Last night I presented, along with Suzy Tuxen, Stuart Geddes, Warren Taylor, and Dom Bartolo at Title Sequence as part of the 2011 State of Design Festival. Great titles transport the viewer from their world new world and story, the vision, the transitions, layout, type design, visual effects all serve to make this transition a smooth and compelling ride.
Thanks again to Ghita and Keith for all their attention, cheer and care.
During my day to day I often go to the cinema to escape the world of deadlines, doing graphic design and thinking about stuff, for a dark room, a big screen and overwhelming sound. The title sequence is one way to shake me up and transform one into new zones and stories for a few hours. The following are a collection of titles which transported me from my design world and into another much more compelling and new worlds.
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I like compelling
I like evocative
I like awkward noisy
Dr Who (1963) Designer Bernard Lodge.
On the night, I incorrectly credited the design to William Hartnell, thanks to the audience member who, like a some sort of father figure – tisk, tisked me. Tisk tisk yourself sir, we are not all perfect and we are all allowed to make mistakes from time to time.
Bernard Lodge (born 1933) is a British designer best known for his work on the BBC television series Doctor Who. He designed the first four series logos, and designed and engineered the first five title sequences. These include the ‘howlaround’ versions and the ‘slit-scan’ time tunnel ones. His designs were used until 1981 when Sid Sutton was appointed as the new designer by producer John Nathan-Turner.
Apologies to Mr Lodge again, and to that nasty bloke that corrected me, I have to say I strive to be constructive when providing feedback, being a grumpy finger waving pedant is not one of my methods.
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I like simple
I like insane detail
I like sympathetic type
The Conversation (1974) Francis Ford Coppola and Walter Murch
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I like a ride
I like restrained tech
I like seamlessness
I like surprises
Fight Club (1999) P Scott Makela
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I like funny
I like odd and good yuck
I like a sense of place
I like crazy type
Napoleon Dynamite (2004) Arron Ruell, Jared Hess
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I love elegant type
I love old being new again
I love cast-like type
I love scale
I love great music/image/drama/type aligning
io Sono l’Amore (2009) Calligraphy by Luca Barcellona, titles by Marco Cendron
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Thank youNo comments
Pearl Restaurant and Bar engaged the studio to develop its website. The brief was open at the start, it could be a sexy flash site, it could be html, it could be both, or something else. The more that the client and studio investigated the many restaurant sites on line, it became clear that the site for Pearl had to allow the restaurant to build on it’s community. Therefore there was a need to provide interesting destination rich with quality content often, for customers and followers of Pearl to loose themselves in.
We propositioned the client with the process of generating content with customised web log based software. The ease of staff delivering content to the internet, won over their desire for seductive moving graphics and digital effects. Visit pearlrestaurant here and move about its splashy tabloid like interface and visit often — the guys at Pearl are passionate about generating their own brand of stories, ideas and insights often. This web solution allows all manner of content to flow.
Thank you to Andrew and Geoff at Pearl and Lee at Irrepressible Wonton again— wonderful process.1 comment
Pearl CafÃ©, the latest project from famed Pearl Restaurant and Bar in Richmond, asked the studio to develop an image for their inaugural and collateral for their winter menu. Chilly, clear, and deep winter sky came to mind, which was applied to this menu supergraphic, take-a-way menus and and business cards…
Richmond with its over supply of greasy spoon cafÃ©s and average coffee houses; the opening of Pearl CafÃ© is a welcome addition to Church street casual dining scene. Open 7 days, next door to Paperpoint, it pays to get in early — as many have caught the Pearl CafÃ© bug.No comments
The most exciting part of developing an idea or a communication concept is witnessing new people and organisations interpret and develop new expressions. XYZ Studio, the animation production company that developed Melbourne Fringe Festival’s 2007 television commercial has kindly provided a collection of images that document the production.
After the story boards were approved by Fringe there was four to five days of prop, character and component preparation. An additional eight hours was spent shooting the sequence. The colour grading, editing, client approvals took approximately another two weeks.
The materials featured in the sequence are not far removed the home art kit — coloured card, cellophane, photocopies, sticky tape, foam and tissue paper. The shooting took place in Studio XYZ‘s store room.
Tim from XYZ explained that they shot three versions of the complete animation using a digital still camera. The lighting is intentionally loose. The shadows are cast from flanking diffused tunsten flood lights purchased at Bunnings (an Australian mega store hardware chain).
Tim was excited about the process of making and shooting a stop motion animation sequence. He said it was an opportunity for the studio to get out from behind the computer and actually make something with pencils, rules and cutters. Stop motion offers a style animation that is a little crude and rich in quirks, a welcome change from seamless digital rendering.