5_3: Exploration

Due Dates

Upload your own static (JPGs) and/or animated studies (VIMEO) to the "W2 Exploration" section (inside the "251-s22-Students-A2/B2" entry page) by Thursday, March 17 (beginning of class).

"Expressive typography merges the use of type with visual communication—and often takes it much further than we would see in everyday typography. The type itself fully embraces itself as a highly visual medium. Think of it as type that not only says words but also communicates concepts too, with highly visual representation."

Exploration, Experimentation, Formulation, Selection

This is the phase where you decide on a certain idea or direction. Set yourself certain limitations or conditions in regards to the materials you're going to work/play with. Formulate a unique visual language, style or method by varying, combining/layering, manipulating, transferring etc. Start with typography. Use of simple graphic shapes (line, circle, rectangle...), images and motion footage is optional. You could just focus on typography only.

How can typography express a certain idea that relates to the film?

Kinetic behavior (movement, vibrate, rotate, blink, scale, camera movement, editing, transition...)
Manipulating typography (distort, mirror, decay, layer, transparency), digital vs. analog manipulation (effects, photography...)
Composition (contrast, tension, symmetry vs. asymmetry)
Tone, atmosphere, mood (lighting, texture, colors...)

It helps to define certain restrictions/limitations for yourself and explore design + motion possibilities within those boundaries. Make variations, switch out elements, manipulate or combine/layer things. Limit the amount of visual materials and motion principles you're experimenting with (for example, type + size contrast + focus/blur + motion). This phase is also about composition, tension, contrasts, speed, direction, rhythm, color, continuity and discontinuity, frame mobility etc.

Experimentation: Goal is to discover something new, a style or idea/direction you couldn't imagine before in detail. You can experiment digital, physical or combine the two. An example for such a combination: print a name on paper, manipulate it (cut it, crumble it..., then re-digitalize (scan or photograph) the results, layer them, animate them, add digital text again etc.

Motion Tests: Don't forget that motion itself carries meaning. There should always be a purpose/reasoning behind each animation. It can help to actually animate an idea to check how it actually looks/feels like (and if the result is appropriate). "Accidents" may happen that could lead to new ideas. Keep an open mind throughout this phase.

Work abstract with simple means. Don't be too literal. Simple example with film "Stranger on a Train": As oppose to working with live footage or photography of a train, rather experiment with type, speed/motion, layering. Overlaying horizontal movement in different speeds can create depth (as you would look outside the window of a train: fast objects are close, slow moving objects are further away). If you decide to use image material, think about how to unify different source materials (mono/duo tone, contrast...) and/or how certain manipulations can enhance their meaning. Explore combinations of type and image. And always think about how motion and transitions/cuts can be used to communicate an idea or even alter the meaning of a subject. There are endless possibilities using just a few elements together.

Focus on typography first and always include type in your explorations! Avoid illustrations, drawing objects etc.

Organize, sort, discard and/or refine ideas/sketches/materials. Clarify if sketches still "work" after refining them. Ask yourself questions such as "is this still appropriate for my goal"? You can continue exploring/testing ideas during the storyboard creation if you feel the need to.

Please read this chapter (sequential composition) from Jon Krasner's book. If you have the time read also this chapter (about composition in general).