Art 222
Emalee
Typography
Portfolio By
Long
Email: Long1482@vandals.uidaho.edu Cell: 208-841-6090
Typeface
Y O U T H
M U S I C
C E N T E R
278 W. Grove St. Moscow ID. 83843
Wordmark
Y O U T H
M U S I C
C E N T E R
278 W. Grove St. Moscow ID. 83843
Dear Mr. Vandal, Lorem ipsum dolor sit amet, consectetur adipiscing elit. Fusce blandit posuere tincidunt. eu nisi eros, vitae venenatis urna. Aliquam faucibus justo interdum lectus condimentum consectetur augue aliquam. Cras vulputate pharetra elementum. Vivamus eros nunc, laoreet ac, eleifend id diam. Sed mattis, ‘tortor non lobortis malesuada, augue nisi preti ac suscipit diam leo vitae orci. Phasellus neque neque, elementum a euismod vel, faucib metus. Quisque eget libero a dui interdum posuere non nec justo. Lorem ipsum dolor sit consectetur adipiscing elit. Cras justo ligula, cursus ac pharetra ac, rhoncus eu erat. Mae leo, tempor quis tincidunt sed, faucibus eu tellus. Integer nibh lectus, suscipit ac pretium aliquet eu nisl. Duis id quam ac nulla hendrerit fringilla. onec fringilla porta est vel pretium. Sed ligula arcu, volutpat rhoncus porta sed, ullamcor tellus. Aliquam euismod nibh ac dui lacinia viverra. Suspendisse scelerisque vestibulum auctor. Aliquam erat volutpat. Sed sem elit, mattis sed consectetur pulvinar, mollis nec accumsan porta massa, neccondimentum est condimentum at. Nullam eu enim ut met obortis ac viverra nisi. Aenean ornare vestibulum purus, id consequat eros pulvinar sit habitasse platea dictumst. Nulla orci lorem, tempus id vehicula placerat, ultrices ac odio. Pellentesque porta, erat et tempor ornare, purus lacus pellentesque felis, ut porta nulla Cras vehicula leo dapibus nibh ullamcorper vel pharetra elit rhoncus. SherylM.MusicCounsel@gmail.com
Sincerely; Sheryl May
(208)555-9999
I w w w. t re b l e d yo u t h . c o m I w w w. t re b l e d yo u t h . c o m
Y O U T H
M U S I C
C E N T E R
Counselor Sheryl May (208)555-9999 | w w w. t re b l e d yo u t h . c o m SherylM.MusicCounsel@gmail.com 2 7 8 W. G r o v e S t . M o s c o w I D . 8 3 8 4 3
Business Cards S
Y O U T H
M U S I C
C E N T E R
278 W. Grove St. Moscow ID. 83843
Envelope
Courage Bravery
Determination Idealistic Intelligence Love Passion! Niel Armstrongs Footprint
July 20, 1969
Historical Event Poster
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Tree Calendars
Notes
11
ypographic communication is distinguished from other forms of visual communication by the presence of the letterform. Any individual 'letterform' is viewed as being fixed and permanent - as having a constant, indisputable identity. However, in temporal media, typography is not subject to the restrictions of print. In typographic animation and motion graphics, typography can adopt 'additional expressive qualities, additional layers of significance' [1], and additional dimensions that are impossible to recreate in print.typography can adopt 'additional expressive qualities, additional layers of significance' [1], and additional dimensions that are impossible to recreate in print. On screen, a letterform can become fluid. It can evolve, fragment and change to the extent that its role as 'type' is in jeopardy.
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ince Saul Bass' first foray into film 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 communicate 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 distinguishable from one another. In concrete poetry,
used to construct scenes and objects. Such examples may be labelled as both type and image simultaneously, but the two components remain distinctly identifiable. 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 defined as 'type'. Since 1983 Eduardo Kac has been producing holographic poetry, known as 'holopoems'[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 defines his fluctuating letters as 'fluid' forms. Screen-based media have since presented audiences with numerous examples of 'fluid' typography. In motion graphics, film title sequences and advertising, there is an increasing number of typographic artefacts which do not only display motion, but also significant 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
are observed in standard kinetic typography. Crucially, these 'fluid' 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 (fig.1)[6] each letter undergoes a process of metamorphosis. Occasionally, two letters merge, becoming a single form, and thereby introducing a third letter. Other forms contort independently, first adopting the shape of one letter, then morphing into another, displaying different letter-identities over
time.In the Moving Picture Company's recent collection of brand identities for the UK's Channel 4 [7] the figure '4' is constructed of shapes and objects that are initially perceived as different 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 fluctuate 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 fluid typography [8], forms do not function purely as letters.
The meaning of the word 'letterform' is only partially or momentarily applicable, as fluid
forms are only fleetingly 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 understanding of key typographic principlesFluidity also results in inconsistencies between the number of forms presented and the number of identities perceived. In printed text, the number of letters and the number
letterforms have been
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Email: Long1482@vandals.uidaho.edu Cell: 208-841-6090