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A feature of many digital environments is virtual ‘depth’. The flat screen is perceived
as presenting a three-dimensional space, containing ‘three-dimensional’ objects,
around which users can navigate and objects can move. In such environments,
letterforms may be among those objects presented as having volume.
Letters in virtual, three-dimensional spaces can assume “architectural”2 qualities.
They are no longer perceived as flat glyphs, but as tangible objects, often assumed to
have adopted all the qualities one would normally associate with the three-
dimensional objects encountered in real space. One expects a virtual three-
dimensional letterform to present different faces when viewed from different angles,
and that these alternative views may be accessed either by navigation around the
object, or by movement and rotation of the object itself.
“Among the ways in which letters have been rendered dimensional, extrusion is
probably the most prevalent.”3 An extruded letter presents, as its face, the planar
shape of the letter as one would expect to see it in print. The reverse of the object
presents the same shape in reverse, as if reflected (this may, in a symmetrical letter,
1
Lupton, Ellen, ‘Fluid Typography’, ‘Fluid Mechanics: Typographic Design Now”, in Albrecht,
Donald, Holt, Steven and Lupton, Ellen, Design Culture Now: National Design Triennial, Princeton
Architectural Press and Cooper-Hewitt, New York, 2000. http://www.elupton.com/index.php?id=45
(visited 28/01/2007)
2
Miller, J. Abbott, Dimensional Typography, Princeton Architectural Press, USA, 1996. p.2.
3
Ibid. p.3.
Barbara Brownie, 2007 -2-
7
Because the screen is always static, if a single object changes its location on the screen, it may not
always be perceived as having moved. Instead the viewer may perceive a change in his/her position in
relation to the object. The type of change that has occurred in the object, and the type of change that
occurs elsewhere on the screen, will influence this perception. If one object moves, while others remain
static, it is assumed that that object has moved, while the viewer’s location remains unchanged.
However, if all the objects onscreen move or rotate in the same direction the viewer interprets the
objects as remaining ‘static’ in their original, virtual positions, and that he/she has navigated
among/around them. “Only when [objects’] correlative positions change, will text elements be
perceived as in motion.” (Hillner, Matthias, ‘’Virtual Typography’: Time Perception in Relation to
Digital Communication’, ‘New Media Poetry and Poetics’ Special Issue, Leonardo Electronic
Almanac, Vol 14, No. 5-6 (2006). 25 Sep. 2006. http://leoalmanac.org/journal/vol_14/lea_v14_n05-
06/mengberg.asp (visited 13/03/07)
8
Bellatoni, Jeff and Woolman, Matt, Type in Motion, Thames & Hudson, China, 1999. p.20.
9
Images from Ibid.
Barbara Brownie, 2007 -4-
10
Ibid. p.42.
11
Images from Ibid.
12
see Woolman, Matt, Type in Motion 2, Thames & Hudson, China, 2005. pp.158-9.
13
Woolman, Matt, Type in Motion 2, Thames & Hudson, China, 2005. p.159.
14
Ibid.
15
Image from Ibid.
Barbara Brownie, 2007 -5-
In this advertisement for the Audi A6 (below), a car disassembles into three-
dimensional, apparently abstract shapes. These shapes reveal themselves as letters
only when rotated to appropriate angles, and placed alongside one another. In this
example, the identity of each object shifts, perceived occasionally as an abstract
shape, and occasionally (when at a correct rotation and in the correct context – i.e.
alongside other letterforms) as a letter. Each shape, although distinct from its
neighbours, is seen as forming a part of two different, more complex wholes -
occasionally (in its abstract form) as part of a car, and occasionally (when perceived
as a letter) as part of a word. These two distinctly different identities communicate
one overall message, that the Audi embodies the Volkswagen’s ethos, ‘vorsprung
durch technik’ (‘progress through technology’19) through-and-through.
Car breaks apart into apparently Abstract parts rotate and move Parts rotate and align, no longer
abstract three-dimensional parts. through three-dimensional perceived as abstract, but as letters in
environment. the word ‘technik’.
Vorsprung Durch Technik, 200520
16
see Woolman, Matt, Type in Motion 2, Thames & Hudson, China, 2005. pp.164-5.
17
Ibid. p.159.
18
Image from Ibid.
19
Martin, Gary, ‘Vorsprung Durch Technik’, The Phrase Finder, 1996-2007
http://www.phrases.org.uk/meanings/399450.html (visited 29/04/2007)
20
Stills captured from Ephinx, Audi A6 - Vorsprung Durch Technik, 2006.
http://www.ephinx.com/tvadverts/17/audi-a6-vorsprung-durch-technik-advert.html (visited
12/04/2006)
Barbara Brownie, 2007 -6-
21
Ryan, David, Letter Perfect, The Art of Modernist Typography 1896-1953, Pomegranate, Korea,
2001. p.103.
22
Miller, J. Abbott, Dimensional Typography, Princeton Architectural Press, USA, 1996. pp.5-6.
23
image from Ryan, David, Letter Perfect, The Art of Modernist Typography 1896-1953, Pomegranate,
Korea, 2001. p.103.
24
Stills captured from The Moving Picture Company, Channel 4 Idents, 2005 http://www.moving-
picture.com/4idents (visited 01/01/2007)
Barbara Brownie, 2007 -7-
‘4’ constructed from tower-block-like ‘4’ constructed from objects with a similar,
elements.25 glazed surface to the surrounding buildings.26
25
Stills captured from Four to the Floor: The Ever Growing Complete-ish Collection of channel 4
Idents, 2006. http://idents.tv/blog/?p=272 (visited 01/01/2007)
26
Ibid.
27
Wertheimer, Max, Special Problems: First Group: Perception, A. Perception and Organisation,
Section 5: Laws of Organisation of Perceptual Forms (‘Untersuchungen zur Lehre von der Gestalt’), II,
Psychol. Forsch, 1923, 4, 301-350. English translation found in Ellis, Willis D., A Source Book of
Gestalt Psychology, Routledge & Kegan Paul Ltd., London, 1938.
28
Wertheimer, Max, Special Problems: First Group: Perception, A. Perception and Organisation,
Section 5: Laws of Organisation of Perceptual Forms (‘Untersuchungen zur Lehre von der Gestalt’), II,
Psychol. Forsch, 1923, 4, 301-350. English translation found in Ellis, Willis D., A Source Book of
Gestalt Psychology, Routledge & Kegan Paul Ltd., London, 1938. p.83.
Barbara Brownie, 2007 -8-
29
Stills captured from You Tube, ‘Channel 4 Ident’, 2006.
http://www.youtube.com/watch?v=3PK69O1KJHg (visited 17/04/2007)
30
Stills captured from Four to the Floor: The Ever Growing Complete-ish Collection of channel 4
Idents, 2006. http://idents.tv/blog/?p=272 (visited 01/01/2007)
Barbara Brownie, 2007 -9-
In demonstration of opportunities
presented by virtual environments,
Matthias Hillner produces fonts that are
constructed of “individually moving”31
parts, which, when aligned, construct
letterforms. He describes these fonts as
“transitional text”32, in that “if used for
animation purposes, virtual three-
dimensional letterforms may emerge 34
from and merge into illegible visual Matthias Hillner, Cubico St. ‘virtual’ font, 2003
elements.”33 Cubico St (right) is a font
which presents letterforms when parts are viewed at the correct angle and alignment,
but which otherwise presents arrangements of abstract, three-dimensional objects.
Works by other artists construct and deconstruct letters within an entirely two-
dimensional space. Harm van der Dorpel’s I Wouldn’t Normally Do This Kind of
Thing and Type Engine (both below) present arrangements of kinetic ‘parts’, which
rearrange to form text. Each collection of parts consists of multiple, abstract shapes
which, when arranged overlapping one another, are perceived as a letter. Here, the
same shapes are utilized in various ways to construct multiple letters at different
times.
31
Hillner, Matthias, ‘’Virtual Typography’:Time Perception in Relation to Digital Communication’,
‘New Media Poetry and Poetics’ Special Issue, Leonardo Electronic Almanac, Vol 14, No. 5-6 (2006).
25 Sep. 2006. p1. http://leoalmanac.org/journal/vol_14/lea_v14_n05-06/mengberg.asp (visited
13/03/07)
32
Ibid. p.1.
33
Ibid. p.3.
34
Still captured from Hillner, Matthias, Virtual Typography, ‘Fonts’, ‘Cubico St’, 2005.
http://www.virtualtypography.com/navigation/menu.html (visited 17/04/2007)
35
Detail from still captured from Harm van der Dorpel, Harmlog, ‘Type Engine’, 2005.
http://www.harmlog.nl/harm/harmlog/main.asp?id=69 (visited 15/01/2007)
36
Detail from still captured from Harm van der Dorpel, Harmlog, ‘I Wouldn’t Normally Do This Kind
of Thing’, http://www.harmlog.nl/harm/harmlog/main.asp?id=77&action=prev&sort=1 2005. (visited
15/01/2007)
Barbara Brownie, 2007 - 10 -
In Karst-Janneke Rogaar & Roel Wouters’ title sequence for Matzes (below),
components of the title are initially parts of a pattern. The pattern breaks into linear
parts, which decrease in length and then rotate on a two-dimensional axis to form the
text ‘Matzes’.
On some occasions,
individual parts may have
independent identities, and
serve an additional, pictorial
purpose. Randy Balsmeyer’s
title sequence for Dead
Man38 (right) constructs
letterforms out of bones.
When the letters disassemble,
the ‘bone’ identity becomes
more prevalent than the
identity/purpose of each bone Randy Balsmeyer, Dead Man, title sequence,
as a part of a letter, 1995.39
reinforcing associations with
anatomy.
Another process which can involve either three-dimensional or flat letters is
Metamorphosis. The process of metamorphosis involves change in the silhouette (or
‘shape’) of a letterform without any sort of navigation or change in the position of
elements. Through metamorphosis, letters distort into other shapes or letters. This
37
Stills captured from You Tube, ‘25 of the best title sequences part 2’, 2006
http://www.youtube.com/watch?v=aPP5jx-kx0Y (visited 17/04/2007)
38
1995. see Bellatoni, Jeff and Woolman, Matt, Type in Motion, Thames & Hudson, China, 1999. p.69.
39
Image from DVDBeaver, Dead Man, http://www.dvdbeaver.com/film/DVDReviews8/deadman.htm
(visited 17/04/2007)
Barbara Brownie, 2007 - 11 -
process creates glyphs, which are often identifiable as approaching letters but not
always legible, creating “an expectation of a textual-pictorial anamorphosis”40.
Metamorphosis is often presented and interpreted as
three-dimensional motion of a two-dimensional
letter. Since a screen is flat, a virtual object can only
appear to be advancing or receding. In actuality,
such objects are increasing or decreasing in size.
This process, although perceived as motion rather
than shape-change, is actually metamorphosis.
Metamorphosis of a flat letter can therefore be used
to imply the presence of a three-dimensional shape
or object.
Beer (below), by Komninos Zervos, demonstrates
the simplicity of metamorphosis using vector-based
Students at the Basle School of
software. Each letter distorts, while also gradually Design, Letterforms and Film.41
changing colour, until its silhouette is that of a In this film, “the word tritt (step)”
different letter. Each form therefore has multiple morphs, bending “at right angles to
identifiable, letter-identities, and also presents more assume the footers and risers of a
42
abstract glyphs during transition from one letter to stairway.” There is no indication that
the three-dimensional form of the
the next. Here it is the motion, more than the form, steps exist, other than the fluidity of
that communicates the meaning of the artefact, with the letterforms.
languid metamorphosis reflective of the lethargic
slur of drunken speech.
An ‘h’ morphs into a ‘y’, producing several intermediary glyphs, in Komninos Zervos’ Beer, 2005.43
40
Ikonen, Teemu, ‘Moving Text in Avant-guarde Poetry: Towards a Poetics of Textual Motion’, ed.
Eskelinen, Markku, dichtung-digital.de, Newsletter 4/203, 5.Jg., Nr.30, 2003.
http://akac.org/ikonen.html (visited 25/04/2006)
41
Image from Bellatoni, Jeff and Woolman, Matt, Type in Motion, Thames & Hudson, China, 1999.
p.133.
42
Bellatoni, Jeff and Woolman, Matt, Type in Motion, Thames & Hudson, China, 1999. p.133.
43
Detail from stills captured from Zervos, Komninos, Beer, 2005.
http://www.allenandunwin.com/writingexp/beer.swf (visited 01/01/2007)
Barbara Brownie, 2007 - 12 -
Dan Waber’s Strings44 (below), is a series of several artefacts in which a single ‘string’
reforms itself into first one word, then another. Each word is perceived as having a
different meaning - a different identity - but is formed from the same ‘string’. As with
the words ‘true’ and ‘lies’ in Kyle Cooper’s aforementioned title sequence, Strings
presents two contradictory meanings, bound within the same form.
A string forms the word ‘yes’, then reforms into the word’ no’ in Dan Waber’s Argument,
2005.45
44
see Waber, Dan, Strings, http://www.vispo.com/guests/DanWaber/ (visited 01/01/2007)
45
Stills captured from Waber, Dan, Argument, 2005.
http://www.vispo.com/guests/DanWaber/argument.html (visited 01/01/2007)
Barbara Brownie, 2007 - 13 -
46
Ikonen, Teemu, ‘Moving Text in Avant-guarde Poetry: Towards a Poetics of Textual Motion’, ed.
Eskelinen, Markku, dichtung-digital.de, Newsletter 4/203, 5.Jg., Nr.30, 2003.
http://akac.org/ikonen.html (visited 25/04/2006)
47
Image from Andrews, Jim, NIO and the Art of Interactive Audio on the Web, 2001.
http://www.vispo.com/nio/The_Art_of_Interactive_Audio.htm (visited 17/04/2007)
48
Bellatoni, Jeff and Woolman, Matt, Type in Motion, Thames & Hudson, China, 1999. p.57.
49
Images from Bellatoni, Jeff and Woolman, Matt, Type in Motion, Thames & Hudson, China, 1999.
p.57.
50
van Wagner, Kendra, Gestalt Laws of Perceptual Organisation: The Law of Pragnanz, About:
Psychology, 2006, http://psychology.about.com/od/sensationandperception/ss/gestaltlaws_3.htm,
(visited 30/10/06)
Barbara Brownie, 2007 - 14 -
Wertheimer demonstrates that ‘M’ and ‘W’ can be arranged (with the
‘W’ directly above the ‘M’) so that they are no longer recognisable as
letters, but are perceived as a diamond shape, flanked by two vertical
lines51. When individual letters are in motion, they can overlap one
another with similar consequences. They can appear to form additional
shapes and glyphs. This newly perceived arrangement of shapes requires
the perceived division of some letters, and the combination of others.
51
Wertheimer, Max, ‘Special Problems: First Group: Perception, A. Perception and Organisation,
Section 5: Laws of Organisation of Perceptual Forms’ (‘Untersuchungen zur Lehre von der Gestalt’),
II, Psychol. Forsch, 1923, 4, 301-350. English translation found in Ellis, Willis D., A Source Book of
Gestalt Psychology, Routledge & Kegan Paul Ltd., London, 1938. pp.71-88. p.87.
52
Bellatoni, Jeff and Woolman, Matt, Type in Motion, Thames & Hudson, China, 1999. p.30.
53
Ibid. p.31.
54
Still captured from van der Dorpel, Harm, Harmlog, ‘Propaganda Symbol Generator’, 2005.
http://www.harmlog.nl/?thing=propagande-symbol-generator (visited 15/01/2007)
55
Image from Bellatoni, Jeff and Woolman, Matt, Type in Motion, Thames & Hudson, China, 1999.
p.31.
Barbara Brownie, 2007 - 15 -
56
As in the persistence of vision.
57
Stills captured from Ana Maria Uribe, Los Zandos (the Stilts), 2002,
http://www.vispo.com/uribe/2000/circo/zancos.html (visited 01/01/2007)