Erik Spiekermann Blog

I watched an interview with Erik Spiekermann, who is a well-known type designer. Spiekermann has seen the evolution of type from traditional to digital. No matter what the medium or size you are designing for, metal type on a poster, or digital type for an iphone interface, you use the same type principles. As a typographer you are solving a problem for who ever is viewing your work. In his own work he uses a limited color palette of black, white, and red. His style is stark and Germanic. When he starts a new project he starts with the smallest element and then works his way up. If you do it that way it’s logical, and it kind of designs itself.

Jessica Hische

      The other night I watched "An Evening With Jessica Hische," and I absolutely loved it. Jessica Hische is a young Illustrator and Typographer that has done so much for so many different companies in such a short period of time. She first got into doing hand lettering because she didn't have enough money to buy actual fonts. When she began to create her own fonts her work became more personalized. In the short time that she has been working professionally, she has created a wide range of work, and has worked extremely hard. In one of her first jobs she just drew type all day, which sounds like such an amazing job to me!!! She would begin with pencil sketches, and then refine them in the computer. She would just look at stuff and more stuff. You have to become really observant, and store what you see in your mind, so you never hit a creative block. I also learned that there is a difference between lettering and typefaces, and when it is appropriate. Lettering or letters are drawn for a specific application, and typefaces are full fonts, or alphabets. She later began to incorporate illustration into her lettering, where she learned that you should always do what the client wants, no matter what. She also talked about those times when you get so tired of what you are doing. You just have to step back and say what Im doing is really awesome. Jessica Hische has worked for companies like NY Times, ASPCA, SAMSUNG, Wall Street Journal, and much more. She is known for her beautiful typefaces, that I love!

Chip Kidd Response

     After watching Chip Kidd’s TED talk, I have learned that the design of a book cover has to make people want to read the book, but it also has to tell in some way what the book is about. Chip Kidd was witty, and entertaining. He was quirky but straightforward. His presentation was simple, but effective, just like his work. A book cover’ is a reader’s first impression of the book. What is it about? It draws the reader in, and tells a story with out revealing too much. A cover should represent the story not in a way that treats the reader like a moron, but in a way that clearly and creatively represents the author and their work of art.

Paul Rand Response

      After hearing about Paul Rand, and his work he did, as a book cover designer I have learned less is sometimes more. You don’t have to use Photoshop and Illustrator to make a good cover. Paul Rand’s career was mostly in the 50’s and 60’s. At the time, his work was seen as radical. He used blocks of color, crumpled paper, abstractions, painting, and his own handwriting to create his covers. His compositions were unexpected, and he rejected what was known as traditional. He broke “rules” but I think his work is refreshing, and timeless no matter when you are looking at it. Paul Rand created covers that drew you in, but didn’t tell the whole story

Final Type Motion Video

How does your motion piece effectively represent the speech content and delivery? What techniques worked well? How did you address the narrative flow of the speech in static book and motion?

-My motion piece effectively represents the speech in a clean, simple but powerful way.
-The fade in and fade outs worked well with my piece.
-I addressed the narrative flow of the speech by emphasizing the important words and phrases, and adding motion or color change.

Another Draft of Motion Graphics

Rough Draft of Type Motion Video

Type Motion Inspiration

1. How does Saul Bass work with type/image/ and music in these three title openings to set the tone for the coming film?

2. How do they play off of one another?

3. What is the mood you feel watching them?

4. How are they similar and different?

North By Northwest-In the North By Northwest title sequence Saul Bass used the angular lines of a building, in a city, where the movie starts out. He places the text at the same angle as the lines of the building, and has it go up and down like people on a elevator would go inside the building. He later moves to the bustling streets that are full of people moving every direction. He uses the direction of motion of the people to create motion with the type. The music he uses is very suspenseful and has lots of tension, which reflects the tone of the movie. The text, images, and music work together to create a tense and angular tone.

Psycho- In the Psycho title sequence Saul Bass uses simple lines, text and eerie music, that all work cohesively. The music is fast, tense, and sounds like music that would be played during some sort of chase. The lines and text came on and off the screen in time with the music, in a hurried, or nervous manner. The overall mood of this title sequence is eerie and suspenseful.

Ocean’s Eleven- In the Ocean’s Eleven title sequence Saul Bass used the elements of the movie setting to make it cohesive. The text, and images were all made of dots that mimicked the casino lights, and the casino is where the movie takes place. The movement of the text and shapes move together and mimic lights turning off and on. The music reflects the time period and exemplifies the glamour of the characters and the movie. While the jazz is upbeat it is still has a slightly sneaky or suspenseful feel.

-All of the Saul Bass movie titles are similar in that they do a wonderful job at setting the tone of the movie that the viewer is about to watch. They all use simple movements, with simple shapes that are impactful and effective. The tone of Psycho and North by Northwest are much more suspenseful, whereas Ocean’s Eleven is more upbeat.

1.How does Marlene McMarty work with type/image/graphics and music in these three title openings to set the tone for the coming film?

2.How do they play off of one another?

3.What is the mood you feel watching them?

4.How are they similar and different?

I Shot Andy Warhol- Marlene McMarty’s I shot Andy Warhol opening title is bold and in your face. The title appears and then grows to create a red and black blocks f color that covers the screen. The text comes appears and disappears in a typewriter style and is smudged and imperfect. The music is dark and ominous. The simple color palette of red, black and white sets the stage for a dark movie about death.

Safe- The safe movie title sequence by Marlene McMarty was simple and straightforward. The opening sequence is set on night on the hood of driven car. The title of the movie appears in white, and then changes to red for added emphasis. The Text appears just above the hood of the car, and then lights up like car lights and then disappears. The music has a sad and somber feel. The text, images, and music work together to create a ominous dark mood.

American Psycho- This title sequence sets the tone with the use of a clean and simple look, but is slightly twisted with the drops of blood. The simple black and white text worked great strategically placed with the bright, bold, fresh colors of the food, flowers, etc. The music is tense but cheerful at the same time. Together the music, text, and image create a clean, and simple, yet creepy mood

-All of Marlene McMarty’s title sequences are simple yet effective. Each one uses an element from the movie, and its storyline, and incorporates it into the opening sequence. The blood/red in I shot Andy Warhol, and American Psycho or the car light effect in safe.

Inspiring movie title sequence

Who designed it?

Why it appeals to you?

101 Dalmatians

The title sequence for Disney’s 101 Dalmatians was designed by Stephen Frankfurt. It appeals to me not only because it’s my favorite Disney movie, but because I love how Frankfurt created pattern, interesting layout, and used great music to tie everything together. The Dalmatian spots used as a pattern, background, and how they move is so fun and interesting. The jazz music in sync with the musical type movement of the spots is one of my favorite things about this opening sequence. The text is elegant and fun. Everything about this opening sequence is fun and upbeat, which definitely sets the tone for the movie.  

http://www.youtube.com/watch?v=34e-ADjBwG4