For example, if the content of a message is sad, it is difficult to convey it as a happy message using kinetic forms. However, it is possible to refine the quality of sadness by using kinetic typography. Also, we have found that one kinetic form can be used to convey different emotional qualities depending on the content. In our work in kinetic typography, we encounter issues of character , or personality, whenever we portray speech or dialog as content. To answer these questions we have begun to look at film studies and literature.
Alignment is a spatio-temporal attachment and subjective access.
In other words, it is about who we follow in time and space and how much access we have to their internal, subjective states. Allegiance refers to our emotional and cognitive response to the character. In film, this is achieved by one person playing one character. In addition to a continuous physical presence, attributes that contribute to the recognition of characters include vocal properties, music, names, descriptions, actions, relationships, and roles. We have found that kinetic typography can easily become confusing if there is no significant differences among the typographic representation of characters.