Ante Magazine / Nobel Symphony / Urban Outfitters / Kirk Hiatt / Sound & Typography /
The Minneapolis College of Art & Design / Connecting the Dots / Hexabasic / Levon /
Minnesota Museum of American Art / Swiss Design / Silent Movie / The Crier Magazine /
Phaidon Series / Umbrellas of Cherbourg / Philadelphia Institute of Contemporary Art /

This work seeks to find analogies between the linear formats found in both typography and music to set a new standard for
perceiving and understanding kinetic and static typography as well as graphic design in general within the field of motion

On a broader scope, this project is intended to challenge contemporary aesthetics within the motion graphics design
community, specifically broadcast graphic design. In order to further the discourse of the discipline, I have tried to
find a balance between aesthetic beauty and human emotion in an attempt to shift away from what I perceive as the
cold, flat nature found within the vernacular of contemporary motion graphics.

The song, comprised of six individual drum samples, a melody and a bass-line are used as signifying devices for sound
(breath and pitch), melody (notation), as well as the linear nature of both music and language, spoken and written.
Images referencing contemporary audio imagery are presented to draw important connections between the world of
sampled, or digital music and the world of typography. Included are references to grids, baselines, and x-heights.
I have also added a film loop of a book being turned in the background which, much like the bass-line in a musical
composition, holds the drum (bottom) and melody (top) areas of the screen together. The footage used for the back-
ground works in time with the baseline to strengthen the ties between linear aspects of both music and typography.