Asemic typography in kinetic design
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Michael Betancourt
Abstract
Asemic typography offers an opportunity to consider the distinction between typography in its traditional role for graphic design and how the addition of motion changes its engagement and audience comprehension for motion graphics. These differences enable a consideration of the specific problematics created by chronological development on-screen as a formal differentiator between static and kinetic typography.
References
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Articles in the same Issue
- Frontmatter
- Ejecting protestors, interpellating supporters: The interactional pragmatics of expulsion at Trump’s campaign rallies
- What is political semiotics and why does it matter? A reply to Janar Mihkelsaar
- Iconic processes and intermediality in the photobooks Silent Book and Sí por Cuba
- From shipwreck to constellation: Rethinking Meillassoux on Mallarmé from a semiotic perspective
- Umberto Eco’s semiotics of the text: Theoretical observations and an analysis of the parable of the banquet
- The search for the imperfect language
- Semiospheric translation types reconsidered from the translation semiotics perspective
- Voicing control: A child resource for “growing a head taller”
- Kenneth Waltz talks through Mark Rothko: Visual metaphors in the discipline of International Relations Theory
- The cultural transformation of the proprioceptive senses
- On the embodied meaning of emotional responses to music: A semiotic perspective
- Asemic typography in kinetic design
- Topological and networked visibility: Politics of seeing in the digital age
- A semiosic translation of Paul Celan’s Schwarze Flocken and Weggebeizt
