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Which clippings match 'Kyle Cooper' keyword pg.1 of 1
25 APRIL 2013

Contemporary kinetic typography relies on historical developments

"This is a lecture given to MA students at the University of Hertfordshire. It explores how contemporary kinetic typography relies on historical developments such as 3D woodblock print, Romain du Roi, and Modernist modular lettering. Students are encouraged to let their design work respond to historical research. This does not mean creating something that looks old or retro, rather creating something innovative and new by re–imagining historical ideas in light of new technologies and contexts."

(Barbara Brownie)

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TAGS

3D typography • Academie des Sciences • architectural formsart and design • Barbara Brownie • Bauhaus School • borrowing from the past • Channel 4Channel 4 identchannel identDe Stijl • design nostalgia • grid systemhistorical developmentsJosef Alberskinetic typographyKyle Cooper • learning from history • lecturemachine aesthetic • malleable typography • modular typography • modularity in designmorphingparodypostmodern pasticheprimitive shapesprimitivesrecontextualisation • reinvention • remediation • retrievalism • retroRoland Barthes • Romain du Roi • School of Creative Arts • Stencil (typeface) • TV identtypographic animationtypographyunified wholeUniversity of Hertfordshirevisual abstractionwoodblock printing

CONTRIBUTOR

Mary-joy Ashley
23 OCTOBER 2009

The Dark Genius of Kyle Cooper

Kyle Cooper "specializes in crafting title sequences – the short introductions and closings to films, videogames, and television shows that list the names of the cast and crew involved in the production. In this boutique industry, Cooper is king. He has designed the lead–ins to 150 features – including Donnie Brasco, the 1996 remake of The Island of Dr. Moreau, Mission: Impossible, Spider–Man, Sphere, Spawn, Twister, and Flubber. The movies themselves may not be cinematic classics, but Cooper's credits – which operate as minifilms in their own right – consistently stun and entertain audiences. For this spring's Dawn of the Dead, he even used real human blood. Critic Elvis Mitchell, in his New York Times review of the movie, summed up the Cooper effect: 'The opening and closing credits are so good, they're almost worth sitting through the film for.' Indeed, the word in Hollywood is that some filmmakers have refused to work with Cooper, says Dawn of the Dead director Zach Snyder, because he's 'the guy who makes title sequences better than the movie.' Not since Saul Bass' legendary preludes to The Man With the Golden Arm (1955) and Vertigo (1958) have credits attracted such attention. Cooper counts Bass' work, along with Stephen Frankfurt's lead–in for To Kill a Mockingbird (1962), as his greatest influences."

(Jon M. Gibson, Wired Issue 12.06 – June 2004)

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TAGS

animationcinemacredit sequencedesigndesign innovatordesignerDonnie Brascofilm • Flubber • influential designerKyle Cooper • Mission: Impossible • motionmotion designmovementSaul BassSe7ensequence design • Spawn • Sphere (film) • Spider-Man • The Island of Dr. MoreauThe Man With the Golden Armtitle sequenceTo Kill a Mockingbird • Twister • Vertigo (1958)visual communicationvisual designWired (magazine)

CONTRIBUTOR

Simon Perkins
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