Ability to animate persian typography in comparison with english typography
| Autor | Sudabeh Malek - Razieh Mokhtari Dehkordi |
| Cargo | Master of Textile and Fashion Design - Assistant Professor, Department of Graphic, Faculty of Arts and Humanities Farsan, Shahrekord University, Shahrekord, Iran |
| Páginas | 218-233 |
Periódico do Núcleo de Estudos e Pesquisas sobre Gênero e Direito
Centro de Ciências Jurídicas - Universidade Federal da Paraíba
V. 9 - Nº 02 - Ano 2020
ISSN | 2179-7137 | http://periodicos.ufpb.br/ojs2/index.php/ged/index
218
ABILITY TO ANIMATE PERSIAN TYPOGRAPHY IN
COMPARISON WITH ENGLISH TYPOGRAPHY
Sudabeh Malek1
Razieh Mokhtari Dehkordi2
Abstract: Text is the main component of
the animated typography. Moving
typography works primarily focus on the
visual aspects of the work, but the visual
aspect of the text also allows the rules of
the text to form which ultimately
influence the transmission of the concept
of the verbal dimension. The foundations
of the visual arts in animated
typography, as in other arts, exist in the
sense that if the text were to make a
structural change, it would undermine its
visual dimensions. Understanding the
features and dimensions of Persian text
in accordance with English text for the
purpose of forming animated typography
is one of the essentials for acquainting
with the visual and visual principles of
Persian animated typography.
Understanding these rules is effective in
creating powerful and dynamic
compositions and prevents text
alienation in the animation, text was not
1 Master of Textile and Fashion Design. Email: Sudabe.malek96@yahoo.com.
2 Assistant Professor, Department of Graphic, Faculty of Arts and Humanities Farsan, Shahrekord
University, Shahrekord, Iran.Email: Mokhtari_razieh@yahoo.com.
intrinsically animated, the next move
being added to the text. Accordingly, it is
necessary to know the principles and
principles of animation. The general
question of this research is whether from
the visual arts perspective, the visual
aspect of Persian writing has a place for
use in the design of animated
typography. If so, what are the
differences and commonalities of
Persian and English animated
typography? This research is a
comparative study based on the
principles and principles of typography
and deals with the similar function of
animating English typography. The
purpose of this study is to identify the
diversity of Persian typography
structures for animating and to compare
their visual function with English
animated typography in order to
emphasize the existence of completely
different possibilities in the creation of
Periódico do Núcleo de Estudos e Pesquisas sobre Gênero e Direito
Centro de Ciências Jurídicas - Universidade Federal da Paraíba
V. 9 - Nº 02 - Ano 2020
ISSN | 2179-7137 | http://periodicos.ufpb.br/ojs2/index.php/ged/index
219
compositions in these two types of
writing for animation. It is expected that
the study of Persian and English
typography and their function in
animated layout conclude that attention
should be given to the effect of how text
is used, the types of face types and their
function in the structure of Persian
animated typography, as in English
animated typography. Also, it affects the
power of conveying meaning and sense
to the recipient. Overall, the works
typified by Persian typography appear to
be more structurally diverse than English
letters, enabling them to be more
dynamic, resulting in a greater variety of
sensations in composition and
animation.
Keywords: Animation, Persian
Typography, English Typography,
Motion Graphic
Introduction
When written in a work, both
Persian and English text immediately
carry both visual and verbal aspects
simultaneously. The alienation of the
common components between the text
and the morphology of the letters causes
them to not interact and form a
mismatched morphology. In the basics of
the visual arts the line is different
visually and emotionally. The text has
different meanings and uses in terms of
the types of lines available in different
structures and by changing the type of
these lines and their directions, and as a
result of their visual circulation, the
shape and feel of the moving text is also
affected.
Understanding the types of
letter structures in moving typography
can be examined in several aspects: 1-
The basic and constituent lines of the
letters. 3. Visual representation of
letters and visual capacities of letters. 4.
Applying punctuation; in all these
modes, the presence of text, visual
appearance and types have a direct
impact on the visual sense and
emotional charge of the text.
This article aims to answer the
following questions:
1. Is the variety and visual
appearance of animated letters
influencing their composition and
senses in conveying meaning and
meaning?
2. What role do letters play in
visual accentuation or stopping in
Para continuar a ler
PEÇA SUA AVALIAÇÃO