![]() There's a few cheap-and-nasty fonts like that - avoid! "Chicago" was a terrible font - the spaces between letters was too wide between certain letter sequences. ![]() ![]() Oh, god yes - I hate that, too, though I can't think of any examples of the top of my head, as it is almost bedtime (that's when I'm a pirate). Specifically, a film's poster and trailer will be strewn in one type treatment, and another is used in the title credits. Rumz wrote:What irks me the most is how type's utility as a branding device in film is so often ignored. Lastly: Saul Bass (let the images do the talking) Later, The Godfather and Star Wars would begin in the same fashion and it is now not so striking for a film to commence in such a manner. Citizen Kane is the earliest example of a mainstream film to have no real credits (bar "A Mercury Production / By Orson Welles") just that bold CITIZEN KANE fillling the Academy frame - from the get-go, this is a film of supreme control and fastidious design. There is another interesting case: films which have no opening titles. As for TV, Terry Gilliam's opening sequence to Monty Python's Flying Circus remain dear to hearts of millions The early James Bond titles were - and still are - extraordinary, but they soon became overdone. Sergio Leone's films, of course, have striking, highly memorable title designs in The Good, the Bad and the Ugly, I love the way they 'blow' away to make for the next after the gunshots, with Morricone's immortal score twanging away on the soundtrack - a highpoint in title design, no question. Sense of Cinema article on retro titles in modern moviesĮxcellent article on anachronistic typefaces in moviesĮxtensive study of movie fonts, 1955-1965 (skip to the conclusion for some fine insight by Emily King) Sci-fi and horror films of the 60s through to the early 80s often have very beautiful titles - the opening credits to Alien are among my favourites, as is Close Encounters of the Third Kind. Novarese's Stop was also used in many sci-fi films: It was used for the original Star Trek series, Kubrick's, 2001 and Robert Wise's, The Andromeda Strain utilised it, as did many sci-fi films, as memory serves. In the Silent days and through to the late 50s, American and European films had very ornate and often clumsy opening title designs that filled the screen, some of which are works of art in themselves, but goodness knows who designed them - why is it that everyone these days gets a credit except the title designer? Irony! Maybe it's tucked away - after "window-cleaner" or something.Īldo Novarese (1920-1995) and Alessandro Butti's Microgramma, created in 1952, later developed into Eurostile is a wonderful and enduring typeface. Unlike literature, title design in Cinema is not really about readability. I am somewhat obsessed with typeface, typesetting, color of type, etc generally, but in some films - even films I have a deep appreciation for - the typeface irritates me - Roeg's Don't Look Now is probably the best example, what an awful selection that neon blue - and in capitals to boot! Bizarre. Is the typeface used for the opening titles in a film a important contribution to the film's value? Maybe it is just me, but sometimes I drawn into a film more strongly if the typeface of the opening titles is striking.
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