The FRISO newsletter
Creative process, inspiration, motion design and what is new in FRISO. One issue a week, in English and Portuguese.
Sound comes last and decides first
185 songs in a playlist, none of them right, and a pianist met by chance in a recording studio. What the sound of Fala, Vô! taught me about rhythm, silence and planning.
The making side of FRISO, rebuilt: Motion, Layout, Lettering, Assets and an animated logo
The tools where your ideas become pieces got a new face. Less on the screen, more room for the work, and an AI that draws what you ask inside the editor.
Your home for creativity: why we rebuilt FRISO
FRISO started as a tool to make things move. My projects never started in a tool. This is what changed, and why.
How to build a moodboard that actually guides the project
The client approved the board. Three weeks later the piece looks nothing like it. Seven rules that turn a moodboard into decisions the whole project follows.
Nothing arrives at the same time
Follow through, overlapping action and secondary action: three principles about the moment after the movement, and why a card should never simply stop.
Color that tells time
Two worlds, two palettes, and a grade that slowly drains the color out of a room. How color did half of the storytelling in Fala, Vô!, and how to plan it in any project.
Timing is the emotion: count the frames
Twelve frames and twenty-four frames can move a card the same distance and say opposite things. A short guide to timing, in frames.
Objects that carry the story
A short film has no time to explain. A paper plane with a number on its wing told the audience how many days had passed. What the objects in Fala, Vô! can teach anyone who tells stories with images.
Slow in, slow out: why linear motion looks like a machine
The computer fills in every frame between two keyframes. How it fills them is your decision, and it is the difference between a card that moves and a card that lives.
From a board to a finished scene
One idea through the whole of FRISO, without downloading and uploading files in between: references, images, motion, a title, a piece of interface and After Effects.
Where movement hides
Most of what I know about motion I learned away from the screen. A small field guide to the movement around you, and how to take it home.
Start with references, not with software
Before the first keyframe there is a board. How a research trip, one project page and a list of shots decided more about a short film than any software did.
Twelve principles, one screen
Disney's twelve principles were written for characters on paper. They still decide whether a card, a title or a chart feels alive.