idsgn (a design blog) – Now and then: How film titles have evolved

“Before the cinematic title sequences of today’s films, pioneered by the likes of Saul Bass and (more recently) Kyle Cooper, film titles were once a motionless work of art. In this ‘Now and then,’ we are pressing pause and exploring the art behind the film title.

Since the early days of cinema, artists have carefully designed film titles to captivate audiences and set the film’s mood. To bring attention to this often overlooked art form, Dutch graphic designer (and movie lover) Christian Annyas has put together The Movie Title Stills Collection. The website collects and neatly organizes film titles by decade, from the 1920’s to present. To illustrate how film titles have evolved over the years, we’ve chosen some of our favorites from the collection.”

Explanations:

“Matt Robinson in collaboration with Tom Wrigglesworth embarked in an experiment of ink efficiency by sketching out large scale renditions of popular typefaces with ballpoint pens and comparing their ink usage. OK, they might have a little too much time on their hands, but their findings have a few surprises.”

You may already know about Mark and Tom’s work : they directed and edited this viral printer video for Hewlett Packard.

“Long before modern icon libraries like Helveticons, designers and sign-makers were forced to use a mishmash of symbols. Until the Helvetica man came along… — By 1974, the U.S. Department of Transportation (DOT) realized the problem of using inconsistent symbols and commissioned the AIGA to produce a standard set for the Interstate Highway System, resulting in Symbol Signs. Sometimes referred to as the ‘Helvetica’ of pictograms (or specifically the Helvetica Man as coined by Ellen Lupton, and interviewed by Designer Observer), the project gave us the most common pictograms we see today. […] The AIGA team (which consisted of Thomas Geismar, Seymour Chwast, Rudolph de Harak, John Lees, and Massimo Vignelli) worked with designers Roger Cook and Don Shanosky to study the various pictogram systems in use around the world at the time, drawing inspiration from airports, train stations, and the Olympic Games.

A set of 34 symbols was published in 1974, receiving one of the first Presidential Design Awards. In 1979, 16 more symbols were added, creating a total of 50. Over the years, the symbols have become a standard in wayfinding, resulting in a set of icons we see and recognize on a daily basis (like the popular restroom and no smoking signs).

The copyright-free symbols, available for download from AIGA’s website, were released in the public domain and can be used by anyone without license.” (read more).

Mike Dacey is a designer-printer, owner of Repeat Press. Check his official website (running on Cargo) and his blog (running on Posterous). Visit the Repeat Press’ blog.

From the Telegraph.ca.uk:

“Anyone concerned that the irony of their email or text message might not be appreciated by its recipient can use the symbol to close their sentence, thereby avoiding awkward misunderstandings. The symbol – a dot inside a single spiral line – can be installed onto any PC running Windows 7, XP or Vista, as well as Macs and Blackberry mobile devices.”

More at SarcMark

Daring Fireball is the website of John Gruber

Previously on Skandalon

From idsgn’s blog: “Scientists say not two snowflake are alike. Apparently, designers have their own opinion — The simplified snowflake can be traced back to German typographer Hermann Zapf. Working with the International Typeface Corporation (ITC) in 1977, Zapf designed a collection of useful symbols, ornaments, and typographic elements, well known today as ITC Zapf Dingbats.

Spreading like frost in a blizzard, Zapf Dingbats became the de facto dingbat typeface over the following decades, giving typesetters access to commonly used symbols like arrows, pointing fingers, telephone icons, and (of course) snowflakes. […] In 1990 the snowflake was born again in Microsoft’s Wingdings typeface, with a nearly identical glyph to the one made popular in Zapf Dingbats.” (read more). Learn what’s a dingbat font.

Nick says: “This was cut by hand (not with a pantograph) sometime before 1826. Pretty amazing.”

Nick Sherman: previously on Skandalon.

About Depression Press photostream: Depression Press is one of Ken Henderson’s Flickr account. Kent Henderson is an “art director and designer with 10+ years of experience in advertising, interactive and print design” (via his Linkedin profile). See his portofolio over at his other Flickr account.

Depression Press has a lot of interesting sets from typecase, printshop and vintage illustrations to old logos.

Great pool of photos related to the Hamilton Wood Type Museum.

Nick Sherman : “Born 1983; designer, skateboarder, musician. I work as a designer for MyFonts. I also teach typography at MassArt in Boston.” Via his Flickr profile. Visit his website.

“Grafik Tasarim is the leading graphic design magazine in Turkey providing design news, research and educational articles. Turkish art director Barış Sarhan was approached by Grafik Tasarim to design the cover for the March 2009 “graphic design education” issue. With this theme in mind, Barış researched the fundamentals of graphic design, which led him to type. Rather than illustrate the anatomy of typography in the standard way, Barış collaborated with artist Ahmet Eken to produce a lowercase “a” with human-like muscles and vertebrae exposed. The image is a composite of items built by hand and 3D computer generated images created with Maya and ZBrush.”