01 — Star / vign
Lowercase “vign” cropped at gn, white on off-white, black abstract star. Red zigzag intrudes from below.
Helvetica · Black on whiteA white plate with eight holes, a black void, and a stack of Vignelli posters. Nothing moves except the paper.
1080×720 · 30fps | 1200×1500 · 60fps · 8.5s · h264 · 2 variants · Vignelli · SIZE-ASSETS.COM
Not a frame, not a wall. A 4:3 white plate with eight circular perforations, photographed from above on a black void. The holes are not decoration — they are registration, like a Swiss poster press.
WWW.SIZE-ASSETS.COM runs vertically at right edge, 10px mono, white on black, 90°.
All posters are Vignelli — or in Vignelli’s language. Helvetica, strict grid, primary color, tight kerning, no image except geometry. The plate only holds; the posters speak.
Lowercase “vign” cropped at gn, white on off-white, black abstract star. Red zigzag intrudes from below.
Helvetica · Black on whiteFull name stacked, yellow–red block, 90° blue tube, pink–green dots. “90 years of Massimo Vignelli” vertical at right.
Yellow / Red / BlueGiant “9” in white on red, cropped, with black field and white counter. Date “1931–2022” small.
Red · 92Red “H” on cream, “Have a nice” subline. Companion poster with stacked mugs (yellow→red).
Cream · RedFour stacked mugs, each outline in primary color, left border. Vignelli wordmark at top.
Stack · CMYK+Green “Vi”, blue “gn”, red “92”, blue “82” — overprinted, transparent, 1931–2022 legible underneath.
Overprint · TransparentVignelli’s palette: red, blue, yellow, green, pink, plus black and warm white. Every color is flat, 100%, no gradient except the plate’s soft shadow.
#FF1A1A#0098FF#FFD500#00A95C#FF6BEC#000000#F8F5EF#0A0A0A
Vignelli: “If you can design one thing, you can design everything.” That one thing is Helvetica — tight, no tracking, left-aligned, rag right, never centered.
vignelli
Vignelli
92
In frame 03, “vign” is cropped at the plate’s edge — the missing “elli” is implied by the red zigzag. Negative space is part of the type.
Every poster is a 4×6 grid, even when you can’t see it. The plate adds a second grid — the holes. Posters are placed to align hole to counter, edge to edge.
Top-left poster (“vign”) is rotated 18° and offset so its white curve aligns with the plate’s hole. Bottom red zigzag points to the hole at 2/3 height.
Posters overlap by 1/6 of plate width. No drop shadow — only paper edge. The black void has no shadow, only contrast.
Landscape plate (1080×720) holds 1 large + 1 red wedge; portrait plate (1200×1500) stacks 5 posters vertically.
8.5 seconds, no cut. Plates enter from top, posters slide, then hold for 2 seconds. The last 0.5s is a fade to black with holes still visible.
Extracted at q=2, exact frames. Variant 01 is 3:2 landscape, Variant 02 is 4:5 portrait — same plate, different crop.












Vignelli’s “5-line manifesto” — semantic, visual, dynamic, economical, timeless — is not written, it’s shown by how little moves.