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Main Title Design

  • instructor

- Ash Thorp

  • apprentice

- Jama Jurabaev

  • apprentice
  • learn squared

- Florian Aupetit

  • apprentice
  • learn squared

- Tim Zarki

Follow along as award-winning title designer, Ash Thorp, demonstrates how to craft detailed and thoughtful main title designs. Alongside Ash's professional Apprentices, students will learn the core principles of successful titles, and then be challenged to put these concepts to work by creating multiple examples of their own.

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Main Title Design

My choice for this assessment was Western property called Crux. Heavily influenced by movies like 'The Good The Bad & The Ugly', Hateful Eight, Django Unchained, and some can argue whether Mad Max and Logan could some what be considered a Western/Fantasy films. It was difficult finding the right typeface to capture the premise of this film. The slab serif font was a strong and bold choice. The texturizing and coloring of the letter forms to convey heavy violence and aggression, as the distressed white background gives a nice contrast with the type and graphic elements.

For homework 05 I decided to go with The Office. It’s one of my favorite shows ever while also having a title sequence that could be improved upon. I tried to limit myself to a black, white, and blue color scheme. I went with a more illustrative style as an excuse to practice, but I also thought the show’s comedic value worked with the look. Since the show’s premise is based on documenting typical office life I decided to incorporate things that would be found in any white collar workplace instead of things directly related to any characters or episodes. I chose Affogato as the typeface because it seemed to hit the right balance of style and thought while not being too flashy for the show that it is introducing.

For this lesson I decided to use an adaptation of Shakespeare play (Macbeth). At that time I was doing another workshop in the British Council (Shakespeare illustrated) analyzing their works and contexts. I decided to unite both and make the styleframe of his most current adpatation in the cinema (With Michael Fassbender y Marion Cotillard).

I tried to symbolize all the feelings of the movie, revenge, guilt, anger, sadness and graphically interpreting events such as betrayal, ambition, power, being blind by power, madness.

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Extra credit - Luke Cage

One of my favorite series, try to represent it in an abstract way using only circles, squares, and triangles. But dont work for me, so I changed it to something more figurative / geometric way.

I went for a darker, grainy undertone for this sequence, trying to emphasize the isolation of crew on the heroic missions. Going though the photos from the NASA library, I selected some of my own as I really wanted to explore the interiors of the shuttles, and make the crafts themselves feel empty, void and antiquated, like as though they were gathering dust in a museum. I originally wanted to look more closely into the politics behind the missions but felt like it was slowing me down and detracted from my overall goals.
Whilst working on the style frames, I felt they needed to be animated, I was interested in finding ways of transitioning between so many shots in short succession whilst trying to maintain audience attention. I roto'd a bunch of the images for parallax so I could maintain a level of kineticism and to help keep a good pace going throughout the title sequence.

Awesome teachers with great teaching skills. It's not just a class, it's a family.

- Val Germain

I decided to do my thumbnails based on the tv show, The Office. As much of the tv show is based off standard corporate situations, my frames were influenced by the same thing.

I thought the Closer theme had an interesting concept, and although it's titled a romance, I wanted to interpret it as a kind of twee cult love affair, think Wes / Gondry / Spike.
My concept was to play on job relocation, by using the Katakana of the English titles to interweave and displace the crew's roles in the film, and as a way of pushing the Latin characters apart. Katakana is essentially the Japanese alphabet for slang or non-Japanese words, subtly acknowledging the premise of the film.
Developing the concept, I liked the idea of punctuation, and how I could use it to structure the design. The polarity of the square and circle helped me to further the contradiction of cultures. The circle could be interpreted as a full stop or a break, whilst the square gives a feeling of space.
Outlining the roles was partly aesthetic, I felt there needed to be more balance and allowed negative space, but if I had more time I feel like they could work as neon lights, endorsing the bright city lights of Tokyo.

Here's the film blurb if this makes no sense:)
A couple is relocated to their new job located in Tokyo.
As they explore their new surroundings they slowly drift apart.

Finished the Mindhunter series and thought that before I continue watching something else, I should at least work on my homework for Main Title Design.

Lessons in this Course

Software Used: 
Adobe Photoshop, Adobe Illustrator, Adobe Bridge
Optional Software: 
Font Explorer, Mind Node, Adobe InDesign, Cinema 4D Studio R16, Octane Render, Marvelous Designer