Kinetic Typography. 2

Kinetic Typography, Motion Graphics, Research, Task

As this is my first time using AfterEffects, as well as practising under supervision in workshops, I have watched online tutorials on how to create kinetic typography in this Adobe software. The tutorial I found to be most helpful was After Effects Tutorial – Basic Typography & Motion Graphics by the YouTube user, thevfxbro (2013). He went through the process of animating the text to fit with the audio, to then making the clip look professional through the addition of masks and shadows. In addition, he talked through AfterEffects shortcuts to help make the process quicker and easier. I hope to use these skills when creating my own motion graphics piece.

Furthermore, for inspiration I’ve looked through the Kinetic Typography vimeo channel, considering the different ways people have animated their typography and the various audio used. I found Robin Celebi’s Cave Johnson Lemon Rant, Kinetic Typography (2012) to be my favourite. His emphasise of certain words through animation helped to convey the emotion from the audio, this being something I hope to achieve in my work.


thevfxbro. (2013). After Effects Tutorial – Basic Typography & Motion Graphics. Youtube.

Celebi, R. (2012). Cave Johnson Lemon Rant. Kinetic Typography Vimeo.


Temporal Expressions. 2

Photography, Research, Task

Head of a Woman, Picasso (1960)

In this task we were told to reflect on ‘space and time’ expression within Art History with focus on Cubism. Cubism was created by Pablo Picasso and Georges Braque in Paris between 1907 and 1914. Rewald (2004) states that ‘Cubist painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modelling, and foreshortening. They wanted instead to emphasize the two-dimensionality of the canvas. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space.’ Picasso’s ‘Head of a Woman’ (1960) illustrates this perfectly. This oil on canvas painting presents simultaneous viewpoints in a much more flattened version of his earlier cubism attempts.

This links well with David Hockney and his Photo Collages. In the early 1980s he started to produce ‘joiners’ which involved taking photographs from different perspectives and at various times, this reflecting his interest in Cubism. (Red Ted Art, 2012) One of my personal favourite joiners being ‘My Mother’ (1982).


My Mother, Hockney (1982)

The theme for this task is ‘cycle’. In my various pieces I aim to explore a different connotation. I’ve decided to create a joiner image using cubist approaches, taking inspiration from both Picasso and Hockney and their effective use of portraits. I hope to explore the emotional cycle by taking close up shots of various facial features to then put them together and create a coherent portrait. Furthermore, I will create a short exposure sequence, which will reflect the theme through physical movement and images that exploit long exposure through light paintings. This being done by cars driving past at night. Furthermore, I aim to do further research on the creation of cinemagraphs by looking at online tutorials, so that I can create my own images based on the ‘cycle’ theme. I hope to take my newly gained photography skills from the last task to further improve them as well as, creating pieces which I am pleased with that reflect the theme well.


Rewald, Sabine. “Cubism”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2004)

“Pablo Picasso: Head of a Woman” (1990.192) In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (March 2010)

Alphabet Collage. 2

Photography, Research, Task

For this first task, I’ve decided to focus on seeking abstract shapes, which resemble letters of the alphabet in nature.


Composition VI. Wassily Kandinsky. 1913

‘Abstract art, the pretended autonomy and absoluteness of the aesthetic emerged in a concrete form’ (Schapiro, 1937). To gain more knowledge on this art form, I choose to research the Bauhaus movement and Moholy Nagy, a painter/ photographer and known Bauhaus professor. Griffith Winton (2007) discusses in an online article that Walter Gropius founded the Bauhaus in 1919 in the city of Weimar, with its ‘core objective being a radical concept: to reimagine the material world to reflect the unity of all arts.’ Artists such as Moholy Nagy and Kandinsky, two of the schools renowned faculty members, both believed in the reproduction of old formulas and experimenting with vision. Haase (2005) discusses how Kandinsky used metaphoric concepts consisting of the metaphoric concept of ́spirituality ́, ́geometry ́ and ́emotionality ́. He then goes on to say, Kandinsky wrote that the artists had an ‘inner necessity’ to express the ‘inner essence of things’. He believed colour evoked emotion and that along with other formal elements like lines, shapes and forms, colour is a language that communicates to all. One of his paintings which portrays this perfectly being ‘Composition VI. 1913 ‘.


Photogram 1926. László Moholy–Nagy

When looking for naturally occurring letters and deciding how to contextualise it, I should consider its form and colour to understand the emotion being communicated. As well as experimenting with light and colour, I need to look closely at form. Something Moholy Nagy has shown through his Photograms. For example, Photogram (1926) explores the brightness of the objects silhouette. It has however successfully created an abstract and polysemic piece. In fact here he is only using something as simple as his hands and a paint brush.

For this task my aim is to look closely at the outside world, not only focusing on the small and close up details but the forms as a unity. I hope to take inspiration from Moholy Nagy when opening my mind to encourage various perceptions.


Schapiro, M. (1937). Nature of abstract art. American Marxist Association.

Griffith Winton, Alexandra.(2007). “The Bauhaus, 1919–1933”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–

Haase, F. A. (2005). ‘My colorful lexicon’: Synesthesia and the production of metaphors or’Is reading synesthetic’. A Parte Rei: revista de filosofía, 39.