Ringling College’s FutureProof 2025 conference kicked off with a bang—literally—thanks to Motion Design wizards Rin Yokoi and Diane Lee. The duo, students in the school’s Motion Design program, unleashed a whirlwind of explosive visuals and bold typography as the cornerstone of the event’s entire branding ecosystem. Inspired by the mantra ‘no destruction, no creation,’ their work smashed expectations with surreal object explosions and kinetic chaos, all while churning out a mountain of assets—posters, social content, web banners, merch, and a show-stopping opener.

The best stories are rooted in some form of truth, but the truly remarkable ones know how to transform a simple truth or unique experience into a deeply compelling narrative. One such expertly crafted and touching piece is “Going Through Changes” by Lucy Hsiung, which left a lasting impression on me throughout the judging process. Each time I revisited it, I discovered new elements and personal touches that made it increasingly enjoyable.

The contrast between the chaotic black marker strokes representing New York City and the youthful crayon textures of the Taipei scenes first hinted at the unique storytelling happening here. As the protagonist realizes that certain flavors are absent from the New York version of a treat she misses, we witness parts of the Taiwanese scene fade away. Gradually, Taiwanese elements begin to reappear in the NYC landscape as she indulges in the treat, symbolizing her internal emotions in the physical world. Ultimately, we sense that a memory of Taipei has temporarily transported her back home. 

The characters representing the flavors she misses instill hope that she can still imagine those tastes, even if just for a fleeting moment. In addition to the craftsmanship and evident love put into this film, the editing is well-executed, and the close-up of Fan Tuan during the end title card demonstrates a genuine understanding and appreciation of storytelling. The warmth and humanity conveyed through the voiceover elevate the narrative even further. This is a simple story, lovingly told by the only person who could share it.

One often-overlooked aspect of the “oddly satisfying” trend from a few years ago is the potential for character integration. While a piece like “Animal Antics” by Lucia Alonso ultimately conveys the message of “DO NOT DISTURB,” it invites interaction uniquely. This tension is what makes the piece both visually and narratively successful.

I particularly admire not only the craftsmanship but also the personality and humor infused into both the human and non-human characters. The tactile quality of the scenes makes the film infinitely rewatchable, while the animation and sound design elevate the experience to a whole new level.

What could easily be perceived as a series of “oddly satisfying” visual loops is transformed by compelling character design, art direction, and production design that could stand alongside work from established studios. The motif of viewing the action through a chiclet-shaped aperture keeps the viewer at arm's length, serving as a subtle reminder to “look but don’t touch.” Meanwhile, the foreground elements and animation create a connection between the outside world and the action within the animated tableau. This is a rare example of a piece that works equally well on both the big screen and an iPhone.

What better way to address people's aversion to boredom than with a playfully animated film that celebrates the joy of being bored? "We Have a Problem with Boredom," created by Emiliah Perez and Sam Budish, is artfully designed and executed. It combines 2D and 3D animation, cel animation, music, and voiceover in a way that effectively tackles a relevant issue for young adults with empathy and solutions.

The film pays homage to the nostalgic animation and design styles of companies like UPA (United Productions of America) through its linework and background textures. The 3D elements are used sparingly yet have a significant impact. What I find most impressive is how seamlessly the various media blend and interact. For example, the cel-animated finger swiping through a carousel of social images brings a smile to my face, much like the graphic representations of captions, user interfaces, and supporting text.

The camera's movement through the window, as binoculars rise into frame, is just one of many smart and effortless transitions. It would be easy to overlook the considerable effort required to make these elements cohesive. Surprisingly, they all come together remarkably well. The choice of color palette and texture is inspiring, as are the brief but expertly executed typographic moments. Any frame from this minute-long piece could be considered a worthy piece of art suitable for display.