Communication has always been a key factor in the survival of mankind, with the spoken word serving as our primary tool. In a sophisticated matter that word has been documented and transformed into written language, where each letter and phrase possess attributes which could evoke images and associations in our minds. These capacities change within different contexts where the words take on different forms and visual traits known as typography. This essay, Typography in Motion, investigates how visual communication in art is affected by typography and what kind of attributes they possess when moved into this new aesthetic environment. To be specific, when typography has been relocated to the context of graffiti and pop art. Through the lens of visual culture studies and theories from W.J.T. Mitchell, this essay examines how images come to life in different cultural settings, where they appear to possess own desires and drives. Mitchell describes a “double consciousness” where we, the observers, have an irrational way of thinking about images. Either we see them as overvalued objects or take a more skeptical approach to their symbolic values. This concept is analyzed and discussed throughout the essay where typography was both idolized, fetishistic and totemistic in one cultural context and in another seen as blasphemy. The destruction of images, iconoclasm, can be seen as a byproduct in the “ecosystem” in which typography is situated but also as a characteristic in its visual communication. My argument is that typography in graffiti and pop art challenges existing norms, the concept of art and the appearance of public urban spaces. Typography evolved in separate settings where aesthetics was shaped in varied ways. The visual communication, like in the cavemen paintings, expressed a desire and drive. Shaped by their era and environment, that is, by what they had seen and experienced. The cavemen used depictions of animals as symbols of the main human need, hunger, while modern humans used typography as a symbol of a new vital need, the identity. The typography in graffiti had a desire to showcase the identity while the typography in pop had the drive to advertise the overvalued object and through irony expose the materialistic identity of a modern society.