Archive for the 'Stephanie Wilkins' Category

Artist Chris Jordan

January 30, 2014

This guy is an artist whose work is mainly focused of pollution and excessive use of various things. It’s good for me to see what kind of art is already out there on this topic. 

His series ‘Running the Numbers’ and ‘Running the Numbers II’ are most interesting to me. Each piece is focused on one thing commonly found in pollution and he uses the statistical numbers and the particular item to make each piece. For example, “Cigarette Butts, Depicts 139,000 cigarette butts, equal to the number of cigarettes that are smoked and discarded every 15 seconds in the US.”


Plastic Pollution Coalition

January 30, 2014

“Plastic Pollution Coalition is a global alliance of individuals, organizations and businesses working together to stop plastic pollution and its toxic impacts on humans, animals and the environment.”


Useful topic for me, the provide a lot of resources. The Executive Director has started a couple other projects/groups in the same topic area. I like the way they are thinking about the plastic problem and how they believe it can be solved is very similar to mine. “Plastic pollution will not be solved by encouraging “recycling”.  Perpetuating the myth of plastic recycling delays the adoption of effective and sustainable solutions, such as extended producer responsibility and the elimination out of single-use plastics.”


January 28, 2014

I was introduced to this system through my NonWestern Music class. It is a visual system for categorizing musical instruments. It takes absolutely everything about the instrument into account, starting with how the sound is created (with wind, struck directly, a membrane, vibrating strings, etc) all the way through where the instrument is positioned on the performer when playing and physical characteristics of the instrument and its components. This system provides many visual solutions to explain specific aspects of instruments and sound. I am going to take note of what is working well and may use some visual elements for my project.Image

Healthy, Thrifty Meals

January 26, 2014

Center for Nutrition Policy and Promotion (U.S.). (2000).Recipes and tips for healthy, thrifty meals. Washington, D.C.: U.S. Dept. of Agriculture, Center for Nutrition Policy and Promotion. Retrieved from

This book contains recipes that will be useful when I am constructing my recipe list.

EWG guide to Pesticides

January 26, 2014

EWG guide to Pesticides

Environmental Working Group. (n.d.). Retrieved from

This is a useful resource that deals with the clean fifteen and the dirty dozen. 

There is a section titled “ALL 48 FRUITS AND VEGETABLES WITH PESTICIDE RESIDUE DATA” which will be especially useful.

Crop Pollination by Bees

January 12, 2014

Crop Pollination by Bees

Delaplane, K. (200). Crop pollination by bees. (1 ed.). Cambridge, MA: CABI Publishing. Retrieved from

Writing Assignment: Ambidextrous Word Play

January 12, 2014

Writing Assignment: Ambidextrous Word Play

Quinn Jones

_2.5_Proposal_Sustaining WMU

March 28, 2013

 Western Michigan University

Gwen Frostic School of Art

ART 4610/ Spring 2013

Senior Project Proposal

Title: Sustaining WMU: A Designers Role In The Next Generation of Collective Action.

Version: 3.0

Author: Nina Bianchi

Proposal: Help raise sustainability awareness throughout campus

Sustainability requires that we think about the whole earth as an ecological, economic, and creative system.

My goal is to help train a new generation of sustainability leaders, graduates who understand the intricate

connections between economics and economy, place and planet, how we live and consequences of our

actions. I would like to share information of sustainability in compelling ways to bring awareness to students

in hopes that they spread the message to friends and family. The campus is a sustainability learning

laboratory and everyone can help make a difference. I like to work with the community, specifically WMU to

bring my design capabilities to help bring awareness to sustainability that we as students could help with day

to day on school campus.Sustainability can help the college do things faster, leaner, and smarter, in

addition to being more attractive to students. The effort is important for the planet, yes, but there are

numerous other benefits. I would like to improve the holes within the program itself, and the reputation of

how the identity is conceived by the general public. Improve the “IMAGO.” The change

we need in the

world needs to start with us!

Objective: Visualizing Sustainability

What is your story? What is your special skill that you can do to help make a difference? I like to work with

the community, specifically WMU to bring my design capabilities to help bring awareness to sustainability

that we as students could help with day to day on school campus. Through creative investigation, I hope to

educate students on what they can do to take action to further improve Western Sustain and make

refinements over time. I will be creating propaganda posters to reveal a more contemporary visual language

for sustainability. I will show a wide range of original and relevant design approaches that raise awareness

for a more environmentally conscious lifestyle. The posters will be factual but mostly visual. The goal is to

tell a message by using the least amount of text I can. I will like to take pictures of people doing what we do

best, which is consume. By addressing these areas in a visual and factorial way, I hope to educate students

on what they could do to help our campus, and essentially the entire world by promoting sustainability in a

both intelligent and entertaining way.

Stephanie Wilkins

December 11, 2010



Kinetic typography, or animated typography, first appeared as early as 1899 in the work of George Meiles, a French filmmaker who was a pioneer for narrative and technical developments in early cinema. A majority of early films featured static text: presented sequentially and limited by cinematic transitions. Alfred Hitchcock’s North by Northwest is recognized as the first feature film to use kinetic typography. The opening titles, created by Saul Bass, featured text that was animated and dynamic, which created a new experience for the audience.

Today, kinetic typography is commonplace in films and on television. Kinetic typography breaks away from the linear and prosaic narrative of static typography. In Jessica Helfand’s Screen: Essays on Graphic Design, New Media, and Visual Culture, she states, “…we need to look at screen typography as a new language, with its own grammar, its own syntax, its own rules… what happens when written words can speak? When they can move? When they can be imbued with sound and tone and nuance, with decibel and harmony as voice?” (Helfand, 107).

Kinetic typography can be represented on screen as well as physically. Through rhythmic repetition, physical interaction and optical illusion, kinetic typography embodies a physical form. Ebon Heath creates sculptures with typography and arranges his art so that the viewer must circumnavigate the piece to experience the movement and appreciate form. (

Victor Vasarely employed optical techniques to create movement and visual noise. (

Moiré screens are transparencies that feature vertical black stripes and are dragged across another lined image to create the illusion of motion. In physics, moiré patterns are created when two grids are overlaid at an angle or when the mesh sizes are slightly different. Through my research I have discovered this video:( and I am attempting to create my own moiré screens with typography.


Kinetic typography creates moods and forms a narrative through rhythmic sequence, optical illusion, physical interaction, and digital animation. I intend to explore this through experiments where the viewer is forced to physically move and interact with the piece and 2-dimensional experiments where movement is implied.



Some interesting links: (<– Typolution, an animation featuring kinetic typography as graphic forms as a statement about pollution and industrialization.) (<– “Ocean’s Eleven” typography sequence, NOT credits. This is a student-made film that merges a sound clip from the movie with kinetic typography.) (<– “The Matrix” typography sequence, same description as above.)

Animated typography breaks away from the linear and prosaic narrative of static typography. Applying movement, sound, and other visual effects changes the way typography ‘sounds’ and the way in which it is read.

Excerpt from Jessica Helfland’s “Screen: Essays on Graphic Design, New Media, and Visual Culture:”

“…We need to look at screen typography as a new language, with its own grammar, its own syntax, its own rules… [W]hat happens when written words can speak? When they can move? When they can be imbued with sound and tone and nuance, with decibel and harmony as voice?”– (Helfland, 107).



I am now trying to narrow down my first proposal, and I know that I want to focus my research on films. I have found a couple of interesting articles that discuss typography within film; opening credits, end credits, subtitles, and other artistic ways in which it may be used throughout a film.

Design Observer has been an excellent source for my research. An article by Jessica Helfland cites “My Man Godfrey,” “Thank You for Smoking,” and “Stranger Than Fiction,” among others, as films that feature an interesting integration of moving typography within film. It also mentions the foreign film “Night Watch,” noting that the animated subtitles create an entirely new experience for the viewer as compared with static subtitles.

As far as where to take my research and how to form it into an interesting thesis from this point, I am unsure. Here are a few ideas:

-Interesting, artistic, and animated typography WITHIN film (excluding opening and end credits) is a relatively new development. I can explore this further.

-pacing and sequencing within film

-Is animated typography more effective and/or interesting than stationary typography? What kind of effect can it have on an audience?


Since I can remember I have been attracted to the designs of movie posters and the environments within movies (mainly digitally animated films, where the entire movie must be designed and built within a computer), album covers, and video and game board designs. The entertainment business employs many talented designers, and I would like to explore posters, packaging, and environment/character development. For example, the movie “The Incredibles” was praised for its art of design capture. The designers who worked on the movie pulled from Eames-era modernism for the beginning of the film and as it progresses viewers can see International Style and Frank Lloyd Wright influences.

The Pixar company seems to pull from a deep and informed sense of design history, another example being the variety of monsters within “Monsters Inc.” are reminiscent of the works of J.Otto Seibold, Charles Addams, and Maurice Sendak. I would like to explore this further in order to discover how modern designers pull from history and incorporate their discovery into films.
Movie posters, game board design (and other tabletop games), and packaging within both of these areas would also be interesting to research. For example, German-Style board game designs tend to be more abstract, include more attractive physical components, and require more planning than American-Style games, and are therefore referred to as designer games. Exploring this area of design and creating my own versions would be interesting.

Screen: Essays on Graphic Design, New Media, and Visual Culture by Jessica Helfland

I am interested in the invention of writing and visual message conveyed through symbols such as hieroglyphs. I would like to explore visual identification and communication of early alphabets within cultures such as Ancient Egyptian, Mesopotamian, and Sumerian. I believe that it would be interesting to explore not only our human roots but also the birth of graphic design and how modern designs may be influenced by ancient structures or systems. I possess some prior knowledge on the subject due to my Art History background and research for personal use. I have found Megg’s History of Graphic Design a helpful springboard for research of this topic.

Sources: Megg’s History of Graphic Design

I am also interested in the unique style of lyrical originality and symbolic complexity of the Vienna Succession. I really enjoy the organic, hand-drawn typography that is paired with graceful, flowing images. I find the combination attractive and interesting. There is not one single style that unites the work of the artists who were part of the Vienna Succession, perhaps because these artists were concerned with exploring the possibilities of art outside of academic tradition. Carved on the face of the Succession building is the phrase, “to every age its art and to art its freedom,” conveying their hope to create a new style that was not influenced by historical styles.

Sources: Megg’s History of Graphic Design