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Yin Yin Wong
Visible Language Workshop, Media Laboratory
Massachusetts Institute of Technology
20 Ames St, Cambridge, MA 02139
yinyin@media.mit.edu
Abstract
This paper proposes "temporal typography" as an area of study which
incorporates the dynamic visual treatment of text as an extension of written language.
Design examples presented in the video show the expressive power of time-varying
typographic form to convey emotion and tones of voice. Several expressive examples are
called out in this paper and discussed. As a part of our ongoing research, we have
developed a scheme which allows for the description of typographic expressions that
change dynamically over time. The examples were constructed using a software tool,
exPress, along with a scripting language based on the scheme.
Keywords
Typography, Temporal, Dynamic Text Presentation, Graphic Design
Introduction
When we talk to one another, the affective aspect and tone of our voice adds an expressive
quality to the words spoken. We may choose to emphasize a point by raising the pitch of
our voice or stretch out the enunciation of a word. It is even possible to negate the meaning
of a phrase with the tone of the delivery. For example, depending on how the phrase "I
said I am sorry" is spoken, sincerity or sarcasm can be conveyed.
Typography is the visual treatment of written language to enrich visual communication [3]. Similar to the expressivity of spoken words, a range of emotional qualities and tones of voice can be conveyed through treatment of the typographic form, such as typeface, weight and color. Examples of this can be seen in cartoons as well as publication design. However, the treatment has been limited to a fixed presentation medium such as a printed page. Once a specific form is applied, it remains fixed. The fixed presentation cannot capture affective aspects conveyed through temporal delivery, for example, a vocal inflection or a change in meter of the spoken word. Whereas the printed medium constrains typographic investigation to fixed presentation, electronic media extends the expressive possibilities by enabling typographic forms to change dynamically in size, color and position according to a writer's expression or a reader's interaction in real time.
Current electronic communication systems such as electronic mail remain typographically constrained. In general, only one kind of typeface at a fixed size is supported. This constraint limits the expressive capabilities of typographic communication. Users get around this constraint by developing various methods to convey expression, such as extending the spelling of a word or inventing symbols. Studies have shown the development of symbols, such as "smileys", at the end of text messages are used to qualify the tone of voice of content (i.e., friendly, sarcastic, hostile). Our research proposes an alternative approach, one that extends the tradition of typography by treating text dynamically as it is presented over time. For example, the sequence in Figure 1 shows the word "thing" stretched and distorted based on a spring simulation. The physically-based motion qualifies the word with a humorous twang. By manipulating the text itself it is hoped a larger range of expressivity can be achieved.
Figure 1. An example of dynamic typographic manipulation.
TV advertising graphics have been exploring the use of dynamic text to enrich visual communication. Typical application of this form of communication has been limited because it involved a case by case design intensive process. The research here differs from TV applications with two respects. First, the broad introduction of electronic media has enabled us to consider typography in non-static terms in our day-to-day settings. We have developed a scheme which provides users with a set of concepts and terminology for describing the behavior of dynamic forms [6]. A descriptive scheme allows dynamic forms to be described systematically and represented in computational form. Forms are described for a general purpose, rather than for a particular piece of text. In other words, these forms can be labeled, stored and reused. Second, the research takes into consideration the two way interaction between a writer and a reader. We want to support a writer's expressive temporal message as well as a reader's control over the pacing through the message. An example is the "sorry" message in the video.
Implementation
To facilitate our investigation on temporal typography, a software tool, exPress, has been
implemented along with a scripting language based on the scheme. The tool allows us to
easily manipulate typographic attributes such as size, weight, position, transparency, and
color. Users can interactively control the speed as well as their pace through the
presentations. Physically-based motion techniques, such as spring simulation [4] are
implemented as part of this tool. The software is implemented using C++ on a Silicon
Graphics' Onyx with Reality Engine graphics. The design examples shown in the video
were constructed using this tool.
Design experiments
The video shows preliminary design examples that explore dynamic presentation of text,
including expressive email, visualization of dialogue, and typographic tone of voice. These
examples are part of our ongoing research effort that investigates the potential for
expressive writing as well as for developing new methods of reading.
We are exploring a range of ways dynamic text can convey typographic expression by making concrete design examples. The discussion here is limited to three such examples.
1. Dynamic form can embellish the meaning of a word and give the reading of the word an inflection. For example, the sentence "Can you do me a favor" is presented serially one word after another. When favor is presented, the form grows in size quickly until it covers the screen. You read "favor" yet "big" is implied by the changing form. Because the form grows over time, the tone starts out tentative and then rises.
2. The rhythm of a presentation can effect the tone of voice conveyed. The second message on the video expresses two tones of voice through contrasting rhythms. While the first part of the message expresses a sluggish apologetic tone, the following part expresses a confident recovery. The overall speed of movement in the first part of the presentation is slow. For examples, the words "glug! glug! glug" are dropped in sequence from the top of the screen. As each word falls on the ground plane, they bounce slowly and seem to lose energy (Figure 2). The overall tone is sluggish and apologetic. In contrast, the movements are concise and quick in the second part of the message. The words "we are back on track" are presented quickly in succession and fly out toward the screen seemingly past the reader (Figure 3). The faster speed of the rhythm communicates a confident disposition.
Figure 2. An example in which the slow rhythm of movement conveys an
overall sluggish tone of voice.
Figure 3. An example in which the quick rhythm of words flying toward
the user expresses a confident tone.
3. Motion which references physical action can elaborate an expression. The previous example references a technique conventionalized in film to depict the perceptual feel of riding on a train track. In another example, the word "overwhelmed" is flipped as it is presented. The action references the metaphor of being "upside-down" or "on your back". These references qualify just how overwhelmed the writer felt.
As for reading methods, we are exploring the use of previously established dynamic presentation methods such as Rapid Serial Visual Presentation (RSVP) in which one or more words are presented in the same location serially [2]. Experimental results on RSVP have shown it to be a promising method of reading. Time Square [1], or scrolling, is another method used widely in computer interfaces to move through text. A new presentation method we are exploring places text one after another in the z-dimension as shown in Figure 4. We refer to this method as Landscape. Three dimensional perspective is used and the reader controls the viewpoint. The default viewing position is slightly above the plane of text. For reading, a user presses a mouse button to fly past the message-as if flying over a highway of text. Movement is confined to one degree, forward and backward. The user controls the speed in which she moves over the text. Since a user can move and stop as she chooses, she is able to determine her own pace through the message.
Figure 4. An example of reading using the Landscape method.
Conclusion and future work
This paper presents our approach to enriching the expressivity of written communication on
electronic media. We described specific design experiments on conveying tone of voice
through dynamic treatment of text as well as presentation methods we are exploring. Future
work includes refining our scheme as well as developing an understanding of typographic
tone conveyed through dynamic presentation. We have begun to explore a WYSIWIG
interface to the tool for constructing dynamic typographic forms.
Acknowledgement
This research is being conducted at the Visible Language Workshop, Media Laboratory,
MIT. I thank members of the VLW for their help. Special thanks to Suguru Ishizaki for
insights and discussion on this research. This work was sponsored in part by ARPA,
NYNEX, Alenia, and JNIDS.
References
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Information Technology: pp. 33-42, Vol 8 # 1, 1989.
[2] Potter, M. Rapid Serial Visual Presentation (RSVP): a Method for Studying
Language Processing, New Methods in Reading Comprehension Research: pp.91-118.
1984.
[3] Spencer, H. The Liberated Page. London: Lund Humphries. 1987.
[4] Small, D. Expressive typography: high quality dynamic and responsive typography
in the electronic environment. MS Thesis, MIT. 1987.
[5] Small, D., Ishizaki, S. Typographic Space, CHI `94 Conference Companion: pp.
437-438, 1994.
[6] Wong, Y.Y. Temporal typography: characterization of time-varying typographic
form. MS Thesis, MIT. 1995.