Semiotics of Kinetic Typography bridges what we’ve been working towards with nuggets of knowledge we’ve learned along the way. Pictorialization strongly connects with Spiekerman’s discussion of typeface. He made the point that a “Y” can mirror someone with their arms outstretched with joy. Although that’s not what “Y” repesents always, that similarity (and design idea) demonstrates how pictorialization can add greater meaning to information (words). Along that line, there is also a large connection between pictorialization and McCloud’s point on text and visuals working together. Individually, we have an idea of rope and what “Ahoy” means. However, when the two are combined, they form a fun look and convey more meaning than when they are separate.

In some ways, Informalization mirrors the vagueness achieved through simple comic characters. In the comics, the character is left less filled in than their surroundings so we can put ourselves in their shoes. With informalization, the words used are less complex so we can empathize with the host; we think of them as our personal friend. In both instances, reader or listener is given room to project their own feelings and sense of self into a situation. Emotivisation elaborates on this connection by enhancing feelings throughh visuals. To Spiekerman’s point, by changing the color and thickness of a typeface, we convey deeper meaning like joy or anger or hesitation. Dynamicization gets at what we hope to accomplish with our projects. By enhancing the movement, we strive to capture our reader’s attention. After we’ve drawn their notice, the movement will hhopefully add to our poem’s meaning.

By utilizing this “grammar,” we can utilize ideas about how movement currently connects with verbs in order to enhance our own animation. By using prior-made rules, but inserting our own movement, we’re able to capitalize on finding the middle ground with something that looks fresh.