It would seem that more than ever, designers, animators and filmmakers are using text within a real-world context. The release of Ubisoft’s Splinter Cell: Conviction saw the visual feature of mission objective reminders being projected into the environment, mapped over 3D space. The result is quite striking within gameplay and not only creates a unique visual style but as they are never part of a HUD, gameplay is that much more organic and free flowing – see the Developer Diary. Another nice example of a similar technique was used in CodeMaster’s GRID – which placed text into the world as lit and rendered 3D objects, allowing the player spin and pivot the camera around it in menu navigation and replays.

These techniques have been used for years within film title sequences, but there appears to be a growing trend to integrate them into the main viewing/user experience itself, which I for one am a fan of but only when used sparingly and most importantly, appropriately. David Fincher’s Panic Room title sequence is frequently noted as the first example of genuine 3D text in the real world, but I would like highlight a recent addition to the list… Zombieland. In this instance, the comedy horror was enhanced by the integration of its trademark rules being animated in-scene. They create laughs through comic timing and use this visual reinforcement to push rules such as ‘#2 Double Tap’ not only into the annals of cult film quotations but into the urban dictionary. Zombieland works because it pokes fun at itself, it breaks the 4th wall and has post-modern winks – feeling just as much like you’re racking up hi-scores in a video game as enjoying a passive cinematic experience. It’ll be interesting how many more films attempt to use environmental typography as a gimmick in a similar way, see: (Scott Pilgrim vs. the World)
before it gets tired. Enough talk, let’s watch;

One of my design heroes is undoubtedly British graphic designer and consummate typographer Jonathan Barnbrook. Renown and admired for his pivotal role in British graphics and his strong political views and contribution to social causes, Barnbrook strives to use the power of his design skills as a weapon for social change and for the moral good.

I was pleased therefore, when I spotted Barnbrook’s unmistakable ‘Virus’ fonts in the latest British Heart Foundation television advert. Directed by Barnbrook, “The spot features a Virtual Heart Simulator, alongside a typographic treatment by Barnbrook of various words from the voiceover.”–CR. Whilst undeniably graceful, and wonderfully paced, I do slightly wonder at the choice of some of Barnbrook’s self-designed typefaces – as beautifully crafted and animated as they are. A pleasant change and real step away from recent BHF advertising.

Now to go home and dust off my signed copy of ‘The Barnbrook Bible’…ahhh.

Take a look at the advert here.

(Opinion: Jon Price – Designer)