Didot Typeface Animation

A frame from the video.
Final version.

The type itself

What are some core elements about the visual aspects of the type?

  1. More difficult to interpret when there are a lot of different fonts in one vide (also loses focus)
  2. Conflicts with history in viewer’s attention span

The history/context

Originally, I did not intend to discuss that much about history. However, Didot is one of those typefaces that has been floating around for so long that it’s bound to have interesting changes in medium and contextual usage. It’s amazing that Didot was a product of the French Revolution, and the typeface of fashion: I wanted to share this as it transitioned between ages of metal type and digital usage.

Writing the script

Version 1

Choosing music

Picking a song was one of the most difficult parts for me. Here is the Spotify playlist I used to pick songs:

Main process

Here, I’ll walk through some checkpoints in the process of creating this this animation. In this sketchbook spread, I planned for a rhythmic visual style that would reflect my repeating script.

October 7

This was an initial exploration of my storyboarding in my sketchbook. In the process of translating over this movement, I got to see how my vision mapped out to the dimension of time. In class, Vicki pointed out that while my slide about “Neoclassical principles” was weak on it’s own, it worked well in conjunction with the other slide in that style. I think this was for a couple reasons: the consistency brought on by the typesetting and the color gradient overlaid over imagery tied these two slide together. Additionally, she pointed out a high-key and low-key dynamic balance between these slides with dark-tone imagery behind them and the text with a white background– alluding to the high-contrast qualities of Didot.

October 10

This iteration was where I brought in the rest of my entire storyboard. At this point, I decided to continue further emphasizing the repeating patterns of the text. I had to adjust the script at this stage, as there was a long line that didn’t fit the consistency of all the others. Instead, I created a section about the creation of the serif with gradually simplified forms.

October 11

There were some significant changes in this project. I explored the usage of guiding blue lines that were successful in interplaying with the viewer’s gaze throughout the moving composition.



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