The author argues that the main innovation drivers to introduce kinetic typography are the concepts of pictorialization, informalization, emotivization, and dynamicization. These concepts relate to other ideas we have explored through the multisensory experiences to provide meaning. Specifically, what we have discussed in our comic readings and typeface design—writing boom in comics, instead of drawing an explosion. The writing becomes the picture, embodied with the scene’s dynamics, emotions, information, and context. In this case, as the author puts it for informationalizaton, “make the text rather than the speaker say it!”

The author explains that language has resources for expressing accurate or inaccurate statements. The same is for pictures, they show a representation of real things that look unreal, and the opposite is true. The grammar of kinetic design might open up new venues for creativity. We can see and read the meaning of things through language. We rely on the grammar of things connected together into meaningful wholes. Images are like grammar. They can construct, persuade and send messages. In a related article by the same author, he claims that the grammar of visual design is no longer inverted by artists but by software designers. He explains by giving an example of Computer-generated images representing what their creation has made available. So any kind of new imagery is dependent on that.

image of psycho film poster The split in the text represents the split in the personality of the character.