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Kinetic Typography. Word Count Student: Kolganova Kristina Theme: Literature review: Kinetic Typography. 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 3 • INTRODUCTION Kinetic typography is a form of visual communication that uses text and motion to convey emotions and tone, as well as adding emphasis 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). 4 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 movable type in the 1450s changed the world of printing, “inspired and encouraged typographers and led to many varieties of typefaces 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. 5 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 typeface in which they speak throughout the text” (Hollins, 2012, p.71). Massin highlighted the actor’s expressions and movements on the stage with punctuation, 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). 7 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/
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