Motion Graphics Statistics

Key takeaways

1. BLS counted 51,900 jobs for special effects artists and animators in 2025, the occupation that includes motion designers, and 62.9% were self-employed. (BLS Employment Projections) See details
2. BLS's wage survey sees only 19,970 of those jobs, about 38.5%, because it leaves out the self-employed. (BLS OEWS; our calculation) See details
3. Salaried animators earned a median $102,030 in May 2025, against $62,960 for graphic designers. (BLS OEWS) See details
4. California has 7,410 salaried animator jobs, about 37.1% of the U.S. total. (BLS OEWS; our calculation) See details
5. BLS projects animator employment to change by -0.3% from 2025 to 2035, with about 4,200 openings a year. (BLS Employment Projections) See details
6. The 16% growth figure still quoted online is BLS's 2020-30 projection, replaced by five newer ones. (BLS Occupational Outlook Handbook, 2021) See details
7. After Effects is named in 32% of U.S. animator job postings and 16% of graphic designer postings. (O*NET, Lightcast data for 2025) See details
8. U.S. postproduction companies earned $292,203,000 from animation in 2022, 4.5% of the industry's revenue. (U.S. Census Bureau, 2022 Economic Census) See details
9. Paid reports put the 2025 motion graphics market anywhere from USD 18.4 billion to USD 98.3 billion, with no public method. (Verified Market Reports; Custom Market Insights) See details
10. Japan's anime market is ¥3,840.7 billion of consumer spending, but anime studios' revenue is ¥466.2 billion. (Association of Japanese Animations, 2024) See details
11. The prefers-reduced-motion setting is checked on 50.55% of mobile pages. (HTTP Archive Web Almanac 2025) See details
12. The 'Dropbox made $48,000,000 from its explainer video' claim is an explainer studio's own arithmetic, not a Dropbox figure. (Switch Video, 2013) See details

How many animators and motion designers work in the U.S.?

About 51,900. The U.S. Bureau of Labor Statistics counted 51,900 jobs for special effects artists and animators in 2025, including the self-employed, in its Employment Projections. That is the occupation where federal statistics put motion graphics designers. Self-employed workers held 62.9% of those jobs, or 32,700, according to the BLS National Employment Matrix.

No federal statistic counts motion designers on their own. O*NET, the Labor Department's occupation database, lists "motion graphics artist" among the sample job titles for special effects artists and animators, occupation 27-1014.00 (O*NET OnLine). Its database maps the titles "motion graphics designer" and "motion designer" to the same code, 27-1014.00, and maps no motion title to graphic designers (O*NET 30.0 alternate titles file). So the BLS figures on this page describe animators and motion designers together. Some motion work is still done by people whose employers report them as graphic designers.

BLS has a second, much smaller count. Its Occupational Employment and Wage Statistics (OEWS) survey covers wage and salary workers only. It found 19,970 special effects artists and animators in May 2025 (BLS OEWS), an estimate with a relative standard error of 5.9%. Employment Projections put the wage and salary part of the occupation at 19,300 jobs (BLS). By our calculation, OEWS sees about 38.5% of all animator jobs. The rest are freelance.

That freelance share is unusual even among creative jobs. In 2025 the self-employed held 20.5% of graphic designer jobs and 35.5% of film and video editor jobs, against 62.9% for animators. Graphic design is still the bigger freelance trade in absolute terms: BLS counts 51,800 self-employed graphic designers (BLS National Employment Matrix).

What do animators and motion designers earn?

The median annual wage for U.S. special effects artists and animators was $102,030 in May 2025, and the mean was $112,870, according to BLS OEWS estimates (median, mean). The mean hourly wage was $54.27 (BLS). These are wages of employees. OEWS does not survey freelancers, who hold most of the jobs in this occupation.

The spread is wide. By our calculation the 90th-percentile wage is 3.0 times the 10th. The median is also about 62.1% above the median for graphic designers ($62,960), the occupation motion designers are most often confused with. Among neighbouring occupations only art directors report a higher median ($114,850), and web and digital interface designers sit close at $104,000.

Freelance pay is measured only by self-selected surveys, which are covered further down. They are not comparable with the BLS figures.

Which industries and places employ animators?

The motion picture and video industries employ the most salaried animators: 5,910 in May 2025, with a mean annual wage of $116,410 (BLS OEWS industry estimates). Software publishers, which include game studios, employ fewer but pay more.

California dominates. It had 7,410 of the country's salaried special effects artists and animators in May 2025 (BLS OEWS state estimates), about 37.1% by our calculation, and a location quotient of 3.17: the occupation's share of California jobs is about three times its national share. The Los Angeles-Long Beach-Anaheim metro area alone had 4,650, about 23.3% of the national total.

Florida ranks third among states with published figures. Its location quotient is 1.20, meaning animators make up a slightly larger share of Florida jobs than of U.S. jobs, largely around Orlando, where 960 worked in May 2025 at a mean wage of $93,820 (BLS OEWS metro estimates). Florida pays well below the West Coast.

Are animation and motion design jobs growing?

No. BLS projects employment of special effects artists and animators to change by −0.3% from 2025 to 2035, from 51,900 jobs to 51,800, a change of −100 jobs (BLS Employment Projections). The Occupational Outlook Handbook puts the outlook at 0%, "little or no change" (Internet Archive capture of the BLS handbook page), on a base of 51,900 jobs.

Openings still exist. BLS expects about 4,200 openings a year over the decade, mostly to replace people who leave the occupation. The handbook lists a bachelor's degree as the typical entry-level education and names the self-employed as the largest group of workers, at 63% of jobs (a rounding of the matrix figure above).

The flat total hides a split. BLS projects self-employed animator jobs to grow 0.9% by 2035 and wage and salary jobs to shrink 2.3% (BLS National Employment Matrix). The projection for the whole occupation is lower than for neighbouring design jobs:

Two cautions. O*NET's occupation summary still shows the previous projection round: 57,100 animator jobs in 2024 and 5,000 projected openings a year for 2024-34 (O*NET OnLine). Those are not newer or better figures, only older ones. And BLS's projection for this occupation has changed with almost every edition since 2016, which is why so many sites still quote a growth rate BLS no longer publishes. The history is traced below.

How many businesses do animation and motion graphics work?

No federal statistic counts motion graphics studios, because the industry classification (NAICS) has no motion graphics industry. Animation work is classified under motion picture production (512110), postproduction services (512191) and independent artists (711510), and design studios under graphic design services (541430). The Census Bureau's 2022 Economic Census is the only source that separates animation revenue: U.S. postproduction companies earned $292,203,000 from animation postproduction services in 2022, reported by 684 establishments, or 4.5% of the industry's revenue (Census, Economic Census products data). Visual effects brought in far more, $1,580,166,000.

Graphic design services, the industry most motion design studios fall into, had 15,828 employer establishments in 2023 with 49,266 employees and an annual payroll of $3,203,710,000 (Census County Business Patterns). Its revenue was $9,785,125,000 in 2022 (Economic Census) and $9,973,830,000 in 2024, up 8.4% on 2023 (Census Annual Integrated Economic Survey).

Postproduction services had 3,144 employer establishments in 2023, with 22,670 employees and a payroll of $2,429,915,000 (Census). Revenue was $6,423,107,000 in 2022 (Economic Census) and $6,076,843,000 in 2024 (Annual Integrated Economic Survey). Motion picture and video production, where animated series and features are made, had 17,366 employer establishments in 2023 (Census).

Employment in both industries fell in 2025. BLS's Quarterly Census of Employment and Wages (QCEW), which counts every job covered by unemployment insurance, shows private graphic design employment down 6.6% and postproduction employment down 8.7% from 2024 (QCEW graphic design, QCEW postproduction).

The three federal counts of the same industries do not agree, because each counts something different:

Postproduction is concentrated in California, whose employers had 8,038 of the industry's private jobs in 2025, about 55.2%. California had 3,008 graphic design establishments, and Florida 1,631 graphic design and 185 postproduction establishments (QCEW, 2025).

Most of the work is done by one-person businesses

The Census Bureau's Nonemployer Statistics count businesses with no paid employees, mostly sole proprietors. In 2023 there were 277,731 nonemployer businesses in specialized design services, which includes graphic design, with receipts of $12,799,771,000 (Census Nonemployer Statistics), an average of about $46,100 each by our calculation. The motion picture and video industries had 128,682 nonemployer businesses with receipts of $5,672,877,000 (Census). Census publishes these counts only at the four-digit level, so they cannot be narrowed to graphic design or postproduction.

Independent artists, writers and performers, the category many freelance animators file under, had 1,088,020 nonemployer businesses with $33,723,693,000 in receipts in 2023 (Census), against only 38,677 establishments with paid employees (Census County Business Patterns). By our calculation that is about 28 one-person businesses for every employer.

What software do motion designers use?

Adobe After Effects, by a wide margin. It is mentioned in 32% of 2025 U.S. job postings for special effects artists and animators, according to O*NET's in-demand technology data, which is built on Lightcast job-posting records (O*NET OnLine). Only Photoshop and Illustrator appear more often, and they are general design tools. After Effects appears in 16% of graphic designer postings, half the animator rate (O*NET).

Motion designers' own surveys agree. In School of Motion's 2019 survey of 1,065 self-selected respondents, nearly eight out of 10 said they primarily work in After Effects (School of Motion), and in its 2021 survey, run with Adobe and Maxon, nearly 17% said they also work in Cinema 4D (School of Motion). School of Motion sells motion design training.

How big are the companies behind the tools?

None of them discloses how many people use a motion design product. Adobe, which says After Effects debuted in January 1993 (Adobe blog, 2018, Internet Archive capture), reports no user or revenue figure for any single app. What the makers do publish:

• Adobe had total revenue of $23,769 million in fiscal 2025 (Adobe 10-K). Its Digital Media segment, which holds Creative Cloud apps including After Effects, earned $17.65 billion, 74% of the total, and ended the year with Digital Media annualized recurring revenue of $19.20 billion and total ARR of $25.20 billion. Subscription revenue from its Creative & Marketing Professionals customer group was $16,303 million, and from Business Professionals & Consumers $6,495 million. Adobe merged its segments in fiscal 2026 and stopped reporting Digital Media ARR; total ARR reached $27.50 billion by August 28, 2026 (Adobe 10-Q), a figure that includes an acquisition.
• Autodesk's Media and Entertainment products (Maya, 3ds Max, Flow) earned $332 million in fiscal 2026, up from $315 million, out of total revenue of $7.21 billion (Autodesk 10-K). In the six months to July 31, 2026 the product family earned $178 million (Autodesk 10-Q).
• Nemetschek reports Maxon (Cinema 4D, Redshift, Red Giant, ZBrush) as its Media segment. It earned €121.0 million in 2025 (Nemetschek), 10% of group revenue of €1,191.2 million, and €59.0 million in the first half of 2026.
• Blender is free and open source. The Blender Development Fund page showed $330,471 in monthly contributions from 7,677 individual members and 47 corporate members on September 20, 2026, in the currency the page showed the Internet Archive's crawler (Internet Archive capture of fund.blender.org). These are live counters.
• Figma paid $85,322 thousand for Weavy in October 2025, a company it bought to build image, video, animation and motion design tools into its platform (Figma 10-K).

Browser-based tools publish only their own marketing counts, with no definitions and no audit: Canva says 260 million people used it every month in 2025 (Canva newsroom, Internet Archive capture), LottieFiles says it is trusted by 16 million+ designers and developers (LottieFiles, captured September 21, 2026), and Jitter says over 20,000 creative teams use it (Jitter, captured September 18, 2026). LottieFiles' own press page cited 4.7 million and 5 million users in 2023. Treat all three as self-reports.

What do motion designers report about their own pay and work?

Only self-selected surveys measure freelance motion designers, and they give very different answers. In School of Motion's 2019 survey, U.S. freelance motion designers reported earning close to $91,000 a year and U.S. full-time in-house designers $70,700 (School of Motion). The survey had 1,065 respondents from 95 countries, recruited from School of Motion's audience, and School of Motion sells training. None of these surveys is a random sample.

The same surveys describe who does the work. In School of Motion's 2017 survey, 20% of respondents were women; in 2019, 24.1%, and women earned 8.6% less on average. 79% of 2019 respondents had been in the industry for a decade or less, and two thirds said their income had risen in the past year. In the 2021 survey roughly two thirds of in-house designers said they also freelance. A 2019 survey of more than 1,150 UK studio workers by UK Screen Alliance, the trade body for UK visual effects, animation and post-production companies, found women were 51% of the UK animation workforce (UK Screen Alliance), so the gender figures depend heavily on who is asked.

Union animation pay

The Animation Guild (IATSE Local 839), which says it represents more than 5,000 animation workers (The Animation Guild), negotiates minimum rates with the studios. Under its 2024-2027 contract, the journey-level weekly minimum for an animator is $2,597.60 from August 2, 2026 to July 31, 2027 (Animation Guild wage scales). Its last public member wage survey, for 2018, put the median weekly rate reported by 3D animators at $2,000 and by 2D animators at $1,800 (Animation Guild wage survey 2018); in 2016 the 3D median was $2,060 (2016 survey). The 2018 survey tallied 2,155 of 7,142 members, mostly in Los Angeles feature and TV animation.

What do animation workers and studios say about generative AI?

Most animation workers are worried. In The Animation Guild's March 2024 member survey, 61% said they were extremely concerned that generative AI would hurt their future job prospects, and sixty-seven percent did not feel favorably about it being used in the workplace (Animation Guild AI report). The union did not publish how many members responded.

The most-cited estimate of job losses comes from Future Unscripted, a study by CVL Economics commissioned by The Animation Guild, the Concept Art Association and others. It estimated that about 21.4% of U.S. film, television and animation jobs are likely to be consolidated, replaced or eliminated by generative AI by 2026 (Animation Guild summary). In its survey of 300 entertainment executives and managers, fielded in November and December 2023, 75% said generative AI tools had supported job cuts or consolidation in their division, and 47% expected it to be effective at generating 3D assets within three years. The Guild later described the same study as showing 29% of animation jobs "potentially disrupted" in the next three years (Animation Guild negotiations site). Both figures are estimates from a study paid for by worker organizations, based on what executives expect.

The Guild also estimated in July 2024, from "anecdotal research and internal surveys", that one-third of its animation workforce had been laid off in the past year, a figure released two weeks before contract talks. Outside the U.S., the 2026 Greater Manchester Animation Sector Survey found freelancers made up 77% of that region's animation workforce, and 42% of respondents reported a negative impact from AI on their work (Manchester Animation Festival); it did not publish its sample size.

How big is animation outside the U.S.?

Japan's is the largest measured market. The Association of Japanese Animations estimates end-user spending on Japanese anime, in Japan and overseas, at ¥3,840.7 billion in 2024 (AJA Anime Industry Report 2025 summary). Overseas spending was ¥2,170.2 billion, or 56.5%, leaving domestic spending at ¥1,670.5 billion by our calculation. Merchandising was the largest domestic category at ¥748.8 billion, and streaming reached ¥265.5 billion.

That headline is consumer spending, not studio income. The revenue of Japanese anime production companies, which AJA calls the narrow-sense market, was ¥466.2 billion in 2024, including ¥118.8 billion earned overseas. By our calculation studio revenue is about 12.1% of the headline figure, roughly an eighth.

None of these organizations publishes a single "global animation market" total. The worldwide market-size figures in circulation come from market-research resellers whose methods are not public; see below.

How much motion is on the web?

Most of it. CSS animation, the code behind most interface motion, was found on 77% of mobile pages and CSS transitions on 85% in the HTTP Archive's June 2022 crawl, the last Web Almanac edition to measure them (Web Almanac 2022, CSS). The median transition lasted 300 milliseconds. Chrome's own usage counters measure a different thing, the share of page loads, and on September 24, 2026 showed:

Newer motion features are spreading fast but unevenly. View Transitions were used on 0.879767% of Chrome page loads on July 1, 2025 (Chrome Platform Status). Chrome's timeline shows most of the rise to today's level happening within a single month in mid-2025, which points to a few very large sites adopting it rather than broad take-up. The GSAP animation library was detected on 9% of pages in the HTTP Archive's June 2024 crawl (Web Almanac 2024, JavaScript). In the 2025 crawl, animations that move layout-affecting properties, which can make content shift, appeared on 40% of mobile pages (Web Almanac 2025, Performance).

Moving images are common too. In June 2024, 32% of GIF images served to mobile pages were animated, and 6.7% of mobile pages carried a video element (Web Almanac 2024, Media). Most web video is short: 21% of videos on mobile pages ran 0 to 10 seconds, and the autoplay attribute was set on 23% of video elements.

How many sites respect reduced-motion settings?

About half. The prefers-reduced-motion media feature, which lets a site tone down animation for people who ask their device for less motion, appeared on 50.55% of mobile pages in the HTTP Archive's July 2025 crawl (Web Almanac 2025, Accessibility), up from 34% of pages in 2022. In Chrome it was evaluated on 57.881883% of page loads on September 24, 2026, against 48.599824% on September 1, 2025 (Chrome Platform Status), a rise of about 9.3 percentage points by our calculation. Using the query does not prove a site reduces motion well; it only shows the site checks the setting.

The setting exists because motion can make people ill. In a U.S. national health survey from 2001 to 2004, 35.4% of adults aged 40 and over, an estimated 69 million people, had vestibular dysfunction as measured by a standing-balance test (Agrawal et al., Archives of Internal Medicine, 2009). That is often quoted as "35% of adults have a vestibular disorder", but it was a balance test in people over 40, not a diagnosis. The National Institute on Deafness and Other Communication Disorders gives a lower, self-reported figure: about 15 percent of American adults had a balance or dizziness problem in 2008 (NIDCD).

What do accessibility and broadcast rules say about motion and flashing?

Three flashes a second is the line in every major standard. The Web Content Accessibility Guidelines (WCAG 2.2) prohibit content that flashes more than three times in any one-second period unless the flashes are below the general and red flash thresholds (W3C WCAG 2.2, Internet Archive capture). WCAG also requires a way to pause, stop or hide any moving, blinking or scrolling content that starts automatically and lasts more than five seconds.

The rules protect people with photosensitive epilepsy. The Epilepsy Society puts them at around 3% of people with epilepsy (Epilepsy Society), and the Epilepsy Foundation gives the same 3% (Epilepsy Foundation, Internet Archive capture). The two disagree on the trigger range: the Epilepsy Society says flashing at 3-30 hertz is the common range, the Epilepsy Foundation 5 to 30 flashes per second. Both say it varies by person.

Interface motion guidelines give durations in milliseconds, not measurements. Google's Material Design 3 for Android defines 16 standard motion duration tokens, from 50 ms to 1,000 ms (Material Components docs), and Microsoft's WinUI sets standard control animations at 250 ms, with faster steps of 167 ms and 83 ms (Microsoft Learn). The median transition on the web, 300 ms, sits close to both.

What the popular motion graphics numbers really say

Most motion graphics and explainer-video statistics in circulation are published by studios that sell explainer animation, and they copy each other. We traced the most repeated ones to the earliest document we could date. Pages that repeat a claim are linked below only as dated evidence of how it changed, never as a source for the number.

"Dropbox's explainer video increased conversions 10% and made $48 million"

Dropbox never published either number. Its founder's April 2010 "Startup Lessons Learned" slides credit video with one thing: a demo video posted to Digg in March 2008, after which the beta waiting list jumped from 5,000 to 75,000 in one day (Internet Archive capture of the slides). The signup lift the slides do quantify, 60%, came from the two-sided referral programme. Common Craft, the studio that made Dropbox's later homepage video, reported only views: well over 25 million, according to Dropbox (Common Craft).

The 10% first appears in October 2012, in a guest post on Unbounce, the landing-page software company, written by the founder of Switch Video, an explainer-video studio: the video "increased conversion rates over 10%" (Unbounce), with no source. In January 2013 Switch Video's own blog multiplied a 10% lift by 100 million users and an estimated $4.80 of revenue per customer to get "an extra $48,000,000 in revenue per year" (Internet Archive capture). The sum counts a tenth of all Dropbox users as won by the video, although the claimed lift was a change in the rate at which visitors signed up. By 2017 an explainer studio's headline read "Dropbox raised $48,000,000 with their explainer video" (MotionCue), and in 2026 another states as fact that the video generated $48 million in revenue (Magic Motion Studio).

What to use instead: nothing. There is no published Dropbox measurement of what its explainer video did to conversion.

"Explainer videos increase conversions by 64%"

This is one split test on one home page. Conversion Rate Experts, the agency that ran it, reports that on Crazy Egg's home page the version with a video "generated 64% more conversions than the control" (Conversion Rate Experts case study). Crazy Egg's co-founder described the result differently in August 2012, as an extra $21,000 a month, in a post warning that most explainer videos do not work (Quick Sprout, Internet Archive capture). Six weeks later Demo Duck, the studio that animated the video, combined both into its own claim that the video increased conversion rates by 64% (Demo Duck). It has since been quoted as a general effect of explainer videos.

"Animated explainers increase conversions by 20%, according to Unbounce"

The 20% is a client result from an explainer studio, not an Unbounce study. Switch Video's case study for Rypple reports that in a split test the landing page with its video "converted 20% better" than versions with a testimonial video or with image and text only (Switch Video). It gives no sample size, test length or base rate, and Rypple did not publish the result. The same studio's founder made it the headline of the October 2012 Unbounce guest post described above. A 2013 statistics list credited the figure to Unbounce, which is how it is usually quoted; our video advertising page traces that list and the related "80% landing-page conversion" claim.

"Viewers are 144% more likely to add a product to their cart after watching a video"

We found no study behind this. The oldest form we could reach is a conversion agency's e-commerce blog post, captured in April 2019, which says a shopper who views a product video "is up to 144% more likely" to add it to the cart, with no source. Animation studios now attach it to animated video in particular: a 2026 agency guide says animated product films "increase add-to-cart rates by 144%" (Cybertize Media). What to use instead: a test on your own product pages.

"65% of people are visual learners"

There is no measurement behind it. The earliest datable source we reached is the abstract of a 2004 five-page article on law teaching, which asserts that visual learners are "the remaining 65% of the population" without citing a study. Explainer studios still use it: one says "at least 65% of people are visual learners" (VPI), and another widens it to "between 65% and 80%" (Educational Voice).

"Motion graphics boost shares by 1,200%" and other engagement lifts

These are not measurements of motion graphics. A design agency's 2026 trends guide says animated visuals, kinetic typography and transitions "boost shares by 1,200%" (Visual Soldiers), a figure that began as a 2012 infographic's count of Facebook brand-page posts and was never about motion graphics. It is traced on our real estate video page. Other lifts in circulation:

• "People look at video 5x longer than static content on Facebook" is credited to a Facebook IQ eye-tracking study, but the Facebook IQ article repeaters link to contains no 5x figure and no eye-tracking result. We found no original.
• "Adding motion lifts infographic retention from 25% to 70%" first appears as a chart with no study on an AI-video tool's blog in November 2025. Within ten months a motion graphics studio was presenting the same numbers as research, roughly 70% for animated versions (Pixel Studios).
• "Whiteboard animation improves recall by 15%" comes from the whiteboard-software vendor VideoScribe's account of a 2012 experiment by psychologist Richard Wiseman comparing a talking-head video with a whiteboard version of the same audio, which reported a 15% rise in recall for viewers of the whiteboard video (VideoScribe). The page gives no sample size or statistics, and we found no peer-reviewed publication of the experiment.
• One of the few animated-versus-static tests a firm has published is a design agency's own: five animated posts gained 59% more total impressions than five static ones (Delia Associates). It reports no platforms, dates or statistical test and measures impressions, not engagement, so it is an anecdote rather than an effect size.

"The motion graphics market is worth $X billion"

The figures come from market-research resellers who sell the full reports and do not publish their methods, and they disagree by a factor of five. For 2025, Verified Market Reports sizes the global motion graphics market at USD 18.4 billion (Verified Market Reports) and Custom Market Insights at USD 98.3 billion (Custom Market Insights), about 5.3 times as much by our calculation. Persistence Market Research puts it at US$ 110.0 billion for 2026 (Persistence Market Research).

The wider "animation market" is no better defined. For 2025, Precedence Research estimates USD 462.32 billion (Precedence Research), Future Data Stats USD 451.80 billion (Future Data Stats) and The Business Research Company $420.73 billion (The Business Research Company), a spread of $41.59 billion. The figure career sites still quote, "over USD 587.1 billion by 2030", is a forecast from Precedence Research's 2022 edition (Internet Archive capture). What to use instead: the counts from organizations that publish their methods, such as the Census Bureau's revenue figures and the national figures from Japan, the UK and France. Our video advertising page traces the same problem in video market sizes.

"Animator jobs will grow 16%"

That was BLS's projection for 2020 to 2030, and it has been replaced five times. Each edition of the Occupational Outlook Handbook projects ten years ahead from a new base year, and the rate has swung widely:

The old rates live on. An animation-industry career page still says employment "is projected to grow by 16% by 2030" (Business of Animation). A college's animation-degree page says 8% for 2022 to 2032 (Villa Maria College), and a design-training institute's September 2025 article cites BLS for the same 8% (Creative IT Institute). BLS's current projection is little or no change.

"Motion graphics designers earn a median of about $75,000"

That is a 2019 BLS figure with the wrong date on it. A motion graphics salary page updated in July 2026 says the median for multimedia artists and animators was $75,270 "in May 2020" (MotionGuru). BLS published $75,270 as the median for May 2019 (2020 handbook, Internet Archive capture); its May 2020 median was $77,700 (2021 handbook, Internet Archive capture). A 2026 salary guide says "BLS-aligned sources" put the median "closer to $77,000" (Artblast). The current BLS median for the occupation is $102,030 (May 2025). BLS advises against comparing its wage estimates across years, so the change is not a measure of pay growth, but a 2019 figure is not a current salary.

"96% of people have watched an explainer video"

This one is real, but it comes from a company that sells explainer videos, and from a small sample. Wyzowl's 2026 survey of 266 people, split between marketers and consumers, found 96% of consumer respondents had watched an explainer video to learn about a product or service, down from 98% in its 2025 survey of 205 (Wyzowl 2026, Wyzowl 2025, both Internet Archive captures). Answers move a lot between years: the share who would most like to learn about a product from a short video fell from 78% to 63%. The same surveys found animated video was the main type made by only 24% of video marketers in 2025 and 23% in 2026, behind live action, while 73% and 68% had made an explainer video. Quote these as Wyzowl's survey results, with the sample size.

Numbers we have traced on other pages

Explainer studios still repeat four claims that our other research pages have already traced to origin:

• "Viewers retain 95% of a message from video and 10% from text", now stretched to "boost retention rates by up to 95%" (F Learning Studio, 2026). Traced on our video advertising page.
• "Videos increase website conversions by 86%", from the same 2026 guide: one EyeView client result. Traced on our video advertising page.
• "Visuals are processed 60,000 times faster than text" (Gisteo, 2025). No study; traced on our thumbnail page.
• Edgar Dale's "cone of learning" with its 10%, 20%, 30% and 50% retention figures (Wondershare DemoCreator). Dale's cone carried no percentages; traced on our online course video page.

How we built this page

We started from the questions people search for about motion graphics statistics and looked for the organization that actually produced each answer. Every figure on this page sits in an evidence ledger with its source, the exact table or paragraph it came from, the measurement period, the population measured, and the date we checked it. This edition holds 319 figures from 63 publishers.

On September 25, 2026, each of the 311 sourced figures was re-fetched from its source with the fetch cache cleared and matched against the recorded wording, and every BLS wage and employment estimate was checked against its series in the BLS public data API. Pages that block automated requests, including bls.gov, w3.org, Ofcom, Wyzowl, Canva and LottieFiles, were checked against dated Internet Archive copies. We left out what we could not re-check: Blender's annual report PDFs, the AIGA Design Census tables, School of Motion's 2022 survey and the full Manchester Animation Festival report, which sit behind email forms. Market-research resellers' figures appear only in the section on popular numbers, as claims, never as facts.

We only cite the producer: government agencies, regulators, company filings and official posts, and the survey owner's own report. We do not cite statistics roundups, Statista-style aggregators, or salary sites without a public method. We did not bypass paywalls or sign-up forms; where a full report was gated, we used only the figures its publisher states publicly.

Figures marked "our calculation" are arithmetic on the cited numbers, and anyone can reproduce them:

This edition contains no Mark Studios customer data.

Limitations

• No statistic counts motion designers on their own. BLS and O*NET place them in special effects artists and animators, together with visual effects artists and character animators, and some motion work is done by people reported as graphic designers.
• BLS wage data leave out most of the workforce. OEWS surveys employers, so its jobs and wages describe salaried workers only, while BLS counts 62.9% of the occupation's jobs as self-employed.
• Freelance pay comes only from self-selected surveys, run by School of Motion and Shea Lord, which both sell training, and by She Drew That. None is a random sample, and their averages are not comparable with BLS medians.
• Federal business counts measure different things. County Business Patterns, QCEW, the Economic Census and Nonemployer Statistics use different universes, reference periods and NAICS vintages, and none has a motion graphics industry.
• Software makers do not disclose users for individual products. Adobe, Autodesk and Nemetschek report revenue for broad segments; the user counts from Canva, LottieFiles and Jitter are unaudited self-reports.
• Web figures are snapshots. Chrome's use counters change daily, and the Web Almanac has not measured CSS animation since its 2022 edition.
• International figures are not comparable. They are in each publisher's currency and period, and each country measures a different thing: consumer spending in Japan, tax relief in the UK, supported production in France and Canada.

How to cite this page

For a single figure, cite the original publisher named next to it, and link here if the verification trail is useful to your readers. Each figure has its own anchor, so you can link straight to it, for example https://www.markstudios.com/research/motion-graphics-statistics#OCC-071. To cite the page as a whole:

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Our calculations and the evidence table are free to reuse with attribution and a link to this page. Each underlying figure remains the claim of its original publisher, and some publishers ask for a link when their figures are reused.

Sources

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Update policy and change log

We re-verify every figure quarterly and when a major source publishes a new edition. The next scheduled review is December 2026. Corrections go to contact@markstudios.com.

• Sep 25, 2026: First published with 319 figures from 63 publishers, each checked against its original source.