University of Hertfordshire

By the same authors

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Typographic Parallax in Environmental Space : Real and unreal depth and transformation in temporal typography. / Brownie, Barbara.

2013. Paper presented at International symposium on typographic landscaping, Gothenburg, Sweden.

Research output: Contribution to conferencePaper

Harvard

Brownie, B 2013, 'Typographic Parallax in Environmental Space: Real and unreal depth and transformation in temporal typography' Paper presented at International symposium on typographic landscaping, Gothenburg, Sweden, 17/06/13 - 18/06/13, .

APA

Brownie, B. (2013). Typographic Parallax in Environmental Space: Real and unreal depth and transformation in temporal typography. Paper presented at International symposium on typographic landscaping, Gothenburg, Sweden.

Vancouver

Brownie B. Typographic Parallax in Environmental Space: Real and unreal depth and transformation in temporal typography. 2013. Paper presented at International symposium on typographic landscaping, Gothenburg, Sweden.

Author

Brownie, Barbara. / Typographic Parallax in Environmental Space : Real and unreal depth and transformation in temporal typography. Paper presented at International symposium on typographic landscaping, Gothenburg, Sweden.

Bibtex

@conference{924207d04bec44d8b92bad36e5884de4,
title = "Typographic Parallax in Environmental Space: Real and unreal depth and transformation in temporal typography",
abstract = "Recent treatment of onscreen typographic environments interpret virtual space as environmental. Environmental space imitates the properties of reality, allowing recreation of processes such as navigation, and the subsequent visual experiences that occur when objects are designed to exploit depth and alignment. In fluid typography, letterforms transform from abstract or pictorial objects over time, either through kineticism or alignment. These behaviours rely heavily on recreating the experiences of concrete objects and spaces. In parallax, for example, objects at varying distances appear to flatten to become a single object when viewed from a particular point of observation. In fluid typography, it is possible to imitate that experience through virtual space, tracked navigation, and the creation of a privileged viewing zone that grants access to a particular alignment of objects. Abstract objects can appear to transform into lettering, and vice versa.Understanding the letterform as a object, rather than a flat sign, and its backdrop as a space rather than a planar page, encourages connections between the real and the virtual. Virtual typography can imitate the properties of real objects, and sculptural typography can exist in real spaces. Designers are able to approach lettering as no longer contained within one category of environment, but transposable, offering the same kinetic and illusory experiences in real and virtual spaces. This paper will explore examples including television idents, sculptural typography and credit sequences, that have exploited the relationship between real and virtual space, creating kinetic experiences on screen and in concrete landscapes.",
keywords = "parallax, typography, Channel 4, idents, Gestalt, CGI",
author = "Barbara Brownie",
year = "2013",
month = "6",
day = "18",
language = "English",
note = "International symposium on typographic landscaping ; Conference date: 17-06-2013 Through 18-06-2013",

}

RIS

TY - CONF

T1 - Typographic Parallax in Environmental Space

T2 - Real and unreal depth and transformation in temporal typography

AU - Brownie, Barbara

PY - 2013/6/18

Y1 - 2013/6/18

N2 - Recent treatment of onscreen typographic environments interpret virtual space as environmental. Environmental space imitates the properties of reality, allowing recreation of processes such as navigation, and the subsequent visual experiences that occur when objects are designed to exploit depth and alignment. In fluid typography, letterforms transform from abstract or pictorial objects over time, either through kineticism or alignment. These behaviours rely heavily on recreating the experiences of concrete objects and spaces. In parallax, for example, objects at varying distances appear to flatten to become a single object when viewed from a particular point of observation. In fluid typography, it is possible to imitate that experience through virtual space, tracked navigation, and the creation of a privileged viewing zone that grants access to a particular alignment of objects. Abstract objects can appear to transform into lettering, and vice versa.Understanding the letterform as a object, rather than a flat sign, and its backdrop as a space rather than a planar page, encourages connections between the real and the virtual. Virtual typography can imitate the properties of real objects, and sculptural typography can exist in real spaces. Designers are able to approach lettering as no longer contained within one category of environment, but transposable, offering the same kinetic and illusory experiences in real and virtual spaces. This paper will explore examples including television idents, sculptural typography and credit sequences, that have exploited the relationship between real and virtual space, creating kinetic experiences on screen and in concrete landscapes.

AB - Recent treatment of onscreen typographic environments interpret virtual space as environmental. Environmental space imitates the properties of reality, allowing recreation of processes such as navigation, and the subsequent visual experiences that occur when objects are designed to exploit depth and alignment. In fluid typography, letterforms transform from abstract or pictorial objects over time, either through kineticism or alignment. These behaviours rely heavily on recreating the experiences of concrete objects and spaces. In parallax, for example, objects at varying distances appear to flatten to become a single object when viewed from a particular point of observation. In fluid typography, it is possible to imitate that experience through virtual space, tracked navigation, and the creation of a privileged viewing zone that grants access to a particular alignment of objects. Abstract objects can appear to transform into lettering, and vice versa.Understanding the letterform as a object, rather than a flat sign, and its backdrop as a space rather than a planar page, encourages connections between the real and the virtual. Virtual typography can imitate the properties of real objects, and sculptural typography can exist in real spaces. Designers are able to approach lettering as no longer contained within one category of environment, but transposable, offering the same kinetic and illusory experiences in real and virtual spaces. This paper will explore examples including television idents, sculptural typography and credit sequences, that have exploited the relationship between real and virtual space, creating kinetic experiences on screen and in concrete landscapes.

KW - parallax

KW - typography

KW - Channel 4

KW - idents

KW - Gestalt

KW - CGI

M3 - Paper

ER -