Animography Animates Alphabets
The FontFeed occasionally covers animated typography in motion graphics, music videos, commercials, title sequences and so on. Yet this is something special. Instead of having static letters move on the screen, the letters themselves are animated in the alphabets offered by Animography. This type foundry offers animated typefaces to motion designers, video editors, basically anyone working with moving images. Provided in the form of easy-to-use, resolution-independent Adobe After Effects files, each glyph comes in a separate composition, with a controller-composition serving as a central point from which you can customize all the glyphs in one go. The effect is quite surprising and provides exciting new possibilities for typographic expression. Last week Animography launched its most ambitious project to date – Franchise Animated, a typeface animated by 110 different animators, one for each glyph.
Animography (short for “animated typography”) is the brainchild of Calango, a small multidisciplinary design studio in Amsterdam specialising in motion and graphic design. Most of the typefaces were designed and/or animated by Jeroen Krielaars himself who is completely self-taught in design and animation. As he describes it himself, he learned everything through the years simply by looking around and observing, and by experimenting a lot. Some projects originated by animating typefaces from other designers, like Razor by Jeffrey Schreiber, or by bringing people together like animator Oliver Dead with (again) type designer Jeffrey Schreiber, which resulted in Fat Frank Animated.
110 talented animators from all over the world collaborated to animate this compact sans serif design by Derek Weathersbee. Calango asked every animator to pick a glyph and animate it using no more than 4 colours, 25 frames and a 500 × 600 px canvas in Adobe After Effects. The animators had complete freedom to work their magic within those 25 frames. The result is a wide variety of styles and techniques, tied together by the colour palette and letter forms. As the file contains all the key frames, expressions and artwork from the artists, this project doubles up as a great learning source for motion students and professionals.
Below are Animography’s other offerings, each with their own distinct personality and animation.
The multi-coloured straight lines of Anodine’s minimalist square glyphs spring into action like rubber bands.
The friendly, big-boned Fat Frank references geometric sans serifs of the early 20th century.
The lines in the eighties-inspired geometric display sans Razor lend themselves perfectly to the simple yet effective animation.
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