The Art Of Film Title Design Throughout Cinema History{Copied from Website}

Have you ever thought of what makes you remember a certain movie or TV show? Of course, it’s the story being told, you’ll say. But what about movies such as Goldfinger, Seven and Snatch? What’s the first thing that comes to mind? We are pretty sure their opening title sequences stick out for many of you.
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.
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 endeavors. At the end of this post, you’ll find a listing of relevant typefaces and Web resources.
For this post, we reached out to David Peters, a San Francisco-based designer and media historian who, more than a decade ago, began a project called Design Films to research the subject. David generously contributed to this article.

Titles In Silent Film

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.
Here is the main title from D.W. Griffith’s “Intolerance” (1916), which many reviewers and historians consider the greatest film of the silent era. Note that variations of the director’s name are featured in five ways:

Film titles and letter cards had to provide essential information to the viewer. For reasons such as ease of production and clarity, artists favored mono-stroke letterforms or characters with small serifs. White lettering on a black background is another characteristic of this era, because titles simply looked better this way when projected with live-action B&W film.
The following inter-titles are typical of silent movies. A shot from the comedy The New Janitor (1914) featuring Charlie Chaplin is on the right, and the silent western West of Hot Dog (1924) is on the left:

In addition to hiring lettering artists, the biggest film studios began to employ typesetters in the production of title cards. Among the fonts often adopted for titles and inter-title cards were Pastel (BB&S, 1892), National Old Style (ATF, 1916) and Photoplay (Samuel Welo’s Studio, 1927).
Regardless of the method followed, we see the emergence of typography that seeks to match letterforms with the subject matter and even the zeitgeist — including typefaces inspired by art movements such as art nouveau, art deco and expressionism — as well as the commercial vocabulary of packaging design and advertising.
The main title from the American release of “The Cabinet of Dr. Calligari” (1920) is much less expressive than the title from the influential original German film (restored original version):

The sans-serif title (for a later restored version) of the classic horror film “Nosferatu” contrasts with the art-nouveau treatment of the film’s promotional poster of the time. The font, Berthold Herold Reklameschrift BQ (digitized version) was created by German typesetter Heinz Hoffman in 1904. You can see the original German version of the title still from Nosferatu here.

Animation effects like the ones you see in rotoscopes actually pre-date film. But the power of filmmaking was enormous, and it tempted thousands, including many artists, to try their hand at this new medium. One of the earliest known title animations is seen in the work of J. Stuart Blackton.
“Humorous Phases of Funny Faces” (1906) — video on YouTube — was directed by J. Stuart Blackton, who many consider to be the father of American animation. Not only is it one of the first animated films, it is among the first to feature an animated opening title, making it a precursor of the modern title sequence:

Other important early filmmakers such as Emil Cohl and Winsor McCay were accomplished draftsmen who dedicated years of their lives to discovering the dramatic potential and practical techniques of animation. Their focus was more on character development and story visualization than on title animation per se. So, while we see innumerable novelties in main titles and inter-titles during this period, the big innovations of title animation and motion typography don’t really emerge until well after the Second World War.

The Silence Is Broken

As movies grew more popular, their titles evolved. Movie producers invested considerable sums in film production and sometimes resorted to fixing a dog of a film by rewriting the inter-titles. For a time, “film doctor” Ralph Spence (1890–1949) was the highest-paid title writer in the industry, earning $10,000 a picture for his one-liners.
During the 1920s and ’30s, European cinema was deeply influenced by modernism, and aspects of this visual sensibility were brought to the US by filmmakers who were fleeing the Nazis. Meanwhile, the studio systems operating in Europe and Hollywood also delighted in creating titles that featured vernacular graphic novelties. As much as possible, they liked to convey the tone of a movie through the “dressage” of its main title. Thus, blackletter fonts in the opening credits were used to evoke horror, ribbons and flowery lettering suggested love, and typography that would have been used on “Wanted” posters connoted a western flick.
Here is a title still from the oldest surviving feature-length animated film “The Adventures of Prince Achmed” (Die Abenteuer des Prinzen Achmed) by German animator Lotte Reiniger:

And here is the opening title in the talkie “B” Western Outlaws of Boulder Pass:

Hollywood animation studios, including Warner Brothers and MGM, did give some license to their artists to indulge in title antics. But one can also see that life for the titling crew at Disney was strained by the weight of its foreign-language versions and that film exports rarely encouraged innovation in titling.
The first Mickey Mouse cartoon, circa 1929, features both Mickey and Minnie, but its main title, “Plane Crazy,” is lackluster:

Over time, the very appearance of white-on-black title lettering became a visual trope, recurring as it does in practically every Woody Allen film. Allen relies on the device primarily to build a visual identity, although its economy is a practical advantage, too.
Allen uses the Windsor font for most of his films, as illustrated below in “Annie Hall” (1977). Read more about typography in Allen’s films and also an interesting story about how the renowned director chose this typeface:

The incorporation of audio into movies — making them “talkies” — didn’t revolutionize how film titles were handled, at least not immediately. However, we do see one avant-garde animator and painter of German origin, Oskar Fischinger, give serious thought to the relationship between visual effects and music. Fischinger’s practice of subordinating the visual rhythm to the audio was repeated often in motion graphics and title design.
The concept of score visualization first conceived by Oskar Fischinger in his film “Studies” anticipates the effects created by Saul Bass in “The Man With the Golden Arm” (1955) and later by Susan Bradley in “Monsters, Inc” (2001):

The (True) Birth Of The Title Sequence

Breakthrough ideas in titling, such as timing the typography to interact with metaphorical imagery or to create its own world, were largely innovations that came from outsiders to the Hollywood studio system. Figures such as Saul Bass, Pablo Ferro, Maurice Binder and Richard Williams arrived on the scene in the 1950s, at a time when the studios were starting to flounder in their fight with TV. At that time, independent filmmakers made commercial headway by doing things differently, spreading utterly fresh ideas about the possibilities of title sequences. This is the era in which the discipline of film title sequence design was actually born.
Maurice Binder worked on the title designs of 14 films about Agent 007, including the first episode, “Dr. No” (1962). Binder created the famous gun-barrel sequence, which became a signature for the Bond series:

If there were a hall of fame for film title design, Stephen Frankfurt’s sequence for the 1962 film “To Kill A Mocking Bird” (below, upper row) would have a seat of honor. Cameron Crowe referenced it in “Almost Famous” (lower row):

Experimentation on the fringes, where title sequences really thrive, have led to all kinds of innovation in what a title can be and how it can serve the story and the director’s intent. Perceptive directors like Otto Preminger, Alfred Hitchcock, Blake Edwards and Stanley Donen embraced these innovators and gave them the reign to surprise audiences from the opening shots. The Bond films, the Pink Panther series, Barbarella: the sequences for such films became enticing and often sexy popular amusements. By the mid-1960s the top title designers were celebrities in their own right, people who could be relied on to deal with the messy business of credits with playful panache.
Here is a still from the Saul Bass’ title sequence for “North by Northwest,” his first project with director Alfred Hitchcock:

A great draftsman and visual storyteller, Saul Bass ran the gamut of techniques for his title sequences: montage, live action, cut-out paper animation, typography in motion, to name a few. Whatever technique he used, Bass summarized the film as a metaphor that often shone with creativity. (In January 2010, David Peters, Kai Christmann and Dav Rauch, all of Design Films, gave two presentations on the work of Saul Bass at the 12th Future Film Festival in Bologna, Italy.)
In an interview, Kyle Cooper listed three opening sequences that made a big impression on him. Saul Bass’ title sequence for the 1962 film “Walk on the Wild Side” (watch on MySpace) was among them:

It could be argued that typography lost importance in this era of title design. The imagery behind the credits received a lot more attention. Still, the interplay of typography and images was by no means ignored. Popular trends of the 1950s were using three-dimensional lettering and embedding type in physical artifacts such as embroidery and signage. In contrast, Saul Bass often approached the lettering of a main title as he would a logo, making it function as the core element in a full marketing campaign. While the variety of solutions increased considerably, their anchor was always the relationship of on-screen typography to the movie itself.
The power of minimalism is shown in the opening sequence for Ridley Scott’s “Alien” (1979). Credit for this design goes to Richard Greenberg, with creative direction from Stephen Frankfurt:

The main title for the French film classic “Le Dernier Metro” (1980), directed by Francois Truffaut, is austere and modern but has a generic quality not so different from a Woody Allen title:

The Digital Era, And Modern Trends In Film Title Design

Every sphere of contemporary life — and especially the film business — has been affected by computers. For designers, creating film titles meant participating in the apprenticeship tradition — learning by doing, on the job; that continued unabated into the mid-1990s. At that time, dynamic openers by Kyle Cooper and others showed what the next generation of design-educated, film-literate, tech-savvy creatives could do. That apprenticeship tradition has largely been overshadowed by the rise of popular technology, the Internet-enabled archiving of everything and the plethora of schools that propagate countless design disciplines. Most significantly, we see designers working like filmmakers and filmmakers working like designers.
The revolutionary title sequence for “Se7en” (1995) by Kyle Cooper was named by New York Times Magazine as “one of the most important design innovations of the 1990s”:

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.
While Cooper was working on the sequence for “Darkness Falls” (2003), some glass he was using suddenly split, and the crack cut across the eyes of a girl in an old picture. The incident added suspense to the effect:

In his title sequence for the 2005 crime-comedy “Kiss Kiss Bang Bang” (watch on YouTube), designer Danny Yount made use of Saul Bass-style graphics to recreate the atmosphere of 1960s detective stories:

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.
For the end sequence of “Ratatouille”, Susan Bradley (read an interview with her) drew the typography, inspired by the slab-serif typeface Rockwell. For the opening titles, she used a hand-drawn cursive intended to evoke Paris.

The title sequence for “Thank You for Smoking” (2005) is a modern manifesto on typographic style in title design. The idea for using cigarette packaging for the opening sequence was suggested by the film’s director, Jason Reitman, and implemented by Shadowplay Studios. Typographica goes through the trouble of pointing out the fonts in the sequence:

In the title sequence for “Up in the Air” (2009), the designers at Shadowplay Studios rely on aerial photography:

The title sequence for the 2009 adaptation of the comic book “Watchmen” drew a loud response from the public. It creates an alternate history, depicting the involvement of superheroes in all major events of post-World War II America. The sequence was shot by the film’s director Zach Snyder, while credit for the title’s integration goes to yU+Co:

Conclusion

Throughout the history of cinema, film titles has evolved with the film industry, as well as with social trends and fashion movements. But the measure of a title design’s quality is the same now as it was in the silent era. Whatever function they perform, titles remain an essential part of film.
Granted, in recent years the business of film titling has been terribly strained by the control of producers over commissions and their persistence in demanding speculative work as the price of admission. Creatively speaking, though, as filmmaking consolidates into the most powerful international cultural phenomenon of the 21st century, ingenuity in titling is a certainty. As designers have always known, the opening moments can make a deeply satisfying contribution to any film.

Typography Resources

Below you’ll find links to some downloadable typefaces that were used in or inspired by film titles from cinema history. Please read the legacy notes before downloading.
HPHLS Vintage Prop Fonts
An amazing collection of revived vintage fonts, many of which were used in early cinema. Among them are faces based on the National Old Style, Colwell Handletter and Post Monotone no. 2. Only some fonts can be downloaded for free, although the entire collection is available on CD at an affordable price.

Silentina
The Silentina font family is a great modern take on typography from silent film inter-titles. Designed by Ray Larabie in 2004.
Hitchcock
Hitchcock was created by designer Matt Terich as an homage to the lettering style of the iconic Saul Bass. The font is available as a free download, and you’ll find a selection of other typefaces in the same vein.
Movie/TV Related Fonts
Here is a collection of free fonts styled after the main titles of famous films and TV shows.
Waltograph
Waltograph was created by Justin Callaghan in an attempt to capture the spirit of the familiar Walt Disney signage.

The Disney Font List
On MickeyAvenue.com, Justin Callaghan shares a definitive list of typefaces seen in Walt Disney movies and places.
Meyer 2
Meyer 2, originally drawn in 1926 as one of the five fonts cut by linotype to Louis B. Meyer’s personal specifications, was revived in 1994 by type designer David Berlow.

ITC Korinna
The Korinna font family has an art nouveau heritage and looks similar to the Pastel font, which was often used for title cards in silent films.

Futura Extra Bold
Stanley Kubrick’s favorite typeface.

Gisele
This font looks similar to the one used by Winsor McCay for his 1914 animation Gertie the Dinosaur.

CCMR Mamoulian Blather
A font that recalls the typography in the title of the 1924 animated movie Felix Dopes It Out.

That’s All Folks
Here’s a cheerful Looney Tunes-inspired font family called That’s All Folks

Coolvetica
Coolvetica looks like the sans-serif typeface in the title sequence for Catch Me If You Can (2002).

Resources And Reference Material

The Art of the Title Sequence
A comprehensive and authoritative resource on film and television title design from around the world. Plenty of excellent designs and material available.
Forget the Film, Watch the Titles
One of the first online resources dedicated to film title design. You’ll find a lot of amazing examples, reviews and interviews with the experts.
Title Design Project
In this showcase gallery are title sequences from both classic and recent movies.
Movie Title Stills Collection
A large and diverse collection of film title stills from between 1920 to the present.
Taking Credit: Film Title Sequences, 1955–1965
An essay by a London-based writer and curator with an interest in graphic design, Emily King.
Letters of Introduction: Film Credits and City Scapes
This essay covers the textuality of film credit sequences and their relationship to the expressiveness of urban life.

Credits

I’d like to thank David Peters, who kindly agreed to contribute content as well as references to this article. David is the founder and director of DESIGN FILMS, a team of creatives committed to researching, collecting and presenting film programs about design, typography and film history. David is also a principal and design strategist at the communication design firm EXBROOK.

Vincent - Tim.Burton.Short.Animation.1982

pop－up books

pop－up books

Some drawing about the costume form

Project：Author、build costume

This  is costume we made ,so tired but very happy 

everyone did very well.

Next we will make the moving image in a group,,it is the new experience

for me ,so it is very exciting I think, Good luck next work!!

haha!~~~

other classmate 's work  ,some of them are so amazing~~

123oleary: What Makes a Good (Children's) Story?

123oleary: What Makes a Good (Children's) Story?
: "Have been having some interesting conversations with Steph Aulenback
(chatelaine of the Crooked House) about the difference between writing ..."

hierarchy-of-needs

Author Primer

About this project, frist we need find 5 primary needs

I find some images and informations about the basic needs survival on the internet,above:

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The hierarchy of needs model is based on the idea that you have to meet all the basic human needs like food, water and shelter before the higher needs can be fulfilled, such as confidence and belonging.
The hierarchy of needs is over 60 years old (that’s older than the Internet!) so I’ve created an updated version for freelance web designers.

Basic Needs

Get the basics right like a decent Internet connection and a reliable computer

Before you can start work, you’re going to need electricity, wifi, a desk and a computer. For most of us, a stable broadband connection is as basic requirement as gas, or for some, running water.

It sounds really obvious, but it’s so important to get the basics right before you can work effectively. Having a high speed connection and a computer that doesn’t grind to a halt every few seconds isn’t essential, but really helps. If your computer regularly starts slowing up, it’s probably time to get more RAM.

Safety and Security

Creativity is really affected if you’re not in good health with a steady income, regularly getting plenty of sleep and working in a pleasant environment.

Health Insurance/Income Protection

Freelancers don't get sick days, so income protection will help if you have to take time off work

Consider investing in health insurance or income protection, especially if you’re supporting a family. Only 35% of freelancers have a health insurance policy^[1] and while we are fortunate enough in the UK to have free healthcare, you’ll need to think about loss of earnings if you have to take time off work.

Business Insurance

Most freelancers don't have business insurance

Another way to help fill up the ‘safety and security’ tier is to get business insurance. Only 10% of freelancers are covered^[1], but it’s so important.

Professional Indemnity Insurance

Imagine if your client asked you to create them a website and you typed the phone number in wrong, or you’re hosting the site and their email goes down. The client could potentially sue for loss of earnings, and if you don’t have Professional Indemnity Insurance (PI), things are going to get messy. Getting PI insurance is not as expensive as you might think, and will help you sleep at night. I was recommended Blyth Valley who are an insurance company in the UK who offer PI and business insurance.

IR35

Another type of business insurance if you’re based in the UK is IR35. HMRC may select you to investigate your tax claims. A legal dispute may run into the thousands, so it’s a good idea to get this covered, and it usually costs less than £100 a year, although this is looking less relevant now the new government is looking into scrapping IR35.

Retirement

Start a retirement fund as early as you can

56% of freelancers do not have a retirement fund^[1]. It might seem like a hassle, but it’s actually very quick and painless to get something set up, and the sooner you start, the easier it is. I created a standing order that takes money out of my personal account and transfers it into my savings account every week, so I feels like any other bill. If you’re not keen on the idea of doing that now, invest in some workshops as the better you are at what you do, the more you can earn.

Love and Belonging

Get opinions and advice from other people about your work so you don't stagnate

If you work on your own, after a few days it feels really lonely, especially if your office is in the same room you sleep in.

Find other freelancers to work with; they’re great to get feedback from. Go to lots of conferences and meet-ups too to stave off cabin fever and learn off others.

Giving advice in forums also helps you feel more included, and if you’ve got some free time, organise events in your area to familiarise yourself with other geeks in your area. Since freelancers get the majority of their business through word-of-mouth^[2], it’s a good way to get more work.

Self Esteem

Taking time out to learn new things will help make you more confident at what you do

Every freelancer gets that “am I doing this right?” feeling. You need to feel confident with what you’re doing, so review your process after each project and see if you can improve it. If you have a good process, you don’t feel bogged down by emails every day, you’re winning pitches and have lots of happy clients, then you’re probably doing it right.

Getting praise is another way to boost self esteem. Upload your work to sites like Dribbble to get some (hopefully) positive feedback. It really does make a huge difference when people say nice things about your work.

Self Actualisation

Income doesn't seem to make a lot of difference to happiness

You might think you need to earn a lot of money to be happy, but apparently not. 88% of web designers are happier since they started freelancing^[1][2] despite only 13% being content with their income^[1].

If making lots of money is your only goal, you probably won’t be a very happy freelancer.
So define what you really want to achieve by freelancing, and find out what steps you need to take to accomplish that goal.

 

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the small story book by handmade

this book is the final about the project3  ,but I think it is so bad.but I am very carefully.