Mark Simonson, the artist who designed my "Uncle Eddie's Theory Corner" banner, has hooked me on typography. Here's are some examples of interesting film lettering gleaned from the links on Mark's site. See what you think.
I'll start with a fairly normal title card (above) from the 40s. It's straight-forward, flat poster art (above)...very effective when accompanied by good music.
More exciting were the titles that were laid over action. Usually these occurred at the end of trailers. The titles at the beginning of the film itself were usually more conservative.
I love how dramatic titles (above) often were done in a tiki style, as if they were ripped from canoes on cannibal islands. The incongruity of stark, primitive lettering over modern city backgrounds promised a story filled to the brim with raw emotion.
I assume this title (above) is also from the trailer, and not from the film. The title floating over the crowds and cars seems to convey a point that's not emphasized in the film, i.e., that we're going to see a story about grimy, sweaty, but somehow tragic and heroic urban man. It's a manifesto that declares the filmmaker's belief that modern man is a fit subject for great literature. I love manifestos. A film should convey passion. It should grab you by the collar and try to convince you of something.
Here's a common Noir technique: The title appears over a city background but is framed by fuzzy black borders. You get the feeling that we're looking out at the world through malevolent, satanic eyes. Or maybe we're pulling down the slat of a blind to look at a scene in Hell.
I said that trailers usually contained better graphics than the film, but there were exceptions. Here's (above) a perfectly fine trailer end title...
...and an even better title graphic that appears at the start of the film. Once again the typography conveys weird, primitive, psychological energy, but it's laid over a classical, Rubenesque color scheme. The card promises thrills, but assures us that we're safe in the hands of a master storyteller.
Here's (above) the end title. In a comment Lester said the constable seems to say "Alright, folks, move along. There's nothing to see here. Nothing to see," and that's exactly right. It's a terrific counterpoint to the high-intensity drama we just witnessed.
More exciting were the titles that were laid over action. Usually these occurred at the end of trailers. The titles at the beginning of the film itself were usually more conservative.
I love how dramatic titles (above) often were done in a tiki style, as if they were ripped from canoes on cannibal islands. The incongruity of stark, primitive lettering over modern city backgrounds promised a story filled to the brim with raw emotion.
I assume this title (above) is also from the trailer, and not from the film. The title floating over the crowds and cars seems to convey a point that's not emphasized in the film, i.e., that we're going to see a story about grimy, sweaty, but somehow tragic and heroic urban man. It's a manifesto that declares the filmmaker's belief that modern man is a fit subject for great literature. I love manifestos. A film should convey passion. It should grab you by the collar and try to convince you of something.
I also love it when a film's graphics make points that aren't overtly contained in the script. They're best when they address the subtext rather than the text.
Here's a common Noir technique: The title appears over a city background but is framed by fuzzy black borders. You get the feeling that we're looking out at the world through malevolent, satanic eyes. Or maybe we're pulling down the slat of a blind to look at a scene in Hell.
I said that trailers usually contained better graphics than the film, but there were exceptions. Here's (above) a perfectly fine trailer end title...
...and an even better title graphic that appears at the start of the film. Once again the typography conveys weird, primitive, psychological energy, but it's laid over a classical, Rubenesque color scheme. The card promises thrills, but assures us that we're safe in the hands of a master storyteller.
Here's (above) the end title. In a comment Lester said the constable seems to say "Alright, folks, move along. There's nothing to see here. Nothing to see," and that's exactly right. It's a terrific counterpoint to the high-intensity drama we just witnessed.
I would add that there's something weird about the shot. The graphic seems to say, "The story is over now...you can go home and relax...but impish, malevolent magic is still at work in the world, so don't relax too much. "
BTW: The link to Mark's site and the Annyas screenshots that Mark linked to:
