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Art 222, Boris Pelcer Design Class
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M U S I C Y O U T H C E N T E R
278 W. Grove St. Moscow ID. 83843
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M U S I C Y O U T H C E N T E R
278 W. Grove St. Moscow ID. 83843
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Dear Mr. Vandal,
Sincerely;
Sheryl May
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Counselor Sheryl May
S h e r y l M . M u s i c C o u n s e l @ g m a i l . c o m
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M U S I C Y O U T H C E N T E R
278 W. Grove St. Moscow ID. 83843
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Bravery
Courage
Passion!
Determination
Idealistic
Intelligence
Love
Niel Armstrongs FootprintJuly 20, 1969
Historical Event Poster
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Tree Calendars
B Y B A R B A R A B R O W N I E
ypographic communication is distinguished from other forms of visual communica-tion by the presence of the letterform. Any individual 'letterform' is viewed as being �xed and permanent - as having a constant, indisput-able identity. However, in temporal media, typography is not subject to the restric-tions of print. In typographic animation and motion graphics, typography can adopt 'additional expressive qualities, additional layers of signi�cance' [1], and addition-al dimensions that are impossible to recreate in print.typography can adopt 'additional expressive qualities, additional layers of signi�cance' [1], and addition-al dimensions that are impossible to recreate in print. On screen, a letterform can become �uid. It can evolve, fragment and change to the extent that its role as 'type' is in jeopardy.
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time.In the Moving Picture Company's recent collection of brand identities for the UK's Channel 4 [7] the �gure '4' is constructed of shapes and objects that are initially perceived as di�erent architectural or scenic objects. Bails of hay, pylons and even parts of an alien spaceship, align to adopt a new identity: that of the number '4'.In these examples there is a separation of letter and form. A form may, in one instance, present a letter, but at other times adopts additional identities. In 'Bee'r, the forms �uctuate between legible letter and more abstract glyph. In the channel 4 idents, forms initially present separate object identities, then converge to become part of a greater whole, presenting a single, larger '4' form. In these and other examples of �uid typography [8], forms do not function purely as letters.
are observed in standard kinetic typography. Crucially, these '�uid' letterforms can change to the extent that they are no longer recognisable as letters. They remain on the screen over time, continuing to function as 'forms', but lose their 'letter' identity. They may even adopt another visual identity - perhaps that of an object or scene.
In 'Beer', a Flash animation by Komninos Zervos (�g.1)[6] each letter undergoes a process of metamor-phosis. Occasionally, two letters merge, becoming a single form, and thereby introducing a third letter. Other forms contort independently, �rst adopting the shape of one letter, then morphing into another, displaying di�erent letter-identities over
ince Saul Bass' �rst foray into �lm title design [2], temporal typography has been a familiar presence in the media. We have become accustomed to kinetic type that scrolls, rotates or dances. In concrete poetry, both in print and animated on screen, letterforms have been used to construct scenes and objects. The notion that a letterform can be more than solely a visual representation of a phoneme is not a new one. However, it is only recently that type has began to communi-cate meaning through adoption of additional identities. Kinetic typography has, until recently, generally adhered to the rule that type is a 'language of letterforms' [3].In most examples of kinetic typography, type and image are separate. An image may appear inside type, or type may be overlaid onto a moving image, but the two remain distinguish-able from one another. In concrete poetry, letterforms have been
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used to construct scenes and objects. Such examples may be labelled as both type and image simultane-ously, but the two components remain distinctly identi�able. In both concrete poetry and onscreen kinetic typography, letterforms retain a constant role and identity.
In recent years, however, temporal media have begun to include forms that cannot be so easily de�ned as 'type'. Since 1983 Eduardo Kac has been producing holographic poetry, known as 'holopo-ems'[4]. As viewers move around these poems, they observe typographic forms that appear to move and change over time. What distinguishes this typographic behaviour from that of standard kinetic typography is that the letters do not
simply move, they evolve, 'therefore escaping the constancy of meaning a printed sign would have' [5]. In holopoetry, the meaning and identity of each letter alters as each form changes. Kac de�nes his �uctuating letters as '�uid' forms. Screen-based media have since presented audiences with numerous examples of '�uid' typography. In motion graphics, �lm title sequences and advertising, there is an increasing number of typographic artefacts which do not only display motion, but also signi�cant change in identity. On screen a letterform can metamorphose, fragment or exhibit
other kinds of change that are far more complex than the simple changes in location or rotation that
The meaning of the word 'letterform' is only partially or momentarily applicable, as �uid
forms are only �eetingly letters, and otherwise something else. A form may present a letter identity, and be perceived as a letterform, but that form changes, becoming an abstract glyph, an object or a shape. This separation of letter and form undermines our understanding of the nature of the letterform, demanding that we rethink our understand-ing of key typographic principlesFluidity also results in inconsisten-cies between the number of forms presented and the number of identities perceived. In printed text, the number of letters and the number
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