In their distorted perspectives, these transition techniques clearly borrow from the work of Escher. Not surprisingly, these transitions are usually done in the sketched style also used by the great man himself. Whether executed in black and white, mirror images, or changing shapes, the smooth, fluent and sudden change of perspective fools the eye for a second, only making the viewer more eager to fully embrace the next, visually correct scene.
“The transitions are making the viewer more eager to fully embrace the next, visually correct scene ”
The viewer has to actively refocus to understand the new perspective and find the key to the new scene. Though probably around for a while, how could we explain the rise in popularity of Escheresque transitions? Could it be that the blasé viewer, exposed to motion graphics on a daily basis, needs a new dimension to stay focused? Or is it us, the makers, yearning for something new?