickly switch to a peeled version through timing (frame replacement rather than morphing)
The peeled potatoes move upward while the peels move downward, separating the elements visually
This creates a clean transition into the next step.
Mashing Scene (Panel 8)
In this panel, Gaby animated the preparation process using the mortar and pestle:
The mortar appears first in an empty state
Three peeled potatoes fall into it one by one from different directions
Top-left
Top-right
Slightly right of center
The falling effect was created using position and scale, making the potatoes appear to drop from above
The potato masher is then introduced:
Animated using position and scale to simulate depth and perspective
Performs a repeated smashing motion (approximately three times)
After the action, the masher exits the frame, and the mortar shifts aside to prepare for the next transition
Final Panel of Part 1 (Panel 9)
The final panel introduces the dough preparation setup:
A wooden tray drops into the scene using position and scale
The flour box appears, scaling from small to normal size to simulate depth
A pouring flour effect is created using a separate layer
For the flour animation:
The flour pile expands using scale, with the anchor point adjusted to make it appear as if it is pouring out
A dedicated “flour pour” layer enhances the pouring effect
The flour box tilts and retracts after pouring, completing the action
FINAL REFINEMENTS AND POLISHED ANIMATION
After completing the rough animation, Gaby moved on to refining and polishing Part 1. This stage focused on improving timing, motion realism, visual consistency, and overall presentation, while also incorporating feedback and making adjustments based on time constraints.
Timing and Pacing Adjustments
Due to the requirement of keeping the animation within approximately one minute, Gaby refined the timing across several panels:
The title animation (“Pesto Gnocchi”) was sped up so it appears more quickly
At the same time, Gaby allowed the title to remain on screen slightly longer after appearing, giving the audience enough time to read it
Similar adjustments were applied to the “Ingredients” title, where the animation is faster but followed by a short pause
These changes helped balance readability with overall pacing.
Background and Color Refinements
Gaby also revised the color palette to create a more cohesive and visually appealing look:
The original light green background was adjusted to a warmer yellow-green tone, giving it a softer and more natural appearance
The second panel background was modified to a lighter and more muted version of the same color, ensuring consistency while maintaining variation
The “Ingredients” text color was changed from black to a dark, muted green tone, making it blend better with the overall theme
Additionally, Gaby standardized the background colors across Panels 3 and 4 so that there were no abrupt color changes between scenes.
Layout and Composition Adjustments
To improve visual clarity and professionalism, Gaby refined the layout of all panels:
Gaby used the safe margins (title/action safe guides) in After Effects to ensure that important text and visuals remained within visible boundaries
All elements were repositioned accordingly, while still allowing certain elements to extend beyond the safe area when needed for visual emphasis
This ensured that the composition remained clean and readable across different screen formats.
Improved Ingredient Animation (Panels 3–4)
The ingredient animation was one of the most significantly improved sections.
In the rough version, the ingredients simply floated upward. In the refined version, Gaby adjusted the motion using more detailed keyframing:
Each object now follows a three-point motion (start → midpoint → endpoint)
The movement begins quickly, then slows down as it approaches the peak, simulating resistance against gravity
When falling, the object briefly slows before accelerating downward, creating a more natural motion
This was achieved by carefully positioning keyframes and adjusting them with Easy Ease, particularly shifting the timing of midpoints to control acceleration and deceleration.
After Effects Part 2
For Part 2, the focus was mainly on refining and polishing the animation, rather than documenting every step of the process. This section highlights the key animation techniques and improvements applied to enhance realism, smoothness, and visual storytelling.
Dough Formation and Mixing
After the flour was placed on the wooden surface, an illustration of a hand (provided by Jycee) was animated to move in a circular motion using position keyframes. This creates the illusion of the finger digging into the flour pile and forming a bowl shape.
To enhance this effect, the flour was separated into two layers:
Front layer: shaped like a curved surface to simulate a bowl
Back layer: the original flat flour pile
By placing the front layer above other elements, any ingredients added into the “bowl” appear partially hidden, creating a subtle 3D illusion.
Pouring Animations and Liquid Effects
For pouring sequences (olive oil and water), separate animations were created using rotation and position to tilt the containers naturally. The liquids themselves were animated using Linear Wipe effects:
A first wipe reveals the liquid as it flows out of the container
A second wipe removes it gradually from top to bottom, maintaining realistic downward motion
Additional refinements were applied for realism:
Olive oil gradually changes to a darker green as it blends into the mashed potatoes
Water is animated with lower opacity, then fades out to simulate absorption
A darker “wet potato” layer appears to represent the mixture after liquid absorption
Salt and Ingredient Integration
The salt animation was more complex due to the number of layers involved. Each shake of the salt shaker releases multiple particles, which fall individually and fade into the mixture.
This fading effect gives the impression that the salt is dissolving into the dough rather than simply sitting on top.
Dough Mixing and Transformation
Hand animations were used to transition the mixture into dough:
- As the hand passes over the mixture, the texture transitions into a finished dough
- The right hand moves in a flattened oval motion to simulate mixing
Both hands then shift into position and perform an up-and-down motion to simulate rolling. During this stage:
The dough stretches into a thinner, elongated form
A subtle asset swap is used once the dough reaches the correct shape
Cutting and Transition to Close-Up
The slicing of the dough was enhanced based on feedback from Sir Martin. Instead of relying solely on visual effects, the dough pieces were animated to physically separate and fall.
The animation then transitions into a close-up:
One dough piece is tracked as it falls
The camera follows this piece downward
A smooth opacity transition swaps it into a new shape as it lands on a fork
This creates a seamless transformation between stages.
Gnocchi Shaping Sequence
The shaping of the gnocchi on the fork was achieved using a combination of:
Linear wipe
Opacity transitions
Multiple illustrated stages (raw dough → almost gnocchi → final gnocchi)
As the dough rolls down the fork, it gradually transforms into its final shape. This sequence creates a strong visual illusion of the gnocchi being formed in real time and was one of the most successful parts of the animation.
Additional details include:
Multiple gnocchi pieces interacting with each other
Subtle positional movement to simulate weight and gravity
Boiling and Straining
The boiling sequence reused earlier animation assets (pot, steam, timer) for consistency.
The straining process was animated using a curved motion path:
The strainer enters the pot
Hidden gnocchi layers are revealed using opacity
Water drips are looped using repeated position animations
This creates the illusion of scooping and draining without requiring complex simulations.
Ingredients for the pesto were animated individually:
Basil leaves follow curved motion paths with rotation for a natural falling effect
Pine nuts are animated with both position and rotation
The filling level inside the bowl gradually rises
Cheese grating was achieved by:
Individual cheese particles appearing with Linear Wipe and falling separately
Repeated up-and-down zigzag motion of the cheese block
The pestle animation uses simple vertical motion, with each impact triggering:
A decrease in the filling layer
The appearance of the final pesto texture through scaling
After Effects Part 3
The final dish assembly uses layered scaling and positioning:
Plate appears first
Gnocchi and pesto follow
Sauce is revealed using scaling from the anchor point to simulate pouring
A final garnish (basil leaf) is animated with a looping motion before settling on top.
For the ending:
A bite effect is created using masks and slight position adjustments
The plate is also humorously “eaten” as a stylistic choice
The text “The End” appears using the same character-based fade-in effect used earlier, ensuring visual consistency
Sound Effect And Background Music
After consulting with Sir Martin, we were advised to incorporate sound effects and background music into our project. Since Gaby had already contributed significantly to the After Effects work, I took responsibility for handling the audio elements. I worked directly in After Effects to integrate the sound effects and background music, as it allowed for a more efficient and seamless editing process.
Before starting with the sound effects, I sourced free audio from the website Freesound, which had previously been recommended by Sir Martin.
I downloaded several sound effects that I needed and organized them into a single file. I specifically selected sounds that matched each scene to ensure they aligned well with the visuals and enhanced the overall experience.
I imported all the audio files into the After Effects project and began synchronizing them with the timeline, carefully matching each sound effect to the appropriate timing of the scenes.
I began working on the first segment, from 0 to 10 seconds. In this scene, I initially used a sauce sound effect, followed by subtle “tap” sounds to represent the ingredients. I also adjusted the audio waveform to ensure the sound was not too harsh, balancing the levels carefully for a smoother and more controlled output.
From 12 to 17 seconds, the scene mainly features boiling and cooking sound effects, along with a potato peeling sound. This section required a lot of adjustments, as the timing had to be very precise especially to match elements like the timer and ensure everything synced properly with the visuals.
For the potato smashing scene, I used a punch and splat sound effect to emphasize the impact, making it feel more dynamic and expressive. After that, during the dough-making process, I incorporated sound effects such as pouring flour, oil, water, and salt. I also found a kneading dough sound effect, which realistically captures the texture and movement of the kneading process.
For the pesto sauce preparation, the sound effects were quite similar to those used in the potato smashing and dough-making scenes. However, since the ingredients are pounded twice, I layered the splat sound effect twice to match the action.
I also combined elements from the dough-making sounds, as the scene involves pouring ingredients and then crushing them together into pesto sauce, creating a more cohesive and realistic audio experience.
For the final sound effect in the ending scene, I used a biting sound. This part was quite challenging because the bites happen quickly and repeatedly, so it was a bit difficult to synchronize them precisely. However, I managed to achieve a result that I’m satisfied with. There are also some repeated sound effects in certain parts, as the processes shown are similar, which helps maintain consistency throughout the sequence.
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Feedback on the First Consultation
During our first consultation with Sir Martin, we presented our storyboard and received overall positive feedback on our progress. However, he pointed out an issue with the potato transition. Initially, the potato fell from the left side of the panel, which caused confusion. He suggested simplifying the motion by having the potato fall directly in the middle instead of rolling in from the side.
Feedback on the Second Consultation
For the second consultation, progress was still limited as only Jycee had completed the Adobe Illustrator file, while the After Effects composition had not yet been started. Sir Martin advised us to prepare a rough composition by Wednesday so that he could better evaluate the overall timing and transitions of the animation.
Feedback on the Third Consultation
By the third consultation, we had a rough version of the animation. Sir Martin noted that the potato falling straight through the “potato” text felt unnatural. He recommended adding a pause where the potato lands briefly before rolling off.
Additionally, he commented on the flour box design, which he found unsuitable. As a solution, we decided to reuse the flour asset from the ingredients panel (panel 4) for consistency.
There were also a few incomplete elements at this stage. The smashed potato effect had not been implemented yet due to the potato being out of frame in the Illustrator file, causing it to be clipped. Furthermore, Sir Martin pointed out that the dough-cutting scene lacked clarity, as it did not show the dough being divided into multiple pieces. He advised us to include this detail to improve the visual storytelling.
Feedback on the Fourth Consultation
During the fourth consultation, Sir Martin emphasized improving the timing, as some text transitions were too fast. He also suggested that the potato should fall behind the “How to Make Gnocchi” text, while the title itself should float upward for a more dynamic effect.
In addition, the potato falling sequence needed to transition smoothly into the sixth panel. For the dough sequence, he recommended a clearer transition by having the cut dough pieces lead into the next scene, specifically showing them landing on a fork before being shaped into gnocchi.
Feedback on the Fifth Consultation
In our final consultation, Sir Martin found the transition between the fifth and sixth panels confusing, particularly due to the camera movement. He was concerned that it might not be clear to the audience. To resolve this, he suggested simplifying the transition by scaling down panels five and six as the potato falls.
He also recommended adding sound effects to enhance the overall animation. As the workload for After Effects had been quite heavy, Jycee stepped in to assist with the sound design, ensuring that the final output was more complete and engaging.
Experience
Observation
Findings
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