Visual Design Treatment

In designing my animation based on the seven deadly sins, I’ve drawn from Edward Tufte’s theories of visual communication to help ensure the message is conveyed clearly. His principles such as layering and separation, micro and macro readings, narratives of space and time, small multiples, and use of colour have been used to influence the choices I’ve made in the animation’s style and presentation.

Layering and Separation is a key element of the art style I’ve chosen which is papercut. This style is made from multiple layers that build up the scenery. The foreground, middle ground, and background are visually separated through the use of texture and shadows. This layering doesn’t just serve an aesthetic purpose; it also allows viewers to focus on key points within the scene as well as creating depth.

Micro and Macro Readings will also influence how viewers engage with the animation. By utilising scaling- both increasing and decreasing the size of characters and objects within the frame – it allows different levels of meaning. On a micro level, small details like the money icons on the bags within the factory will make it clear that the animals are just money to the businesses. On a macro level, the audience will be able to step back and understand that its the scene is also showing an overconsumption of animals and we are taking more than we need.

Narratives of Space and Time will be evident in scenes such as greed and gluttony. For example, viewers will be able to track the passage of time by observing how quickly animals move along a factory line. Their position on the conveyor belt and the slow speed will visually represent the lack of concern for the animals slow and painful death.

For Small Multiples, I plan to use recurring background layouts with similar timings to connect this theory to the animation. By repeating scenes with slight variations – i.e, different characters in similar settings- viewers will be able to compare and contrast how each sin is portrayed this will help reinforce the similarities and differences across the sins.

The use of colour will be highly intentional and minimal. The entire animation will be presented in shades of grey and black, with only dark red being used strategically throughout the animation. The limited colour palette supports the papercut aesthetic while also creating a focal point and emotional impact. The red will be used symbolically to highlight key moments, evoke danger or intensity, and to make the narrative tone cohesive across all scenes.