the speed way
When the first moveable type printing presses arrived hundreds of
years ago, it revolutionised the way in which information was presented
and distributed to the public. From the days of daubing on walls,
carving glyphs in stone, and writing on papyrus, typography had evolved
in an organic fashion, with the method of production deeply embedded in
a glyph s style. Typography as I perceive it - as a creative art that
encompasses not only character design, but also the whole process of
how type relates to the medium in which it exists - started at that
point.
So we moved on. Typography grew. Much of what we now understand about
readability, structure, and form came as a direct result of those
moveable type presses and their successors, but always with one single
common element: All typography was static. Again, the very nature of
the medium dictated its form - much like in the cases of painting,
sculpture, or photography, type s purpose as a method of communication
relied on the typographer's ability to convey meaning and message in a
snapshot.
Then, something fundamental happened.
Time-based media arrived - first in film, then television. Almost
overnight, typographers had a new set of challenges, as well as
creative possibilities. But just like before the arrival of the
presses, the lucky limited few who had access to the medium and methods
of production neglected, for the most part, the creative possibilities,
still stuck in the old mentality of print. For years, the film and
television industries remained the same, right up until the 60s and
70s, when television powers that be, particularly in Europe, began to
allow designers to experiment with new, time-based ways of dealing with
type - usually on smaller, lower budget titles.
The true
renaissance came in the 80s and 90s, when typography as a moving,
living, evolving entity in time became mainstream in the eyes of the
public, with notable examples being the now eponymous opening title
sequence of the film Seven (or Se7en, 1995, New Line Cinema) by Kyle
Cooper and Jonathan Barnbrook s television advert work for British
Nuclear Fuels Limited (BNFL). In these, we first saw type treated as an
evolving thing, as opposed to the rather staid, transformational,
basically graphic design-based work of earlier years.
You
may be wondering what this has to do with current trends. Well, a lot,
as we can draw many parallels between what is happening now and past
events.
As the Internet grows and new technology opens
up new ways of thinking about typography, many of the same issues that
faced those in control of production in the past rise again. With the
strength of the Flash plug-in growing steadily over the last few years,
people have been experimenting with its use in typography. Just as
before with print and the first time-based media, typographers are
learning to use the medium more effectively, but it s happening slowly,
and too many designers don t seem to be giving their work much meaning.
If I see another splash screen with some flying type that serves no
purpose, I think I may vomit over my poor Mac s keyboard.
For
the Internet, the current state of the industry does not look too
bright. Time-based typography, a vehicle that has real potential to
help a viewer understand and feel a part of what the producer is trying
to convey (which is, after all, what all design is about), is currently
being under-utilised. Rather than using technology to benefit and
enhance the message, it s being used to provide that most insidious of
all client requests the Wow! factor. Just after we have persuaded the
last marketing person in the world that the Blink tag in HTML really
isn t what they need, or that animating their logo on every page may
just prove to be somewhat annoying, we seem to have replaced these
minor victories with new, potentially far more damaging weapons. And
let us not be under any false illusions here; Flash is a very dangerous
weapon indeed, more dangerous than the everyone is a designer mentality
that proliferated in the early days of desktop publishing.
The
truth of the matter is that, with few exceptions, Flash animations
embedded into websites do not serve any purpose other than Wow! at this
moment in time. Just as in the older time-based media, designers seem
to concentrate too hard on what Flash can do, rather than what the new
medium allows a piece to say. Television has learnt the hard way,
particularly in the 80s, how new technology can be used in an
ill-conceived manner in matters of type and time (think 3D animated
chrome logos in channel idents across the United States). And so it is
with the Web industry, which, for the most part, is failing to grasp
the true potential of what its new technologies have to offer in terms
of pushing the boundries of sound design, while concentrating on me too
whiz-bang tricks. The only difference that I can see is that the flying
3D logos of the past are being replaced with animated, rotating,
spinning title sequences hardly thinking outside the box!
For
the most part, the work out there is in its infancy and is missing a
fundamental point. Throughout this article I ve been drawing parallels
between the Net and other time-based media. What we ve yet to see
designers contemplate is that there is an incredibly important
difference the Net is an interactive non-linear medium, and Flash gives
us a very exciting opportunity to bring interactivity to type. And no,
I don t mean simple rollovers!
But there are glimmers of
hope. Overall, one can say that film and television have learnt their
lessons over the decades, and so it is beginning with the Internet.
Small pieces of experimental work appearing out there give rise to
real, genuine hope. What I am referring to are the projects produced by
a few particularly clever individuals who are beginning to understand
the implications of their work and are making time-based, interactive
type an integral part of the design, rather than the ever-so-popular
eye-candy which, in reality, doesn t taste that sweet. A good example
of this ground-breaking work include John Maeda s interactive calendar
work for the Japanese cosmetics company Shiseido, a project which,
although completed in 1997, still has the capacity to shock with its
pure inventiveness. Another is the work of typogRaphic (particularly
its first incarnation, still available at
http:// www.typographic.com), which pushes what one expects of type on the Web as a method of communicating ideas over time.
So,
stay tuned, folks. There are signs of yet another revolution coming,
and this one is going to change your view of typography forever.
Broadband Internet and truly interactive digital television are now
very real, the former in The States, the latter across Europe. The Web
and Flash technology as we know it now is our last great chance to
learn to do things right before true digital convergence takes place.
And trust me, that day is closer than many people believe.