Top Ten Things a Motion Graphics Artist should know...

As many of you regulars know, I'm writing a book on Motion. As well as the projects, this book has Interlude Essays - that is a couple of pages of writing on related motion graphics topics. For instance, one is "Where do I get my ideas?" another is "How to speed up Motion", etc...
I thought I'd include one on Things a Motion Graphics Artist should know. And I'm open to suggestions. Got any tips? What do YOU think a Motion Graphics Artist should know? Please contribute as many or as few as you like.
I can't credit you in the book, but I will thank you en masse...
While this thread is not strictly within the confines of the technical troubleshooting this forum exists to serve, I hope the Powers That Be don't pull it, because it could be an excellent resource for all who frequent this forum.
Many thanks,
Patrick

Yes - that reminds me of a quasi-questionable practice I sometimes employed as an editor of music videos that I and other editors called "The Velcro Dog".
It goes back to the fact that you never wanted to turn in a "perfect" edit on the first pass. In fact, I could count on one hand the number of times that I turned in an edit that the record label said "perfect, don't change a frame". Maybe it's human nature to justify their jobs, but inevitably, those in charge of approval would have to make some comment, request some change...
If your cut was perfect, often these changes would be for the worse, so sometimes it paid to add an obvious flaw to the edit that wasn't hard to change - thus the Velcro Dog, something bad that could be easily torn off. It might be as simple as a line that was out of sync - or maybe a shot where the lead singer had his hair in his mouth, or a story shot that was out of place. This gave those in charge something to focus on that you could fix without causing the cascading problems that more complex changes might require.
It was also something that you could change without problem if no one picked up on it.
But WOE to you if someone in the chain of Artist, Video Commissioner, Management, A&R, Marketing, etc... decided they actually liked your little velcro dog... Then you had to live with seeing it on TV like that.
Patrick

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