Typography in Motion: A Framework of Moving Type Use

GERHARD BACHFISCHER, TONI ROBERTSON, AGNIESZKA ZMIJEWSKAFacultv of Information Technology- --University ofTechnology, Sydney

AUSTRALIA(gerhard, toni, aga}@it.uts.edu.au, http://research.it.uts.edu.au/idwop/

Abstract: - Typography is increasingly undertaken with and mediated through Information Technologies. Oneof the most visible manifestations of this change is the expansion from the printed page to screen environmentsand devrcc displays, Moving type 1S an example of a new quahty of text made possible by the use ot newtechnologies. In this study we propose a framework that can help answer questions such as why type shouldmove at ail, what benefits moving type can offer, and how it can be best used to enhance the visual display oftext. The framework-categorises the uses of moving type, based on whether the movement of text enhancesreading, viewing or using of a text, or a combination of rhe above. The categories are illustrated with examplesof existing moving type works, which provided a basis for discussion of various challenges and issues specific'. 1 '.LV I;dl.:11 I.:dLl;gVI y.

Key-Words: - typography on screen, moving text, moving type usc. studies of usc

1 IntroductionToday's visual representations of texts are manifold.Typography - the task of choosing, combining andarranging typefaces, therebv structuring textualinformation to make it meaningful for audiences - ismainly concerned with the visual quality of text, andIts interplay with meanmg creation. It 1S thereforeimportant in two respects: 1. the legibility andreadability of a given text (literal meaning ofcontent) and 2. the expressiveness of form (meaningthrough connotation).

Typography is increasingly undertaken with and,. , 1 ,1. .1 T (" . _l.-",. 'T"'. , ... 1. _.'. -r-r.uieuuucu llll VUg11 l111VI11ldllVIl 1t:I.:IIlIVIVglt::>. 1111;

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displays. The motion in this case refers to bothtemporal and spatial ('h~nees Not much is knownabout this new quality of text, not present in printedtexts before: this emerging field has not yet heenstudied extensively to date. There has been a speciallack of empirical studies that would focus onimplications for 'readers' of this new textualdisplay method.

Without Typography, our modem communica-tions would be unthinkable. The New Typography,ennehed by dynamic movement, provides anopportunity to make our communications even moreeffective, expressive, and engaging than ever.

2 Previous Studies On Moving TypeMost of the existing studies on moving type lackdiscussion of issues and challenges concerning thisnew text Quality. Many works describe projects andprototypes with plenty of technical details: very fewof them provide any additional analysis, ordISCUSSlOn of underlymg the ones or imphcanons,especially for the audiences involved. Very few alsoinclude any empiricai research on movement andtype, except for reading experiments with scrollingIeXI, as described later in this section. Some of thefew theoretical and empirical studies are

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Cooper [I]. Five reasons are considered in theirprcpcsal: !..to convey information that itself ischanging, 2. to pace [he observer, 3. to save screen"r ~;<:nb" 'rp"l P"t"tp' L1 t" "",nl;nr "nn " tn opt•......• -" •....•.••...•. ./ .•. _ •...•..•..••.•.....••.•...•.•..••.• , •••.•.... _ .•.•.• t-" .•.•.• .l .•.•.•..•.- ~ ••.•.... 0""'''

attention. These may have provided enoughexplanatory power in 1Q7R, where the focus wac ontranslating printed typography into a screenenvironment: recently. new technologies andinteractive possibilities however dictate the need torevise these answers, hence the importance of ourstudy.

Bergfeld-Mills & Weldon [2] similarly focusedon typography on screen, and specifically onempirical studies about on-screen legibility andreadabthty. Among other possrbihties that acomputer screen offers, the above-mentionedauthors aiso discuss movement of text. They present

a thorough compilation of results of empiricalstudies dealing with moving type, their focushowever IS Imuted to vertical and one-line displayscrolling text, Rapid Serial Visual Presentation(RSVP), as well as segmented and controlled-ratetext. The studies summarised in their work all focuson reading experiments (measuring the number ofeye fixations, comprehension rates, etc.); expressiveor interactive typography are not considered in thisstudy. Our research on the other hand is concernedwith more than just reading, analysing theexperience of 'viewing' and 'using' type as well,which is explained in the next section.

The expansion from print to screen was also themain concern of Small's [3] Doctoral Thesis duringhis time at Massachusetts Institute of Technology.One chapter of his work is devoted to movement oftypographic objects. Specific techniques arcexplored to enhance the readability of moving typeforms in a 3-D environment; the aesthetic qualitiesof dynamic typography are of additional concern.

A book by Bellantoni & Woolman [4] provides anoverview of basic terminology and principles oftypography in motion, as well as showcasesstudents', educators', and designers' projects withshort descriptions of their own work. This projectfocuses on classification of moving text forms, andmethods to produce moving type. The questionsposed at the beginning of the book on whether thereis a need for type to move, and what the benefits ofmoving type for viewers and readers are, remainunanswered in Bellantoni & Woolman's [4] work.

The framework we present in this study is a steptowards a better understanding of these fundamentalquestions that have been asked since the emergenceof moving text on screen.

3 MethodologyOur moving type use framework was developed asfollows. The first step included an extensive reviewand analysis of existing examples of moving type.The examples were found through web- andliterature searches, typographic journals, relevantconference proceedings, as well as through the firstauthor's extensive experience working and teachingin the field of typography.

After the examples were collated, a codingprocess was performed independently by threepractitioners in the field of digital typography. Foreach example the coders were asked to indicatewhether the movement of the type enhances'reading', 'viewing' or 'using' of the text in theexample, either to a small (small square in Table I)or to a large extent (big square in Table 1), or not atall. Subsequently, the results of this analysis werecompared and minor differences discussed andresolved.

The framework's categories. 'reading', 'viewing'and 'using'. were informed by the conclusions ofour previous research l5. 6J. Reading involvesattending to a consecutive text. with the readerimmersed in its content. This 'reader' is scarcelyaware of the typographic form of the text, as long asit does not interfere with the immersive state ofreading. This form is used to improve both legibilityand Icaddbility, although it happens ifI thebackground, without the reader needing to be aware•...• .t'" ~+- '171-."' •..• +-1-. ....•. ' •.• ,...,,~...l.....•..••' ,..+-.."..-+-,.. .• r~.-..,•..•.• ,~_,.,.. no +r-o'v+ •.•..• ,...,.V.l ll. "I1"""U 1.11"" J ~aU"-'l .:)1.01 L.:) v I\", " 1115 a "\,,,"-1.., 1.11"'"

formal aspects of it overpower the content, takingcentre stage. The form starts interpreting andaffecting the textual content. The 'reader/viewer' notonly reads the text but also views the formal aspectsof it, attending a typographic performance. Finally,using a text happens when the 'reader' can activelycontrol it, being able to interact with the text anddecide how to read it. The 'reader/user' can be incontrol of both spatial and temporal movement.

The significance of our study is discussed inSection 4. The results of the categorisation ofmoving text uses arc presented in Section 5. Section6 discusses the various categories of moving textusc, exploring how each of them can enhancetextual displays. A number of examples illustratehow these benefits can be achieved in practice,showing how the experiences of readers/viewers/users can be enhanced by computer mediatedmoving text. This examples validate our frameworkand emphasize its applicability for practitionersworking with typographic designs. Conclusions andfurther research arc presented in Section 7.

4 Significance Of Our StudyThe technology to move text is readily available.and capabilities exist to move text in various formson screen. How to make the best usc of thesecapabilities is a different issue though, and it is thefocus of our study.

Many other qualities of text have beenextensively discussed in studies about printed text,but the same cannot be said about new qualities,such as type movement, that have only been madepossible by new technologies. It seems important todiscover how designers can best use the potential ofmoving text, and how these new capabilities canenhance textual displays. Designers of text shouldnot create moving text just because they can. Ourstudy is an attempt to better explain moving textusc. and how it can enhance visual presentations oftext on screens.

Further significance emerges from the fact thatthe systematic categorisation of type in motion inthis study aims to increase our understanding of thisnew area of digital typography. The framework notonly organises existing knowledge, but also

provides a structure for further investigations. Theimplications and challenges for moving type uses inindividual categories can be differentiated by takinginto account their separate purposes, contexts andpotentials. Very distinct issues and forces need to beconsidered when text movement is used to increasereading speed, for example, as opposed tomovement as expressive form to interpret content.

Furthermore the framework presenting thepossible benefits of the moving text use makes iteasier for designers to understand when and whythey could use movement as their method ofenhancing textual display. Additionally, we providerelevant examples illustrating all the discussedreasons to use moving text, which providesguidance on how these benefits can actually beachieved in practice.

5 Framework Towards UnderstandingPrinciples Behind Moving Type UseAs explained in the methodology section, we aimedto create a framework that would help to categorisemoving type uses based on how they affect reading,viewing and using of text. Table I on the followingpage exemplifies the framework with a number ofexisting cases of moving text. The criteria used toselect these particular cases of moving text were:moving type use, in a screen environment, and at afunctional level (prototype user tested or publiclyexhibited). Our analysis revealed five categories thatconstitute our framework: 1. moving text enhancingreading (readability), 2. moving text enhancingviewing (typographic form), 3. moving textenhancing both readability and form, 4. moving textenhancing both readability and using text(interactivity), and finally, 5. moving text enhancingboth form and interactivity.

6 Discussion of the FrameworkThis section further explains each categorycomprising the framework of moving type use. Thecases summarised in Table 1 are discussed in greaterdetail at the beginning of each section, followed bya relevant discussion.

6.1 ReadabilityCinema display boards provide timely and importantinformation to the patrons and passers-by alike. Oneof such installations is the Electronic Readerboardat the Greater Union Cineplex in Bondi Junction,Sydney. The multicoloured LED (Light EmittingDiode) board, comprised of 8 lines with 60 one-character LED elements each, provides flashingannouncements, scrolling text and an ever changingcontent. Because of the amount of information to be

displayed (variety of movie titles and show timesplus additional content, e.g. special promotions), thelimited display space becomes an important issue toovercome; temporal changing of the displayed textaims to provide an answer to this problem.

On a smaller scale, one or two-line LED MovingMessage Signs are used to display scrolling text, atext movement from right to left, sometimes referredto as 'Times Square Scrolling' [2]. The companyComputronics designed and manufactured a rangeof such custom Electronic Message Signs forMelbourne's Federation Square complex. Over165,000 individual LED modules have been used.Text presented in the 'Times Square Scrolling' canmove either in a smooth manner or in saccadicjumps. It allows an endless stream of text to bepresented in a very limited space.

In the examples above, moving type is usedsolely to improve the reading process. Such atreatment of text links back to what Beatrice Warde[7] describes in her essay 'The Crystal Goblet' as'transparent' or 'invisible typography'. In theinvisible typography, the formal aspects of atypeface and its treatment are used to improvereadability of a text, but without the reader beingaware of it. In this category of moving text, thekinetic type should ideally become such an invisiblecontainer for content. It should become what Wardedescribes as 'a non-intrusive servant', aimed toimprove effortless reading, not interruptive to thereader.

This presents a number of challenges in thisgroup of moving text uses. The 'non-intrusiveness'is particularly hard to achieve because formalaspects of typefaces used on LED message systemsare still not well developed. Furthermore, the speedis constant and does not take into account thecontent to be read, where some words may takelonger to understand than others.

Why do those projects aim to use moving type toimprove effortless reading? The moving text is seenas a way to address the problem of confined screenspace, or emphasise the actuality of content.According to Johnson [8] from Dynamic DigitalSignage, research suggests that motion in Point-of-Sale advertising displays results in greater retailerreceptivity (70% of retailers would choose motionover non-motion) and higher sales at regular storeprices (an 88% average gain above normal sales).The research provides the following reasons forretailers deciding to install motion signage:customers get up-to-date information about productsor services, the displays can be used to educateconsumers on products and entertain them whilethey shop, as well as advertise the latest specials;finally, they can make more efficient use of spacewithout producing clutter that turns customers away.Moving displays also get customers' attention, and

may engage them even more when they wait for anext piece of text to appear.

Another finding that is important in this categoryof moving type use is Bergfeld-Mills & Weldon's[2] claim that having a stationary image of the textfor a longer period of time at display appears to be

more important to readers than having the continuityof movement that occurs with smaller jumps.Presenting whole words in 'Times Square Scrolling'appears to facilitate performance more thancontinuous scrolling where words are slowlyrevealed and do not appear as a unit [2].

table 1. framework towards understanding reasons behind moving type use.

MOVING TYPE EXAMPLES reading viewing using

Electronic Readerboard (GU Cineplex. Sydney)Multi-coloured information board in cinemas, with IItlashing announcements, scrolling text and changingcontent

Moving Message Signs (Federation Square, Melbourne)Single and multi-line red and yellow LED modulesinstalled at Melbourne's Federation Square complex

Tide 'Shakespeare' (Cooper/imaginary Forces)Broadway Commercial at display on Times Square, New IIYork, using animated expressive Typography

Movie Title - 'Se7en' (Cooper/Imaginary Forces, 1996)Title sequence fmm David Fincher's psycho-thriller II'Se7en'

Active Text in 'It's Alive!' (Lewis. 1996)

iter Prototype that presents the reader with a text enhanced by IICl s the 'Active Text' component that allows to integrate~os 1 p animated text in chat-spaces, email, or web-sites

A Typographic Movie (University of Technology, 2(05)Design project that uses moving type to represent an II IIedited. version of a text about typography in an animatedform tor screen display

Speeder Reader (Back & Harrison/Xerox PARe. 2(02)Prototype that allows people to navigate a text space II IIusing the driving metaphor (e.z. steering wheel used fornavigation; accelerator pedal tOr display speed)

Virtual Shakespeare (Small, 1(96)Shakespeare's plays made available in an interactive fonn II •where the user is enabled to navigate a large body of textin a 3D screen environment without confined borders

Interactive Poetic Garden (Small & White. 1998)Art installation that uses a computer and a video projector • IIto create the illusion of text floating on the surface of thewater as it flows through an artificial garden

Letterspace (ClIO, 1998)A tool for manipulating type within a 3D screenenvironment using a gestural interface

6.2 Typographic FormThe groundwork for literally moving type was laidwhen cinema started to explore the possibility offlying titles and expressive, animated type. Thisincludes early works of Saul Bass - e.g. titlesequences for Alfred Hitchcock's 'Vertigo' (1958) or'Psycho' (1961) - that were however still designedusing traditional production methods for cinema, forinstance multiple exposure or cell animation [9].The shift to computational devices contributed tofurther expansion of expressive typography, andmoving type in particular. Kyle Cooper with hisvisually groundbreaking work for the intro-sequencein the film 'Se 7en ' (1995), not only made type movein unpredictable ways, anticipating the tension ofthis thriller, but he also created a trend amongstvisual designers to engage with the expressivepossibilities of type in motion. The letters in theintro-sequence of 'Se7en' play their own roles, or asCooper puts it, they are actors, taking oncharacteristics of their own [10].

The significance of expressive moving type wasbrought to public attention through the means ofpopular culture, primarily television and cinema,music videos and commercials. The use of movingtype fitted the broadcast media. In 'TideShakespeare " Cooper used moving type to getattention of busy New Yorkers. The electronicbillboard broadcasted an animated type commercialwith a Shakespearean theme. The type moves in awhirling fashion mimicking the motion of theinsides of a washing machine drum. Not without areason - the advertised product proves to be awashing detergent. The form and content of the typehint the Shakespearean writing style, although itdoes not communicate any meaningful information.

Moving type in this commercial serves not onlyto attract attention of busy passers-by in TimesSquare, but the movement also helps to convey itsmeaning because the animated type itself cannotperform this function well. According toWorthington [11], there could be one additionalreason behind the pacing employed in thiscommercial: by using moving type in broadcastmedia, "the story is read to us in a particularvoice" [11, p.39] - the reader attends to a visualnarrative, a story is told - all of which stresses therelation to oral history rather than writing [12].

In contrast to Beatrice Warde's [7] view ontextual form as invisible interface between readerand author, as discussed in the previous section, theabove examples mainly focus on a 'visible' aspect(form) of text. Where legibility was key to pleasethe reader of consecutive texts, the reader nowbecomes a viewer, viewing a text, engaging with itspositioning on the page, and the formal relationsconstituted within the text and expressed throughdiversity in typographic treatment (in this case,

movement). Form overpowers the content, and thereader/viewer not only notices the form but needs toattend to it. Reading for understanding becomes lessimportant or not important at all.

The movement of type as a new formal aspectadds another layer to the content of theadvertisements and movie titles described above,sometimes to a degree where the actual meaning ofthe words is erased by their typographic form -instead of conveying actors' names in the title-sequence of 'se'Zen', the type rather communicatessuspense, mood, and anticipation. The letters aremeant to be viewed, rather than read, and themovement greatly influences this viewing process.

6.3 Readability & Typographic Form'It's Alive!' [13] is a prototype that presents thereader with a text enhanced by the 'Active Text'component. It allows to integrate animated text in avariety of software applications, from chat-spaces,email, web-sites, fiction and poetry writing, to low-end film & video titling. 'It's Alive!' attempts toaddress the much wider audience created by on-linecommunication.

Active Text follows the tradition of the 1950'sand 1960's Concrete Poets, where the visualappearance of text is seen as influential in producingmeaning from a text. Active Text presents the readerwith the new visual appearance of text, in the formof glyphs. words or paragraphs in motion [13, 14]. Ittreats text as both character and image. Text is givendynamic behaviours' at various levels of granularity.These behaviours can include 'happy text' jumpingaround or 'sad text' moving at a slow pace back andforth.

A similar approach was driving a projectundertaken by the first author with undergraduatevisual design students at the Faculty of DesignArchitecture and Building at the University ofTechnology, Sydney. The students were asked todevelop an animation for one sentence each in anessay about typography. While illustratingtypographic principles, the students had to interpretthe given text and construct a typographic time-based narrative with the means of expressiveanimated type. All sentences were strung together toa 14-minute animated text called 'The TypographicMovie ', The speed of reading was very muchdictated by the designers' choice of how to presentthe text in the sequence. Based on the students'feedback after watching the movie, it seems thatthese time-based decisions are very significant inlong animations. When text is presented in asequential manner, leaving text too long on screenseems similarly significant in forming the reader'sunderstanding as is displaying the text for too short.The movement of type becomes the way to carry thereader from one thought to the next.

The students' solutions ranged from simple cuts andtime-based morphs of letters to complex animations.Besides the motion in the pieces being used to guidethe viewer through the reading process (where tofocus and when), movement was also used to grabthe viewers' attention. Furthermore, the moving typewas used to enhance the meaning of words or wordgroups (e.g. the word 'heavy' is set in extra-bold andmoves very slowly on screen).

The examples in this category of our frameworkuse moving type to enhance both reading andviewing processes. Moving type greatly influencesthe formal aspects of visual displays, but, as can beseen through both examples, it does so to improvethe readability aspect of a text. Here, moving typetakes up the role of the interpreter of content.Although still bridging the gap between reader andauthor, this time typography pre-digests contentaccording to beliefs and tastes of its individualdesigner, helping to understand the content in one,specified by the designer, way.

A new formal aspect, in case of 'It's Alive!' called'behaviour', is meant to help the reader understandthe content of, for instance, an e-mail message. Inthe typographic movie, movement of text addsanother interpretive layer that is meant to be'viewed', not just 'read'. The aim of this new formalaspect however is still to improve understanding.The movement of the text helps the content to beunderstood better. What is more, it also becomes theway to carry the reader from one thought to thenext.

These examples show how moving type can beused to affect the typographic form of text, which intum is meant to enhance understanding of it.

6.4 Readability and InteractivityIn the mid ]980's a technique called Rapid SerialVisual Presentation (RSVP) was introduced [15,16], which is very effective in presenting text inlimited spaces and small screens. Movement of textoccurs mainly along the time axis, leading toreading speed increases of a 3-4 fold [17]. Oneproblem with RSVP text however is how to navigatethe text. How can the reader find different sections,appropriate speed, or replay parts of the text at will?

These questions motivated the development of aXerox PARC prototype, Speeder Reader, based onRSVP. It allows people to navigate a text spaceusing the driving wheel metaphor [17]. The steeringwheel acts as navigational tool to switch from onelane - one stream of text - to the next. An acceleratorpedal controls display speed; subchapter navigationis mapped onto the gear stick. The user is in controlof both spatial and temporal movement [17].

In Virtual Shakespeare, Small's [3] aim was toenable the user to navigate a large body of text - inthis case the works of William Shakespeare. Each

character in the play 'A Midsummer Night's Dream',for example, is marked in a different colour.Different typefaces distinguish stage directions,names, dialogues, and commentaries. Each of thefive acts of the play are arranged from left to right;additionally, the various Shakespeare plays arestacked one above the other.

To navigate the described typographic landscape,a virtual camera is moved through the three-dimensional (3D) space. Therefore the user canexplore the information by using the text's overallshape and colour as cues for orientation.

The examples presented in this section addinteractivity through a movement of text. The sheeramount of text in Virtual Shakespeare seems toemphasise interaction with users, and diminish theexpressive possibilities implied. In both projects, thereader becomes a user who can navigate the text asthey wish. The users are given power to findrequired sections, replay parts, etc.

As Speeder Reader illustrates, this interactivitycan often be achieved through the use of familiarmetaphors. The power and ease of the familiardriving metaphor as a navigation device is asignificant part of this project. Similarly, in VirtualShakespeare, the typographic landscape hints ametaphor of a terrain with physical features thathelp with orientation and navigation.

In both of these works however, moving type isused not only to enhance interacrivity, but also toimprove reading as such. Speeder Reader aims toincrease reading speeds, and Virtual Shakespeareimproves accessibility of huge amounts of text.

6.5 Typographic Form and InteractivityIn the 'Stream of Consciousness' project by Small,later developed into an art installation called'Interactive Poetic Garden' []8], the interactioncomponent of typographic treatment becomes evenmore apparent.

The computer is used to drive a video projector,creating the illusion of text floating on the surfaceof the water as it flows through the garden. [Theuser] can control the [lo I\" of words, blocking orstirring them up, causing them to grow and divideinto new words that are eventually pulled into thedrain. [3, pp.74-751

The words are meant to mImIC the physicalbehaviour of objects floating in a real fountain. Asthe pool circulates, old words are removed, so thatover time the words in the water are the words thathave been chosen as interesting. The reader, thanksto the movement capabilities of text, can thereforenot only control the form of the 'layout', but alsothe content of the read text.

Small describes the responses of audiences as warmand enthusiastic, emphasising the experientialdimension of his installation:

Some people lvere content to passively watch thewords, others would repeatedly damn up the wordsinto chumps and then release them, and otherswould attack the words so that they divided out ofcontrol and filled the water with hundreds ofwords. ts. p.77!

Another example of the interactive possibility ofmoving text is displayed in Cho's gestural interfacein 'Letterspace " a tool for manipulating type withina three dimensional screen environment [19]. InLetterspace, the user can morph individual lettersinto different ones or move letters in a threedimensional space, rotate them around or makethem disappear into the background. That isachieved by the user holding a 3D magnetic fieldsensor in each hand, where each sensor represents aletter on the screen. Cho [19] describes the user'sreaction to Letterspace as follows:

Users ofthis piece become engaged for a numberof reasons: often they see a connection betweenthe physical actions and the visual response, butnot an immediate correlation, so thev becomeengaged in "figuring it out" .. along more basiclines, they are also engaged physically - the)' haveto stand and flail their arms about. f 19, p.46!

The examples above emphasise the use of movingtype to enhance typographic form (viewing), andinteractivity (using) of text. What takes centre stageis the expressive formal aspect of type, and theactive interplay with the user. The importance ofactual reading for understanding is diminished. Inthe Interactive Garden the words and their actualmeaning are less important to the user who isimmersed in the interactivity of the piece. A contentemerges only as a by-product of this interplay,created by the floating words that are left in thewater and generate meaning by their presence.

The users' open ended interaction with the text inan unusual form goes far beyond the passivereception of expressive typographic performance. Iftext in expressive typography is interpreted by thedesigner through the form they use, text in aninteractive environment is interpreted by audiencesin new, non-content related ways within a set ofpossibilities constructed by the designer [3].

While in the Interactive Garden reading forunderstanding is not important but still present, thegestural interface in Letterspace and the interactionwith type overpowers the content component of thetext completely. Letter transitions (viewing) and thephysical act of transforming them (using) immersethe user.

The interactivity of the works grouped in thiscategory of our framework does not seem to beutilitarian. While in the previous section user actionswere meant to improve accessibility and navigationof read text, in the examples above the interactivityis used a) to engage the user, immerse them, andemphasise the playfulness of moving type in screenmedia, and b) to empower the user so theythemselves can become 'creators' of either content(Interactive Garden) or form (Interactive Garden &Letterspace) .

7 Conclusions and Further ResearchThis study explored a new quality of text offered bythe use of technologies and on-screen displays - typein motion. The significance of it is a contribution tothe knowledge-base of an area where research isvery sparse. The paper aimed to explore why typeshould move at all, what benefits it can offer. andhow it can be best used to enhance the visual displayof text. A framework to categorise moving type useswas developed, based on whether the movement oftext enhances reading, viewing, or using of a text.This is an attempt to better explain moving text use,and, through the systematic categorisation of type inmotion, to increase our understanding of this newemerging quality of digital typography.

Our analysis revealed five categories thatconstitute the framework: 1. moving text enhancingreading (readability), 2. moving text enhancinz

. . bviewing (typographic form), 3. moving textenhancing both readability and form, 4. moving textenhancing both readability and using text(interactivity), and finally, 5. moving text enhancingboth form and interactivity.

The various categories were illustrated withexamples of existing moving type works, whichprovided a basis for discussion of various challengesand issues specific to each category. Differentpurposes, contexts and potentials were explored.

In the first category (moving type enhancingreadability), the main reason to use moving textseems to be to save 'screen estate' and enable a textto be viewed in confined display spaces. Non-intrusiveness of the moving type seems the biggestchallenge. In the category of type in motionenhancing mainly expressive form, the rationaleseems to be mainly to attract the user's attention, toset the mood, or to create a new meaning with theformal aspects of a text. The third category includesworks where moving type is used to affecttypographic form, but mainly with an aim ofimproving the reading process: guide the readerthrough the process (pacing), help the reader tounderstand the content in one, specified by thedesigner, way, etc. In the next category, improvingthe reading process is an aim again, this time though

through enhancing interactivity of the work. Movingtype is used to increase reading speeds or toimprove accessibility of a text - mainly thenav igation and orientation aspects. The finalcategory groups projects where type in motion isused to enhance expressix e f0I111 and interactivity.Engaging and immersing the user in an actix ityconcerned with typographic form seems the mainreason to use moving type here.

Hopefully. the proposed framework will helpdesigners to understand when. why and how theycould use movement as their method of enhancingtextual display. Our further research will try todeepen this understanding of textual movementthrough empirical studies on the experience of typehom a reader. a viewer and a user's perspective.

Retercnces:[I] 197X, Negroponte N .. Bold R. & Cooper M ..

'Books without Pages'. Proposal from theArchitecture Machine Group. MIT to the Officeof Information. Science and Technology. NSF,in 1999, Small D. L Rethinking the Book.PhD Thesis Program in Media Arts andSciences. Mas sac husctts Institute ofTechnology. Cambridge.Mx

[2] 19S8. Bergfeld-Mills C. & Weldon L.L'Reading Text from Computer Screens'. ACMComputing Surveys 19(4), pp.329-35S

[3] 1999. Small D. L 'Rethinking the Book'. PhDThesis Program in Media Arts and Sciences.Massachusetts Institute of Technology.Cambridge/Mzv

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WSEAS TRANSACTIONSon INFORMATION SCIENCE &

ADDI I(,ATln~l~r"" • • ••• '" r"" • • "'" • ~ '"

Issue 10, Volume 3, October 2006ICC'"~ •••7nQ~nQ':t" h++",,·IIUI\AI\AI \AlC!:~~C!: " ••r«• ...,....... I • ..,..., ...,....,.""".. • •••• ,.., •••••••••••••••• - •••. ..., • ....,., ~

DARBAC: Dynamically Administering Rote Based Access Control 1n 1Andreas Matias. Joannis Mavridis, Christos llioudis. Joannis Pagkalos

Solving Resource-Constrained Project Scheduling Problem as a sequence of MUlti-Knapsack Problems 17X)Milos Seda

Video Surveillance Technotogy for Intelligent Transportation System 17')2Dong-Liang Lee

Extended Petri Net Model for Cooperative Video Surveillance System 17'JXLawrence Y. Deng

An Efficient Group Signature Based on PSS-R lX04Wei-Bin Lee. hung-Her Chen . Jung-Wen Lo, Chen-Yi Chang

Typography in Motion: A Framework of Moving Type Use IX III

Gerhard Bachfischer. Toni Robertson. Agnieszka Zmijewska

Equivalence and Containment of XQueIJ' Full-Text Expressions lXlXGiacomo Buratti. Dani 10 Montesi

Japanese Dependency Analysis based on Machine Learning lX2bZhou Huiwei. Yang Delai. Huang Degen

Maximum Matching and Second-maximum Matching based Chinese Integrative Lexical Analysis IX33Xiao Sun. Degen Huang

Transmission Network Expansion Planning based on Schema Recording Parallel Ant Colon)' Algorithm 1X4()Zhai Hai-Bao. Cheng Hao-Zhong

Formative Assessment using Norm-Referenced Fuzzy Evaluations lX46Eng- Thiam Yeah. Peter IVoods

Rendering Strategies for Displaying MPEG-4 3D Graphics Objects IX51Sasko Celakovski, Martus Preda, Slobodan Kalajdziski, Danco Davcev. Francoise Preteux

Conducting Term Alignment of a Dataset without Data Provider Identification lX5'JTetsuva Yoshida

On the Stack Encoding and Twig Joins IX65Yangjun Chen

Multi-Objective Pareto Optimization of Axial Compressors Using Genetic Algorithms 1873V. Amanifard. X. Sariman-Zadeh, A. Jamali. ,\1. H. Farahani. R. Farzane-Kari

The V4DB Project - Support Platform for Testing the Algorithms used in Real-Time Databases 187YVaclav Krol. Jan Pokorny, Jindrich Cernohorsky

Learning Possibilistic Causal Model from Data with Transformation from Probability into Possibility 1885Koichi Yamada

Information Edapbotogy: A framework for embodying "Nature" in our Cybersociety I~Y3Osamu Katai. Tomoko Ohm. Takavuki Shiose. Hiroshi Kawakami

Component-Based and Aspect-Oriented Architectural Model of a Diagnostic Expert System 1YO1Maria Eugenia Cabello. Cristobal Costa. Isidro Ramos. Jose A. Carsi

A Look at Generation of User Interface Behavior using Automatic Programming lYOYMorgan Jakobsen. Roland Olsson

A Multilevel Architecture for Modularization and Reusability of Software Process Simulation Models II)16Xlercedes Ruiz. Isabel Ramos .. Miguel Toro

Justifying Advanced Manufacturing Systems using a Fuzzy Linear Programming Model 1')23Ching-Shih Tsou. Chin-Hsiung Hsu. Hsu-Hwa Chang

Adaptive IT Governance Framework: Integration and Harmonization of Structure, IT Decision and The 1Y31Control MechanismSuhono Ilarso Supangkat. Basuki Rahlltall

On Multilevel 3-Dimcnsional Placcmcnt and RoutjH~ 1').+0James Haralambides

A DCT-based Approach for Dynamic 3D Mesh Compression 11)47Khaled Mamou. Titus Zaharia. Francoise Preteux

A Study on ISMS Foundation Courses for Auditors 1Y55Kwo-Jean Farn, Shu-Kuo Lin. Chi-Chun Lo

Evaluating of Distributed Database on PC Cluster Computers 1%3Sorapak Pukdesree. Anon Sukstrienwong. Vitalwonhyo Lacharoi

Software System Design for Volumetric Probing of the Airway Wall in MDCT 1%1)

A. Saragaglia. C. Fetita. F. Preteux

New Geometric Concepts in Mathematical and Computational Morpholog)' 1Y76A. Aggarwal, 1'. Bakopoulos. T Raptis. 1'. Doxaras. t: Kotsialos. S. Kouremenos

Cooperative Information Retrieval enhanced by Formal Concept Analysis 1Y85Ibtissem Nafkha, Ali Jaoua

Building a Wafer Fab Lot Scheduling Knowledge-Based System 1YY4Liang-Chung Huang, Shian-Shvong Tseng. Yian-Shu Chu

Adaptive Neural Network Control of an Underwater Remotely Operated Vehicle (ROV) 2002A. Bagheri, V. Amanifard. T. Karimi, M. H. Farahani. S'.J1. Besarati

Constructing and Exploiting Hypercubes in order to Obtain Aggregated Values 200~Mirela-Catrinel Voicu, Gabriela Mircea

Characteristics Selecting Model in Automatic Text Categorization of Chinese Finaneial Industrtat News 2016Huev-Ming Lee, Pin-Jen Chen

Image Processing System used for Recognition of the Type of Vehicle and the Road Obstacles in Visible and 2021Infrared LightKrzvsztof.t. Cvran

Create Ead) Success: A GmuJling System Used to Fonn Teams Full of Thinking Styles for Highl) Debating 202~Dai- Yi Trang, Yen-Chun Liu, Chuen- Tsai Sun

An Efficient Feature Selection Method for Classification Data Mining 203.+Weijun Wu, Qigang Gao, Muhong Wang

Ant Colon)' Optimization (ACO) Meta-Heuristic Sohing the Vehicle Scheduling Problem (VSP) 20.+1Aristidis Vlachos, Aspasia Moue

Image Sharing over Satellite Communications Using Embedded Secret Code 20.+7Vilasinee Srisarkun. Chanintorn Jittawirivanukoon

Modelling Teens Clothing Fashion Preferences Using Machine Learning 205.+Peter Kokol. Mateja T'erlic. Miljenko Krizmaric

Image Searching based on Principal Components Analysis and Invariant Moments 2066Aviles-Cruz Carlos, Garcia Amava Antonio. Arechiga Martinez Rene