Generative Art vs Saul Bass Title Design

ジェネラティブアート / ソール・バスのタイトルデザイン

Generative Art comes from Digital Art and Saul Bass Title Design from Broadcast Design. One is technique and the other style. They are reached for with some of the same intent, which is where they get confused.

Generative Art

Generative Art — ヴェラ・モルナール《Interruptions à recouvrements》1969年 — Wikimedia Commons / CC0Generative Art — マンフレッド・モーア《P-306-O》1980〜82年 — Wikimedia Commons / CC BY-SA 4.0Generative Art — ジャドソン・ローズブッシュ《Letter Field》1978年 — Wikimedia Commons / CC BY-SA 3.0

A way of working in which the maker writes only the rule and the randomness, leaving the drawing to the machine. As in Nees's plotter work, the result is shown as several variants born of one rule.

Saul Bass Title Design

Saul Bass Title Design — ソール・バス『スパルタカス』タイトルロゴ 1960 — Wikimedia Commons / CC0Saul Bass Title Design — Saul Bass による『或る殺人』の図像 1959 — Wikimedia Commons / Public domainSaul Bass Title Design — Saul Bass による『栄光への脱出』のポスター 1960 — Wikimedia Commons / Public domain

Moves flat cut paper shapes and hand drawn capitals along simple straight paths in time with the music, stating the theme before the film begins.

Generative ArtSaul Bass Title Design
Era1965-1955 to 1990s
FamilyDigital ArtBroadcast Design
KindTechniqueStyle
CuesOne simple element repeated to fill the field / Variants of a single rule shown side by side / Repetition drifting in angle and position / A density and precision no hand could reachFlat cut paper silhouettes / A palette held to a few colors / Uneven hand drawn capitals / Simple moves along straight lines
Best used forLetting a machine make identifiers or one-off tickets that must all differ · Exhibitions or works where designing the rule is what is on showHanding over a work's theme and temperature before the story starts · Redesigning the obligation of credits as a piece in its own right
TypeLetters handled as coordinates and repetitions with the face itself fixedOne face only, entrances and exits designed to the musical beat
CompositionSeed and random range set, outputs laid side by side to inspect the spreadHand the names to the moving shapes, fix one reading position
MaterialLines assumed at a plotter's constant weight, tone made by overlap densityArt built apart from the feature, few colors, one repeated motif
CautionA random range set too wide widens the gap between good and bad results and leaves a pile of output instead of a work.Decoration unrelated to the feature is not the form, since only the structure that summarizes the theme survives, and when moving the names becomes the point there is no time to read them.

Put these two together

Digital Art ／ Broadcast Design

IndexStyle