While designing the cover I was asked to leave a tiny white area somewhere on the back-cover to write the edition number from one to one-hundred, by hand.
Instead of putting just an empty square I started thinking about 100 tiny dots to black-out with a pencil, or some LCD like system to hand-color. Eventually this small aspect became the main idea for the cover which now hosts a big two-digits number.
The grid used to design the initial numbers became also the base for a whole character-set used in the animation.
Two versions of the characters were created: an obvious-one, a bit squared, and a more diversified-one with letters of different heights. I decided to use the squared one (less interesting in individual characters) because it worked better when used in the animation layout.
I wanted the animation to use all the available space (window or screen) and be independent from the aspect-ratio.
Each letter has a few attributes like color, weight, position, rotation, etc. Some of those attributes get the values out of a small texture (a tiny off-screen canvas) which simplifies the animation and pattern creation process.
To create the airport-display-like animations strings are composed out of repeated character sequences which then build patterns and rhythms.
Randomness is part of Novoline’s process of creating music, so it became part of the clip too: specific cue points release more and more features which are then randomized: character rotation jumps in only after the first minute, stroke weight, colors and other patterns come afterwards.