GENESIS

For years, our team crafted motion for screens: films, brands, and emerging tech platforms. But recently, something shifted. We’ve moved beyond frames and timelines, stepping into the world of interactive software. This isn’t just a pivot—it’s a natural progression. New creative tools and the rise of AI have opened a door that motion designers are uniquely equipped to walk through.

Why We Moved Beyond Motion

It all started when we began prototyping an internal tool : NURAMA (launching soon). As we dove deeper into development, something unexpected happened: AI exploded into the mainstream. Suddenly, the interface wasn’t just visual. It was generative, dynamic, and text-driven. Lucky for us, we were already experimenting with code. By the time clients started requesting interactive web experiences, we were ready to respond with both creative and technical fluency.

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The Rise of Creative Coding Tools

For a long time, code felt like a wall. Now it feels like a door. Tools like Spline, Three.js, and even no-code platforms made it easier to play in that space. Designing in code started to feel like animating—just with different tools. Our team is a mix of motion designers who learned to script and developers who care about rhythm and flow. We speak different languages, but we’re building the same thing.

What Motion Teaches the Web

Timing. Hierarchy. Feedback. Flow. These aren’t just animation terms. They’re what make good interfaces feel right.

What we learned from storyboards now shows up in hover states, scroll behaviors, and transitions. But instead of being watched, the work is experienced.

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How We Work Today

We still sketch and storyboard, but now it’s about interactions. We design in Figma, animate with Code, prototype using ThreeJs, Rive, and real-time visual development tools. But also work side-by-side with devs. It’s not a handoff anymore—it’s a creative conversation.

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Making Software Feel Cinematic

We still think like storytellers. Every detail matters. The way a button responds. How a panel slides in. How a page loads. Even a subtle delay can change the tone. When it works, it feels authored. Not just functional, but expressive.

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Where It’s All Going

The best digital experiences aren’t just useful—they feel alive. Emotional, responsive, intentional. That’s where we want to be. Somewhere between story and system. Where motion design doesn’t just decorate, it defines the experience.

This shift didn’t mean leaving motion behind. It meant expanding it. We’re still animators at heart. Still obsessed with rhythm and clarity. Only now, we’re designing what people do, not just what they see. And that feels like a future worth building

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MEET THE AUTHOR

Nik Hill

https://uk.linkedin.com/in/nik-hill-23rdc

Nik’s career began whilst studying for his BA in Motion Graphics at London Met, where he entered a competition with studio Factory 311. After winning, Nik went on to create motion design for Arsenal FC’s online TV channel - Arsenal 360. Nik graduated with honours in 2012 and freelanced at studios such as SPOV, Weare17 and Territory, where Nik was taken on as Senior Motion Designer. Here he worked on a number of feature films, including Marvel’s Avengers: Age of Ultron, Guardians of the Galaxy, Jupiter Ascending and Agent 47. He was later promoted to Art Director at Territory, where he led a number of design and animation tasks for screen graphics that featured heavily in Denis villeneuve’s Blade Runner 2049 . Nik later went freelance for a change of pace, but the freelance demand grew exponentially and evolved into the design studio that is now Twenty Third C. Nik has also presented at IBC and NAB for Adobe as well as Siggraph for Maxon Cinema4D and hosts an online course for CGSOCIETY. He also makes time to appear as a guest alumni lecturer at London Met.