Barbara Brownie, 2007

-1-

Fluid Typography: An introduction to categories of fluid type

In many examples of kinetic typography, letterforms move, but retain a consistent
appearance and distance from one another. In such artefacts, kinesis results in a
change on a macro scale a change in overall layout but the letters themselves do
not change. A feature common to all fluid type is change on a micro scale, within
individual letterforms. Fluid letterforms do not present themselves as identical in
every frame of an artefact. They are constantly changing and evolving. It is this
continuous transformation1 that characterises fluid type.
In a fluid typographic artefact, elements change and evolve as time progresses,
sometimes presenting a legible letterform, at other times presenting that letterform
distorted, and at other times presenting something with an entirely different identity
(perhaps an object, abstract shape or a different letter). The result of this behaviour is
an inconsistency between the number of forms presented, and the number of identities
perceived by the viewer/reader. A single form or object may, over time, present
several different letters. In other artefacts, several different forms or objects may be
interpreted not as individual, separate objects but only as parts of a single, whole
letter. In both such cases, the additional identities presented over time may reinforce
the initial meaning/interpretation of the artefact, or may contradict it. Although this
inconsistency between perceived forms and actual forms is a property common to all
fluid typography, there are various processes through which this inconsistency occurs.
These processes can be separated into the categories discussed below.

Basic Categories
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 architectural2 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 threedimensional objects encountered in real space. One expects a virtual threedimensional 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,

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

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appear identical to the face). These two

surfaces, front and rear, are both easily
recognisable as letterforms, as they retain
familiar silhouettes.
When viewed from any other angle, however,
extruded letters present abstract shapes that are
not normally associated with writing (often
simple geometric shapes) and have few or no
distinguishing features to set them apart from
other letters. A and B for example, when
extruded and viewed from the left edge, will
both present a rectangular face (see right). The
identity of either of these letters, therefore, if
only viewed from the side, is perceived as being
that of a rectangle, not a letter. It is only through
navigation or rotation that these objects can
become distinguishable from one another, and
recognisable as letters.
Any additional surfaces created through
extrusion (i.e. top, bottom and sides) allow the opportunity for letter-objects to present
several different shapes within a single object, each with a different identity. Provided
they are given a temporal dimension, artefacts may present these different identities at
different times in the same location onscreen, as if one identity is replacing another.
These shapes need not just be extruded.
Through more complex modelling,
these objects have the opportunity to
present more than just an abstract shape
when rotated. An extruded letter may,
for example, have additional letters
moulded or carved into its vacant
surfaces. In Bart Overlys Ligature5
(left), each object has alternate
readings from different perspectives 6.
Overly presents both A and B in the
same object. When viewed from
directly above, an A form is visible,
but when viewed from either side, B is
presented. In this way, a single object
can have multiple letter- identities.
Bart Overly, Ligature, 19954

In temporal, screen-based environments

three-dimensional
objects
(simply
extruded letterforms or more complex

shapes like Overlys) are rotated to hide and reveal text. This process is completely
dependent on the depth of virtual, three-dimensional environments, relying on the
4

Illustration from Miller, J. Abbott, Dimensional Typography, Princeton Architectural Press, USA,
1996. p.55.
5
1995. See Ibid.
6
Ibid. p.55.

Barbara Brownie, 2007

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capacity of an architectural object to have multiple surfaces which do not resemble

one another. By processes of navigation or rotation (viewed over time) these objects
may present an ever-evolving face, thereby appearing fluid.
This first form of volumic fluidity reveals multiple letters and shapes within a single
object, through a process of Revelation by Rotation. Moments of revelation occur
when the viewer becomes aware of one of the evolving shapes identities (the moment
(s)he recognises a letter or sign in a shape that had previously appeared abstract or
meaningless).
In various examples of revelation by
rotation, virtual three-dimensional
models adopt different identities when
viewed from different angles. Each
new identity is presented to the viewer
either through navigation around an
object, or by the rotation of the object
itself. Whether a view is accessed by
navigation or rotation, the result is the
same (as on-screen navigation is only
perceived, not real7).
Simple extrusion of a letterform can
present a letter as having multiple
identities, one of which may not be a
letter. In Saul and Elaine Bass title
sequence for Alcoa Premire (right)
the text ALCOA is extruded, with
the letters forming the tops of tall,
slender monoliths. As the camera
navigates to reveal the side surfaces of
the extruded shapes, the viewers
perception of the objects shifts. They
are no longer perceived as letters, but
as skyscrapers.8

Saul and Elaine Bass, Alcoa Premiere, title sequence

1961.9
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 viewers 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_n0506/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

Kyle Coopers True Lies title

sequence (right) involves more
complex objects, reminiscent of
Overlys Ligature. This sequence uses
rotation to reveal contradictory
messages. It presents four apparently
flat letters (TRUE) which rotate,
revealing that these initial letters are
the front surfaces of three-dimensional
objects. As the objects rotate,
additional letters (LIES) are
revealed. This second word is formed
not with positive shapes, but in voids
cut through the initial, threedimensional letters.10 These voids
assume
an
identity
that
is
contradictory to the initial perception
of the artefact not only in meaning but
also in form.

-4-

Kyle Cooper, True Lies, title sequence, 2004.11

In Brian Lemens Experimental

Typography: Modularity, Perception,
Physicality12 (right), virtual, threedimensional letterforms
combine
more than one letterform in the same
physical object13 by presenting
different shapes from different angles.
However, unlike Overlys Ligature
and Bass True Lies, Lemens objects
are not adapted from extruded
letterforms,
instead
they
are
constructed of strokes, focusing on
a common stroke of other typographic
element from which letters could be
built.14
Brian Lemen, Experimental Typography: Modularity,
Perception, Physicality.15

10

Ibid. p.42.
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.
11

Barbara Brownie, 2007

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Similar properties are seen in Avi

Haltovskys Papercut16 (right). Each object
in this three-dimensional font does not
present multiple letters, but one letter and
multiple glyphs. They are models of
curved, paper shapes which, when viewed
from the correct angle, present a letter,
and
otherwise
present
abstract
formations17.

Avi Haltovsky, Papercut18

In this advertisement for the Audi A6 (below), a car disassembles into threedimensional, 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 Volkswagens ethos, vorsprung
durch technik (progress through technology19) through-and-through.

Car breaks apart into apparently

abstract three-dimensional parts.

16

Abstract parts rotate and move

through three-dimensional
environment.

Parts rotate and align, no longer

perceived as abstract, but as letters in
the word technik.
Vorsprung Durch Technik, 200520

see Woolman, Matt, Type in Motion 2, Thames & Hudson, China, 2005. pp.164-5.
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)
17

Barbara Brownie, 2007

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In other three-dimensional typography, multiple objects combine to present a single

letter. Such letters are, in effect, constructed from separate components.
Like many traditional, flat fonts (such as Josef Alberss Stencil,
192521), three-dimensional fonts can include letterforms that are
constructed of parts. Letterforms of modular construction, are not
single forms, but arrangements of interchangeable or repeatable
parts22. These parts do not have to be in contact with one another to
be perceived as belonging together, as part of a single, more complex
form.

Josef Albers,
Stencil, 1925.23

When letters of modular construction are seen in digital on-screen artefacts, they may
present letters only when viewed from an appropriate position. When viewed from
correct angles, an arrangement of abstract shapes can appear to present a single
letter, either because the shapes overlap (apparently forming a single whole) or
because they are positioned in close proximity in a common, recognisable
arrangement (namely that of a modularly constructed letter). As with revelation by
rotation, these identities are accessed through navigation or rotation, or a combination
of the two. This is a process of Construction by Rotation/Navigation.
The Moving Picture Company (MPC) acknowledge the constantly-evolving nature of
Channel 4s multi-faceted broadcast corporation with a series of brand-identities that
are a combination of live-action footage and computer-generated animation. Many of
these shorts involve the perceived construction of the number 4 by means of
navigation around collections of objects.
Tokyo (below) initially appears to present a journey through a city. The camera
(representing viewers point-of-view) navigates through digitally manipulated streets,
below illuminated, architectural banners and columns. While still moving, the camera
tilts upwards, and the banners and columns align, momentarily presenting a familiar
4. Each component contains its own text, in Japanese, and for much of the shot
appears to have its own, independent identity that of a promotional billboard or
sign. It is only during the moment of revelation that they are assumed to be part of a
larger arrangement, with a new, more familiar, identity.

MPC, Tokyo, Channel 4 ident, 2005.24

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.movingpicture.com/4idents (visited 01/01/2007)

Barbara Brownie, 2007

-7-

MPC have used similar techniques in simulations of other urban scenes,

including British and American cities. Both of these construct a 4 from
parts that had initially been presented as independent, architectural objects,
aesthetically similar to the surrounding buildings.

4 constructed from tower-block-like

elements.25

4 constructed from objects with a similar,

glazed surface to the surrounding buildings.26

As several of Wertheimers Laws of Organisation of Perceptual Forms27 suggest,

several factors can contribute to a readers process of simplifying these arrangements.
When elements/parts are located in close proximity but not overlapping, correct
interpretation of such letters requires the reader to imagine an arrangement of
incomplete, modular repetitions as complete letter-shapes. This form of perception
is described in Wertheimers Factor of Closure28. In examples of the factor of closure,
the viewer must imagine that spaces between shapes are filled, forming a complete,
closed line or shape. In modularly constructed type, the modules are perceived
primarily as parts of a closed letter.
If there are multiple collections of shapes onscreen, with shapes belonging to one
letter and not another, the Factor of Proximity and Factor of Similarity are also
influential. The proximity of each shape to its neighbours dictates whether it will be
perceived as belonging to one letter or another. If there are numerous shapes within an
artefact, those that share physical features will be perceived as being associated with
one another.
These Gestalt laws are also applicable to any modular letterform that is constructed
through the rearrangement of its parts. Construction Through Motion of Parts is
another process through which parts can appear to combine to form a letter. Unlike
construction by rotation, this process requires parts to move independently of one
another. They are perceived, therefore, as part of a more significant whole not due to a
change in the viewers perspective, but as a result of being repositioned close-to or
overlapping one another.
As no change in the viewers perspective is required, Construction Through Motion of
Parts does not require the virtual environment, nor the objects within it, to be three25

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

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dimensional. Parts of a modularly constructed letter may re-arrange themselves on flat

planes or in three-dimensional space. Artefacts demonstrating this behaviour may
even contain a combination of two-dimensional and three-dimensional properties. For
example, letterforms in a three-dimensional environment need not necessarily be
three-dimensional themselves. Flat letters (perceived as having a front and back, but
no depth, as if printed on transparent paper), can behave according to the laws of
three-dimensional space, moving and changing on three axes.
Prior to MPCs recent channel 4 idents, Martin Lambie Nairns 1982 brand identity
(below) demonstrated construction of the number 4 through the rearrangement of
three-dimensional parts.

Martin Lambie Nairn, Channel 4 Brand Identity, 1982.29

MPC has used the same concept to produce some of its more recent idents. Lawn
(below) depicts a game of bowls. Above the lawn, rectangular hedges float, casting
shadows on the lawn. Although the hedges themselves rarely come into view, as they
align, their shadows form the shape of a 4.

Moving Picture Company, Channel 4 ident, 2005.30

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

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In demonstration of opportunities
presented by virtual environments,
Matthias Hillner produces fonts that are
constructed of individually moving31
parts, which, when aligned, construct
letterforms. He describes these fonts as
transitional text32, in that if used for
animation purposes, virtual threedimensional 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 twodimensional space. Harm van der Dorpels I Wouldnt 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.

Letters rearrange their geometric parts to

form other letters in Harm van der
Dorpels, Type Engine, 2005.35
31

Parts resembling pieces of broken letters

rearrange to form new letters in Harm
van der Dorpels I Wouldnt Normally
Do This Kind of Thing, 2005.36

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 Wouldnt 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

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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.

Karst-Janneke Rogaar & Roel Wouters, Matzes, title sequence, 200437

On
some
occasions,
individual parts may have
independent identities, and
serve an additional, pictorial
purpose. Randy Balsmeyers
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
as a part of a letter,
reinforcing associations with
anatomy.

Randy Balsmeyer, Dead Man, title sequence,

1995.39

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

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process creates glyphs, which are often identifiable as approaching letters but not
always legible, creating an expectation of a textual-pictorial anamorphosis40.
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
assume the footers and risers of a
identifiable, letter-identities, and also presents more
42
stairway.
There is no indication that
abstract glyphs during transition from one letter to
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 Wabers 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 Coopers 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 Wabers Argument,
2005.45

44

see Waber, Dan, Strings, http://www.vispo.com/guests/DanWaber/ (visited 01/01/2007)

Stills captured from Waber, Dan, Argument, 2005.
http://www.vispo.com/guests/DanWaber/argument.html (visited 01/01/2007)

45

Barbara Brownie, 2007

- 13 -

Nio (right), by Jim Andrews, is an

interactive artefact in which planar
letters distort. This elastic motion
(bending stretching)46 suggests that the
letters are rotating and receding within a
three-dimensional space.
Here, the morphing of the letterforms
represents the accompanying sounds as
they emerge and then diminish, layering
to form both aural and visual
cacophonies.
An untitled experimental video by
Jim Andrews, NIO, interactive artefact,
47
Matthew and Christopher Pacetti
2001
(below) presents planar letters which
appear to flow continuously over a transparent three-dimensional object.48 The
existence of this invisible object is implied only by the distortion of the text, as it
stretches, compresses, grows, shrinks and flows across the imagined, threedimensional surface.

Matthew and Christopher Pacetti, p2, Untitled Experimental Video, 1998.49

Metamorphosis, in the process of distorting one shape to form another, creates

abstract glyphs. Glyphs can also be created when several letters Overlap, interfering
with one another. When multiple letters overlap, they can appear to form a single,
abstract shape. How this shape is interpreted may be analysed according to the law of
Pragnanz. The law of Pragnanz, which states that, when we are presented with an
arrangement of complex elements, we are likely to perceive them as being parts of a
simpler whole50. Therefore, when letters interfere with one another, additional shapes
may be perceived.
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.
Users can input and rearrange letters in
Harm van der Dorpels Propaganda
Symbol Generator (right). As letters
overlap, strokes interfere with one another
and appear to combine, forming shapes
and patterns. When this occurs, the original
letters may become illegible, perceived
primarily as components of a pattern rather
than as meaningful text. The result, as with
many political symbols, is an abstract form
with hidden meanings.
The letters abc overlap in Harm van der
In R/Greenberg Associates title sequence
Dorpels Propaganda Symbol Generator,
for Altered States (below right) letters 2006.54 In the centre, the overlapping cs are
overlap each other as they move slowly
primarily perceived as parts of rotationally
across the viewing plane.52 As the symmetrical flower/star shape, not as individual
letters.
letterforms overlap [they] create patterns
53
of abstract shapes.
Reflecting the
meaning of the title, the states of the letters alter to create an evolving identity.

R/Greenberg Associates, Altered States, title sequence, 1980. 55

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 -

A note on False Fluidity

There are numerous artefacts which
appear to contain fluid typography but on
closer inspection contain other forms of
motion, or no motion at all. Ana Maria
Uribes Stilts (right) intends to present a
row of Hs which morph, stretching their
vertical strokes as if they were legs. In
reality, the artefact is a collection of still
images, replacing one another in
sequence. There are no intermediate
stages or glyphs between the original H
shapes and those with fully extended
legs.
Visual effects which appear to morph one
character into another may often simply
replace one letter with another, perhaps in
combination with visual effects such as
Ana Marie Uribe, The Stilts, 200257
fading.
Uribes animation gives the impression that the
Given that all screen-based, time-based legs of each H have stretched. In reality, there
are no intermediate stretching stages, the two
artefacts are created from a series of still
still images shown above directly replace one
frames (usually shown at 25 frames per
another.
second to create the illusion of fluid
motion56), ultimately, no screen-based
artefacts can be completely fluid. Provided, however, that some of the frames shown
contain intermediate glyphs or shapes, and not just the poles of a fluctuating
shape/letter, they will appear to be evolving, and can be classified as fluid.

Barbara Brownie, 2007

University of Hertfordshire
www.fluidtype.org

56

As in the persistence of vision.

Stills captured from Ana Maria Uribe, Los Zandos (the Stilts), 2002,
http://www.vispo.com/uribe/2000/circo/zancos.html (visited 01/01/2007)

57