Student: Kolganova Kristina

Theme: Literature review: Kinetic .

Word count: 2839 BHSAD Programme: GDI Module Title: Critical and Cultural Studies Module code: 5FTC1156 Semester B. 2016 Tutor: Alyona Sokolnikova, Susie Garden 2

CONTENTS:

• INTRODUCTION…………………………………………………………………………………...... 3

• THESIS...... 3

1. GENERAL REVIEW OF TYPOGRAPHY DEVELOPMENT...... 4

1.2. HISTORICAL LOOK AT THE EVOLUTION OF FILM OPENING CREDITS...... 7

2. KINETIC TYPOGRAPHY TECHNIQUES...... 10

• CONCLUSION...... 14

REFERENCE LIST…………………………………………………………………………………………………….15

LIST OF FIGURES ……………………………………………………………………………………………………17

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• INTRODUCTION

Kinetic typography is a form of visual communication that uses text and motion to convey emotions and tone, as well as adding to certain content. Opening credits became very popular in late 1950s in Hollywood film production and since then, have significantly influenced development of language in motion as a graphic design concept. Typographic animation exploded in the twentieth century due to digital revolution, and has been successfully used as a powerful tool to hold the attention of the viewer in film opening title sequence design, television promos and advertising.

• THESIS

The literature review focuses on meaning and function of kinetic typography. The first part of the essay examines general review of typography development, as well as historical look at the evolution of film opening credits. The second part of the review is dedicated to evaluating terms of kinetic typography and its production techniques. On the one hand, kinetic typography related to screen-based communication, in particular animated typography and film opening titles, in Kinetic Typography Engine: an extensible system for animating expressive text, Lee mentions: "Kinetic typography - text that uses movement or other temporal change and can be seen as bringing some expressive power of text" (2002, p.1), however, in Basics Typography 01: virtual typography, Hiller states: “The expression ‘kinetic typography’ translates literally as ‘the art of print in motion’, which constitutes an interesting contradiction in terms” (2009, p.35).

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1. GENERAL REVIEW OF TYPOGRAPHY DEVELOPMENT.

Typography has always been a critical tool in visual communication, as well as constantly changing throughout centuries, and briefly look at the history of type development will help to understand the power and endless opportunities of the tool. In Typography in Film Title

Sequence Design examines that the invention of in the 1450s changed the world of printing, “inspired and encouraged typographers and led to many varieties of being created in the Renaissance era” (Yu, 2008, p.24). Compared with time-consuming and very expensive wooden carved letters, Gutenberg introduced the printing press with metal type in equal sizes of letters which were more durable and readable, as well as better for mass production because of its costs, easy to use, and opportunity to be rearranged on pages as many times as needed (see Figure 1 and Figure 2). Hiller also states, “Johannes Gutenberg’s method of printing with movable type in the fifteenth century reinforced the convention of writing in straight lines, from top left to bottom right” (2009, p.12).

Figure 1, 2. Printing Press and Movable metal type and composing stick.

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In 1909, Le Figaro published a manifesto where Filippo Marinetti stated, “We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed… All subjects previously used in art must be swept aside in order to express our whirling life of steel, of pride, of fever and of speed”, states in Art History for Dummies (Wilder, 2007, p.309). Futurist collages often considered as impossible to read pieces of art that consist of series of moving images and/or “accumulation of typographic fragments” (Hiller, 2009, p.21) in single picture, in other words, “they took a cinematic sequence and compressed it into a single shot” (Wilder, 2007, p.309). According to many authors, futurism movement forced the use of typography in graphic formations and the integration of type and image (see Figure 3 and Figure 4), in this way “visual poetry became visual poetics” (Hiller, 2009, p.21), and considered as a frankly dramatic change in the case of visual communications.

Figure 3. Filippo Marinetti, A Tumultuous Assembly (1919).

Figure 4. Guillaime Apollinaire’s classic Eiffel Tower (1916).

In addition, in the book Writings about Graphic Design, Hollins emphasizes that in 1952, Pierre

Faucheux said, “Each new book would be a new OBJECT whose character would be determined by the choice of type, the proportion of the text area within the selected format and their development in time and space” (2012, p.70). For instance, Massin’s graphic version of 6

Ionesco’s play The Bald Prima Donna in 1964 was a manipulation of typographic expressions of type in everyday use combined with characters of the play. Massin recorded character’s voices on audiotape to make the story exactly the same as the audio record, and used conventional typefaces to represent each actor with “their photographic image” and introduced “the name of each actor in the in which they speak throughout the text” (Hollins, 2012, p.71).

Massin highlighted the actor’s expressions and movements on the stage with , effects of zooming and blowing the text, close ups and long shots, as well as rhythm of phrases and words and speech bubbles (see Figure 5), “he was adopting techniques from the cinema and the comic strip” (Hollins, 2012, p.72).

Figure 5. Massin’s graphic version of Eugene Ionesco, The Bald Prima Donna (1964).

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1.2. HISTORICAL LOOK AT THE EVOLUTION OF FILM OPENING CREDITS.

In early cinema production typography was used to support the scenes of film and to make the information clear. In Film Before Griffith, Fell mentions, “descriptive or narrative titles” (1983, p.291), the text was easy to read because of simplicity of white colored text used to clarify the message and framed in line borders or other decorative elements on black background.

Moreover, the author states that “the years from 1903 to 1917 are the most obscure part of film history” (Fell, 1983, p.284), however, Boxer, in Making a Fuss over Opening Credits: Film titles offer a peek at the future in more ways than one, discussed, that the early history of film titles takes its place from silent movies where titles were simply photographed hand-drawn pictures placed into a film sequence (2000, p.2). (see Figures 6 and 7).

Figures 6 and 7. The Avenging Conscience (1914), Directed by Griffith, D.W. Cinematographer:

Bitzer, B. Sourse: https://www.youtube.com/watch?v=QVU09LEti9M.

Arnheim states: “The technical development of the motion picture will soon carry the mechanical imitation of nature to an extreme” (Film as Art, 1957, p.154), in 1930s sound addition to the movie was one of the greatest developments in Hollywood cinema, and since then, title sequences were accompanied with music what completely changed the world of opening credits, and “titles began to function as a transition” (Counts, Just the beginning: The 8

Art of Film Titles, 2005), Hollywood typography was very expressive and decorative, and due to various experiments began to attract attention of the viewer (see Figure 8 and Figure 9).

Figure 8. The Cactus Kid (1930). Source: http://ramapithblog.blogspot.ru/2012/06/mouse- interrupted.html

Figure 9. Woman Wanted (1935). Screen shot from Original Trailer of Woman Wanted (1935).

Source: http://www.tcm.com/mediaroom/video/108852/Woman-Wanted-Original-Trailer-

.html

Later, in the 1950s and 1960s in time period of Postwar Era, opening title sequences became artworks. In the Graphic Design Now in Production, author mentions that opening credits were

“challenging the audience and the industry with experimental techniques and conceptual depth never before considered” (Radatz, 2011, p.136). Famous designers collaborated with visual directors in production of opening title sequences creating a truly new era of graphic design, and one of the major persons of 1950s was Saul Bass who pushed titles above their common functions into a greater level narrative purpose – setting the tone, formed the mood and visual personality of the movie “in some metaphorical way” (Haskin and Bass, Saul, can you make me a title? 1996, p.12). Kirkham also states: “Bass developed the credit sequence as a prologue dealing with the time before the story begins” (Saul Bass: a life in film and design, 1994, p.16). 9

Saul Bass delivered a visual harmony to film promotion and broadcasting, as well as thoroughly changed the performance of film credits and title sequences transformed them into the essential part of the very beginning of the movie. Inspired by modern design such as Bauhaus and Constructivism styles, Bass used simple colors and symbolic images combined with irregular typography. While working on film symbols for Carmen Jones advertising

(see Figure 10), Bass said, “why not make it move?” (Bass on titles, 1977. Source: https://www.youtube.com/watch?v=HSwm-Vr9D7c.)

Figure 10. Saul Bass and Otto Preminger. Carmen Jones title sequences, 1954. Source: http://annyas.com/screenshots/saul-bass-title-sequences/

In the Motion Graphics: Graphic design for broadcast and film, Curran writes: “Before the availability of desktop video and animation packages, most title designers worked with animates and storyboards. The final product was produced with technology available only at optical houses or computer effects companies at a cost that left little for changes and creative exploration” (2000, p.128). Digital revolution influenced process of making titles, as well as the content itself. In 1990s personal computers brought a new life to graphic designers 10 and gave an endless opportunity to easily generate , create illusions in space, to manipulate images and typefaces.

2. KINETIC TYPOGRAPHY TECHNIQUES.

Kinetic typography “has gradually evolved from the design of film titles” that is why this term generally linked with “screen-based media" (Hiller, 2009, p.35), and has two main aspects - the choice of and animation effects. Lee mentions, that traditional (cartoon) animation techniques commonly used in kinetic typography, these include: "slow-in slow-out movement, squash and stretch, movement in arcs, anticipation, follow through and secondary action" (The

Kinetic Typography Engine: An Extensible System for Animating Expressive Text, 2002, p.3). In

Exploring Typography (second edition), Rabinowitz explains: "The illusion of movement in film, video, and digital environments results from the sequencing of still images," that viewers see as a single shot. Author refers to the term "persistence of vision - a psychological phenomenon" that tricks the brain and allows the eye to perceive several still images as in motion at "a rate of

24 frames per second" (Rabinowitz, 2006, p.240). Chang states: "The effectiveness of motion blur demonstrates that showing motion is not just showing a series of still pictures" (Animation:

From Cartoons to the User Interface, 1993, p.5), use of smoothly growing transparency is also essential for perception of motion.

Kinetic typography is a powerful tool to convey gestures and narrative, communicates via various fonts as visual images that changes over time due to techniques, effects and technology. In Integrating Typography and Motion in Visual Communication, Hosteler mentions that fundamentals of typographic animation are divided into four main categories: Type and

Expression of Ideas, Space, Time, and Supporting Elements. Each component used for particular 11 purpose for strong visual communication (Hostetler, 2006, p.3). In Temporal Typography, Stake discusses that “motion and expression” can be shown as printed on paper duplicated typefaces with diverse directions, and using various color combinations, “temporal typography gives the opportunity to communicate with behaviors or actions as well as with visual form.” Temporal typography brings feelings and emotions via animated words and phrases using relevant type styles in various letter sizes, as well as their weight and position in order to express different personalities, and “based on four basic human emotions: happiness, sadness, fear and anger”

(Stake, 2015, p.3). Lee states that choice of font is crucial to "fit the feeling of the animation"

(Nowhere: A kinetic typography motion graphic about the pursuit of happiness, 2014, p.12).

Hiller agrees, the term “temporal or time based typography” used to express forms of typefaces which actively changing over time, for instance, combination of transition and funny sound can be shown in humorous way like a “simple pixel type” animation (see Figure 11), where the font expands from diamond shapes, then spreads into squares, transformed into lines and become letters in the end (Hiller, Basics typography 01: Virtual Typography, 2009, p.39-40).

Figure 11. Unfolded – Tomi Vollauschek, design agency FL@33, 2001. Source: http://www.flat33.com/index.php?page_id=572&searchString=Unfolded.

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Transitional typography, on the other hand, is a printed text that creates the illusion of movement, and the latter depends on the angle of the view. Horizons prints are the perfect example of how the type becomes transitional by drifting higher in position to the photograph of architectural forms (see Figure 12). Hiller explained that “The plastic lens mounted on to the large-format print allows for the type to virtually fall apart as the viewer moves around the image” (2009, p.36). Kinetic typography is the presentation of a word or a phrase in a stable position, fixed on a screen or printed on paper that can be, for instance, easily read with text- scanning technique, in this way, fixed text can be interpreted as moving type.

Figure 12. Open Sky. Horizons - series of limited-edition prints. Source: Basics Typography 01:

Virtual Typography, 2009.

Designing a dynamic identity demands even more opportunities than simple movement. Single or several elements could consist of various changing, as such increasing flexibility of the identity. Nes states: “Fixed components help the user recognize their brand; it is the variability that gives it room to live and evolve” (Dynamic Identities. How to create a living brand, 2012, 13 p.7). One of clear decisions to design a dynamic identity is the way to use a logo as a container which can be changed in color scheme or images, like that the logo still recognizable and different at the same time. Completely kinetic identity indicates the complexity, for instance, the work of Bruce Mau Design for Netherlands Architecture Institute, in 1994 they “created a standard yet flexible identity able to maintain consistency while communicating the diverse activities and ambitions of the NAi” (Nes, 2012, p.33). The word ‘NAi’ was projected onto different surfaces reflecting the feeling of movement and distortion, inspiring designers to experiments and freedom to create something new (see Figure 13).

Figure 13. Bruce Mau Design. ‘NAi’ identity, 1994. Source: http://www.brucemaudesign.com/work/netherlands-architecture-institute-nai.

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“The identity can reflect the world it is living in, and adapt in response to its input” (Nes, 2012, p.137). In 2009, ONEDOTZERO in collaboration with Karsten Schmidt created live interactive installation of the identity based on online conversations from popular social networks.

Generative software chose online talks particularly about ONEDOTZERO team, and then forwarded texts to the program that generated constantly changing colorful identity of the brand (see Figure 14).

Figure 14. OneDotZero Adventures in Motion, 2009. Source: Dynamic Identities. How to create a living brand, 2012.

• CONCLUSION

To conclude, kinetic typography is a powerful tool that communicates via font and perception of movement, and uses various animation techniques to catch attention of the audience with emotions and tone, and adding emphasis to certain content in opening title sequences, television promos, advertising, corporate identities, printed texts and posters, and interactive installations.

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REFERENCE LIST:

Lee, J.C., Forlizzi, J., Hudson, S. (2002). Kinetic Typography Engine: an extensible system for animating expressive text. Human Computer Interaction Institute and School of Design Carnegie Mellon University, source: http://www.cs.cmu.edu

Hiller, M. (2009). Basics Typography 01: Virtual Typography. AVA Publishing.

Yu, L. (2008). Typography in Film Title Sequence Design. Iowa State University, source: http://ir.uiowa.edu/etd/1760

Wilder, J.B. (2007). Art History for Dummies. Wiley Publishing, Inc.

Hollins, R. (2012). Writings about Graphic Design. Occasional Papers.

Fell, J.L. (1983). Film Before Griffith. University of California Press.

Boxer, S. (2000). Making a Fuss over Opening Credits: Film titles offer a peek at the future in more ways than one. The New York Times.

Arnheim, R. (1957). Film as Art. University of California Press.

Counts, J. (2005). Just the beginning: The Art of Film Titles. Source: http://www.twenty4.co.uk/on-line/issue001/project01/proj01index.htm

Radatz, B. (2011). Graphic Design Now in Production. Cooper-Hewitt National Design Museum. Walker Art Center.

Haskin, P., Bass, S. (1996). “Saul, can you make me a title?” Interview with Saul Bass, Film Quarterly.

Bass, J., Kirkham, P. (1994). Saul Bass: a life in film and design. Lawrence King Publishing.

Pyramid Films in cooperation with Saul Bass Films. (1977). Bass on titles. Source: https://www.youtube.com/watch?v=HSwm-Vr9D7c

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Curran, S. (2000). Motion Graphics: Graphic design for broadcast and film. Gloucester, MA: Rockport.

Rabinowitz, T. (2006). Exploring Typography (second edition). Cengage Learning.

Chang, B-W., Ungar, D. (1993). Animation: From Cartoons to the User Interface. Source: http://faculty.washington.edu

Hostetler, S. (2006). Integrating Typography and Motion in Visual Communication. Department of Art University of Northern Iowa, source: http://www.units.miamioh.edu

Stake, L-A.F. (2015). Temporal Typography. Source: http://ir.uiowa.edu/cgi/viewcontent.cgi?article=5812&context=etd

Lee, C. (2014). Nowhere: A kinetic typography motion graphic about the pursuit of happiness. Rochester Institute of Technology, source: http://scholarworks.rit.edu/

Nes, I. (2012). Dynamic Identities. How to create a living brand. BIS Publishers.

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LIST OF FIGURES:

Figure 1. Printing Press………………………………………………………………………………………………4

Figure 2. Movable metal type and composing stick…………………………………………………..4

Figure 3. Filippo Marinetti, A Tumultuous Assembly (1919)……………………………………….5

Figure 4. Guillaime Apollinaire’s classic Eiffel Tower (1916)……………………………………….5

Figure 5. Massin, The Bald Prima Donna (1964)………………………………………………………….6

Figure 6. Griffith and Bitzer, The Avenging Conscience (1914)……………………………………..7

Figure 7. Griffith and Bitzer, The Avenging Conscience (1914)……………………………………..7

Figure 8. The Cactus Kid (1930)…………………………………………………………………………………….8

Figure 9. Screen shot from Original Trailer Woman Wanted (1935)……………………………..8

Figure 10. Saul Bass and Otto Preminger, Carmen Jones title sequences (1954)...... 9

Figure 11. Unfolded – Tomi Vollauschek, design agency FL@33 (2001)……...... 11

Figure 12. Open Sky, Horizons - series of limited-edition prints……………………………………12

Figure 13. Bruce Mau Design, ‘NAi’ identity (1994)………………………………………………………13

Figure 14. OneDotZero, Adventures in Motion (2009)……………………………………………………14