Today we’ll take a closer look at that short space of time between the moment the lights go down and the first scene of a film, the part that so often sets our expectations of a movie, that sequence that speaks to our creative side: the art of the film title. We’ll look at the evolution of title design and some particularly interesting titles from various periods in the history of cinema and animation.
This teaches me that most people only remember the first part of the story and it shows me how to set up the title page so I can use techniques to draw more attention to the story.
Film titles can be great fun. In them we see the bond between the art of filmmaking and graphic design — and perhaps visual culture as a whole. They have always served a greater purpose than themselves: to move the overarching story forward. Whether you are a motion graphic designer, a digital artist or a connoisseur of design, we hope you are inspired by these film titles and the ideas they suggest to your own creative endeavours. At the end of this post, you’ll find a listing of relevant typefaces and Web resources.
This shows me that the film title should tell some of the story and the graphics and design should be attractive as well.
Words and lettering played an enormous role in films of the silent era. Film titles made their appearance in the earliest silent films, along with letter cards (or inter-titles), which provided context. These cards were the responsibility of the lettering artist, who collaborated with the scriptwriter and director to create narrative continuity so that audiences could follow what they were seeing. Distinct from these inter-titles was the film’s main title, a vehicle of particular concern to film producers because of the legal, copyright and marketing information this footage had to bear.
This shows me that in silence films letters and words gives clues to the audience.and that they are used to show stuff that can't be used such as sound.
The potential of digital graphics and typography has attracted some of the most creative minds to motion design. Pixar and Disney have reserved crucial parts in the branding of their films for the title sequences. Using animated characters to introduce viewers to the story became a popular trend. Such talented graphic designers as Susan Bradley (Toy Story, Monsters, Inc., WALL-E, Ratatouille), Jaimi Caliri (Lemony Snicket’s A Series of Unfortunate Events), Dave Nalle (Corpse Bride), Michael Riley (The Back-Up Plan, Kung Fu Panda) and Michael Curtis (Brother Bear) use all manner of tools to test different approaches to designing titles. One thing these individuals have in common is a drive to find a strong metaphor and tell an exciting story with their sequences.
This tells me about the digital graphics which need to be attractive to people with a creative mind to show the action of the design. Also they use branding to attract more customers. Also they used characters from the animation to introduce the story which was a trend this shows that showing a character would help the audience getting attracted to the film. It also tells me is that the story which is being told needs to be exciting.
A consequence of this digital era seems to be that modern title design will forever rely on progressive technologies. Yet, in one of his interviews, Kyle Cooper states that while the power of computer graphics is obvious, he still likes experimenting with live action, because there is something special about the imperfection of making things by hand.
this says that nowadays their are technologies that make action which make it another level however Kyle Cooper still thinks that making the scene without technology is much better as its more realistic.
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