Lucas Hesse is a graphic & motion designer based in Hamburg, Germany. He is working in the field of visual communication with a strong focus on typography and motion design. Working as an independent graphic & motion designer since 2016, he has been able to work for well-known, international clients.
"My work is built very systematically, I break down the content into its simplest form and put it in a graphic system that’s as straight forward as possible." This is seen in the designer’s Swiss-inspired work that focuses on grid-based simplicity which offers the viewer an obtainable clarity.
From kinetics to generative art, typography has become increasingly popular in the motion design field, particularly with the rise of digital art and design. According to you, why type is so beautiful in movement? There is a specific project of yours that better express the power of letters in motion graphics?
During my communication design studies, I realized quite early, that I had no talent for illustration and was not really interested in photography. However, I was always enthusiastic about graphic and typographic design and have found my passion in it. In the meantime, I can’t really design anything without using words or letters. In 2017, this changed due to my semester abroad in Seoul. I spent most of my time getting into motion design & 3D, used After Effects intensively for the first time and taught myself the basics of Blender. The result is a four and a half minute lyric video consisting of black and white typographic animations. I think it is still one of my projects that combines typography and animation in a very direct and clear way. With the help of movements, the words get an additional level of meaning. Certain feelings can be communicated not only through the content and the form, but also through the characteristics of the movements.
Motion Design – Ruhm & EgoMagazine
From simple animations of single words or phrases to complex stories told through moving letters, there are endless possibilities when it comes to combining lettering with motion. What are the qualities of a typeface that are most valued in an animation? Is there a particular aesthetic for making new media art with lettering and typography?
Any typeface can be combined with any movement, it’s just a question of what message you want to communicate with it. When it comes to aesthetics, however, I have certain preferences. I’m still attracted to the reduction and clarity of grotesque typefaces. When it comes to movements and animation, this clarity is also important to me. I’m generally a big fan of minimalist approaches. Even outside of my professional life, in my private life, I deal a lot with minimalism. By reducing myself to a minimum, I am forced to find more creative solutions with these limitations. The more limited the choice of typefaces and colours, the more creative the animation concept has to be. For me, there is nothing more difficult than starting with a blank canvas with no limitations; when everything is possible, it is hard to decide on a certain concept.
Hello – Intro Animation
“Any typeface can be combined with any movement"
Can you describe your creative process when you work on animated typography? Do you have a particular way of working or a ritual to keep you inspired to work with type in motion?
After some time, certain principles have emerged that I use from time to time - some consciously, some subconsciously. Next to the principle of “Limitation”, I often use the principle of the “Infinity Loops”. An animation that is actually very short, but feels endless because of the seamless repetition. It creates a kind of illusion without a recognisable starting or end point. I sometimes catch myself watching the animations again and again in a continuous loop and - for whatever reason - expecting something new to happen.
Another principle that is very important to me is a certain beat. My animations are always very rhythmic and built up with a clearly recognisable bpm. I think sound and motion design not only work very well together, but also have many parallels, which I use to animate. If you are working with motion design, it is certainly advisable to take a look at the basics of music and sound design.
“Typography is so deep rooted in graphic design & branding that it will certainly not disappear"
Talking about this strong presence of typography in contemporary motion design projects, do you feel it’s just a trend of the moment or a timeless tool to communicate?
I’m sure typography and especially animated typography are a big trend at the moment. However, typography is so deep rooted in graphic design & branding that it will certainly not disappear. It is simply the fastest and easiest way to communicate. The same applies to motion design & animation. Our everyday life is becoming increasingly digital, a brand takes place more than ever on digital platforms and screens. Therefore, it is hard to imagine that motion design will not play a major role on the long run. For me, animation is another layer, such as the choice of a typeface, colour or imagery, which I can use, to create a narrative. Each movement has its own characteristics which can and should be used to tell a unique story.
This interview is part of the Type Trends 2023 Lookbook / Vol 5: The counterspaces – Typography in the Age of Black Swans
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