Last night I saw an awesome movie called Super 8 which inspired me to find this old film and camera packaging.
Last night I rented an awesome 2011 movie called Super 8. I’m not sure how I completely missed it on the circuit, but I had never heard of it. I guess my brain switched off every time I heard someone mention “super something-or-other”, assuming it was yet another superhero movie…
Turns out I was just uneducated. The title refers to a motion picture film format introduced by Kodak Eastman in 1965. Following it’s 8mm predecessor, this bad boy featured smaller perforations allowing for a larger exposure area, hence the superness.
History lesson aside, during the movie (set in 1979) I noticed the unmistakeable yellow Kodak film packs and it inspired me to look for some more film and camera packaging examples from that period. Fortunately I came across a nice little collection at The Medium Control’s inspiration blog, have a look:
Is that some Eurostile I spy on “INSTANT CARTRIDGE LOAD MOVIE CAMERA”? Also note the little SUPER 8 to the right of the camera.
I love the condensed fonts used on this instamatic camera packaging combined with the extended font used for the model number. Any idea what they are? Those slanted terminals on the S and C of INSTAMATIC are quite distinctive…
Some clever title screen lettering by Erik Marinovich perfectly captures the mood of this short film.
Friends of Type recently reported on Erik Marinovich’s process in designing the title screens for a short film entitled The Master Cleanse.
I really like the way the bright yellow and white smeared lettering creates a perfect visual paradox: clean yet grimy. As the days go by and the relationship of the main characters becomes strained, the build-up of tension is reflected in the lettering – another clever touch by Erik:
A look at the typography employed in the 2009 sci-fi thriller Moon.
Last weekend I rented the 2009 sci-fi thriller Moon (yes, I still rent DVDs from the video store like it’s 1999 baby!). Good movie by the way, if you have not seen it, you should. Director Duncan Jones is quoted saying the film was styled to pay homage to similar movies from the 1970s and 80s.
The overall aesthetic decision was to keep a clean, retro feel and deliberately keep away from anything that looked too “high-tech”. – Gavin Rothery
It is quite fitting then, that head of Moon’s graphic design team Gavin Rothery entrusted the majority of the typographic details to a stalwart of 70s science fiction, Eurostile. However, Jones claims that the font used is called Microstyle…
Eurostile was released in 1962 by Italian type designer Aldo Novarese, based on an earlier caps-only font called Microgramma. The only info I am able to find on “Microstyle” is that it’s a variation of Eurostile and Microgramma, so let’s just treat it as the same thing ok?
Here are some examples of the typography in Moon.
Interior of the Sarang Moon Base:
Gerty, the robotic assist:
Fire control graphic:
Digital monitor displays:
Mission badges on the space suits:
Lunar Industries Ltd. logo:
I remember watching this unusual (for him) Will Ferrell film back in 2006 and being spellbound by the title sequence. If you enjoy the combination of movies and nice typography, there is little doubt that you would have checked out Art of the Title – a compendium and leading web resource of film and television title design from around the world.
The opening titles for Stranger Than Fiction were designed by Kansas City based MK12.
If the video below does not load, see the Stranger Than Fiction title sequence here.
Is it just me or is the brush script lettering style making a comeback?
Is it just me or is the brush script lettering style making a comeback? Originally popularised by the advertising of the 1940s and 50s, brush script lost its appeal when the rational grid based Swiss Style emerged in the 1960s.
While brush script is often avoided due to its tendency to look, well, kind of corny, I am noticing many designers reclaiming its place in more thoughtful solutions. Brush lettering adds a sense of fun and irreverence, especially when coupled with more formal typefaces.
Here are a few examples I found today:
The concept of the materials stems from the hand-drawn, brush lettering that was originally inspired by small grocery stores, bodegas, and buying things on sale by the pound. So we extended the idea of blowout sale prices to the t-shirt, tote bag, and sketchbook by just listing the production price on the front.
A professional display of 50 No Handed Bike Moves performed to “Golden Tree” by Martin Brooks. Video by Ninian Doff.
Deck designs by Albin Holmqvist for a Swedish skateboard company called Sweet Skateboards.
Aspic and Asphalt fonts designed by AnOther Magazine’s creative director Gareth Hague.
Just a fad or is brush script back for good? Any other noteworthy examples you can think of?
A fascinating example of how graphic design plays a vital role in movie production, yet goes virtually unnoticed amidst the drama!
My wife finally dragged me kicking and screaming to sit down and watch Water for Elephants with her on DVD. A tearjerking romantic drama was not at the top of my list of fun ways to spend a Saturday night, but I must admit it wasn’t that bad.
Throughout the film I was impressed by the attention to detail in the set design. It was clear that a lot of work went into the graphic design and the vintage circus typography.
Realising that I am probably not the only one whose attention was caught, I Googled the subject to see what others have said. I instantly hit gold – a write-up from Karen TenEyck, the graphic designer responsible! I recommend reading the article as it contains a lot of fascinating behind-the-scenes insight. Download it here a a PDF:
ADG Perspective Magazine Jun/Jul 2011, pages 34 – 41 (1.6MB).
Working with production designer Jack Fisk, art director David Crank and set decorator Jim Erickson, Karen produced a mammoth collection of posters, banners, signs, branding and packaging used to give the film that convincing 1930s atmosphere.
Another challenge for period films is that fonts made for the computer do not do justice to the hand-crafted look of the time, even if they are based on old styles. They are simply too perfect. Yet with the current trend of less and less prep time, I needed to find ways to shortcut the process and get the same effects. One of the ways I have been able to do this is by creating my own fonts based on the fifty-plus period lettering and advertising books I own. I am able to give these fonts the imperfect look of hand-drawn letters done with a lettering brush. Because they are turned into fonts that I can type with, it speeds up the process considerably down the line as decisions are made closer to filming. – Karen TenEyck
Take a look at some of Karen’s work in action:
Finally, the film also has a very nice end title screen which was not designed by Karen, but by a Los Angeles studio called River Road Creative:
Doug Wilson of I Love Typography is directing a feature-length film which aims to uncover the surprising and passionate stories of the people behind the forgotten art of Linotype printing.
Doug Wilson of I Love Typography fame is directing a feature-length film about the Linotype type casting machine. Invented by Ottmar Mergenthaler in 1886, the Linotype revolutionized printing, but newer technologies rendered these complex machines obsolete by the mid 1900s. Linotype: The Film aims to uncover the surprising and passionate stories of the people behind this forgotten art.
Doug and his crew have now launched a second Kickstarter project to fund the final push to cover post-production expenses. They are hoping for the film to premiere early 2012.
Bring it to Cape Town, Doug! I’m sure Design Indaba would love to screen it.
“Linotype: The Film” Official Trailer from Linotype: The Film on Vimeo.
Via: I Love Typography