Generative Art vs Title Sequence
ジェネラティブアート / タイトルシーケンス
Generative Art comes from Digital Art and Title Sequence from Broadcast Design. Both are read here as style. They are reached for with some of the same intent, which is where they get confused.
Generative Art
Art that delegates production to rule and randomness, the artist designing the system. From Nees's and Molnár's plotter drawings, coded repetition and chance became the source of design's generative methods.
Title Sequence
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A film's opening minutes designed as a work in their own right, with shape, type and music synchronized to state the theme before the story does. Saul Bass redefined the title as a prologue rather than a preview.
| Generative Art | Title Sequence | |
|---|---|---|
| Era | 1965– | 1955– |
| Family | Digital Art | Broadcast Design |
| Kind | Style | Style |
| Cues | Rule and randomness together / The plotter's line / Variation through repetition / The work as system | Cut-paper shapes / Type synced to music / The theme compressed / Art independent of the feature |
| Best used for | Letting a machine make identifiers or one-off tickets that must all differ · Exhibitions or works where designing the rule is what is on show | Handing over a work's theme and temperature before the story starts · Redesigning the obligation of credits as a piece in its own right |
| Type | Letters handled as coordinates and repetitions with the face itself fixed | One face only, entrances and exits designed to the musical beat |
| Composition | Seed and random range set, outputs laid side by side to inspect the spread | Hand the names to the moving shapes, fix one reading position |
| Material | Lines assumed at a plotter's constant weight, tone made by overlap density | Art built apart from the feature, few colors, one repeated motif |
| Caution | A 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. |