Title design
Designs the credit sequences at the start or end of a film or series, using type, image, motion and music, to set the tone and introduce the story.
What problem it addresses
Credits have to name many people and, at the same time, prepare the audience for what's coming, in a few minutes and without giving too much away.
Principles
One idea that sums up the film
A symbol, a shape or a color condenses the theme before the first scene.
In time with the music
Type and images appear and move following the sound.
Names can be read
Each credit lasts long enough and has contrast, even when the sequence is expressive.
Applications in design
Use it like this
Look for a single visual idea that says what the story is about and develop it with the music.
Avoid
Telling the plot or giving away surprises in the credits.
Don’t fall for it
Check the sequence on the real screen: if a name can't be read in time, hold it longer or raise its contrast.
Connections
Authors and works
- 1955
Saul Bass
In Otto Preminger's «The Man with the Golden Arm», white bars on black move to Elmer Bernstein's jazz score until they form a broken arm, a symbol of the main character's addiction.
- 2011
Jennifer Bass and Pat Kirkham
Gathered the work of Saul Bass, who with Elaine Bass made credits a piece that gives the film mood and context.
- 2007
Gemma Solana and Antonio Boneu
Surveyed the history of title sequences, including pioneers before Bass and many designers who for decades went uncredited.
Sources
Secondary sources
- Bass, J., & Kirkham, P. (2011). Saul Bass: A life in film & design. Laurence King.
- Art of the Title (n.d.). The Man with the Golden Arm (1955). Extracto de Bass, J., & Kirkham, P. (2011), Saul Bass: A life in film & design. View source: Art of the Title (n.d.)
- Thrift, M. (2020, May 8). Celebrating Saul Bass’s centenary: 10 essential title sequences. BFI. View source: Thrift, M. (2020, May 8)
- Solana, G., & Boneu, A. (2007). Uncredited: Graphic design & opening titles in movies. Index Book.
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