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Objective

To learn design principles through exploration and experimentation. To learn visual grammar by making abstract compositions. To practice thumbnail sketching.

 

Secondary objectives

To utilize Adobe Illustrator as a layout and production tool.

 

Description

Re-design the title sequence for an existing feature film or television show (use industry standard aspect ratios). Consider the subject matter and the genre of the film (or show). How can design principles help visually communicate the mood and/or story? Design the minimum number of key frames to visually communicate your concept and arrange the key frames in a logical sequential order.

This conceptual typographic story board should contain only type (no images) and no color (grays are allowed). You may use non-representational graphics (lines and shapes) if they help communicate your concept. The finished design must show an understanding of unity, emphasis and balance. In addition, there must be a clear sense of hierarchy.

At the minimum, your sequence should contain at least the following information (see example):

• Title of film (or show)
• Name(s) of key cast member(s)
• Names of key production people (optional)

You may use only up to two classic typefaces in your sequence. Consider the following ways to create emphasis and hierarchy:

• Size
• Weight
• Placement
• Isolation
• Direction
• Value (variations in grays)
• All caps vs lowercase
• Roman vs italics

Suggested Internet resources for reference and inspiration:

• Submarine Channel
• Imaginary Forces
• Prologue Films
• yU + Co
• Art of the Title Sequence
• Smashing Magazine
• Student example

See an example of a Richard Greenberg title sequence from 1980:

 

 

Procedure

1. CONCEPTS AND SKETCHING: In your sketchbook begin to conceptualize layouts for this project (see examples of sketches). Make at least 10 variations of possible directions you might take this project. Edit your concepts down to your best three ideas for execution. Scan and print your sketches for your Process Book.

2. PROOF: Using your sketches as reference, execute at least one key frame for each of your best three ideas. If you need more than one key frame to visually describe your concept, execute the minimum number of frames you need. Generate web-ready JPEGs (no wider than 800px) and publish your proofs on your personal Process Page for critique. Be prepared to talk about what design principles are utilized in your designs. Also print high-quality b&w proofs for your Process Book.

3. FINAL CRITIQUE: Based on the critique of the above, refine your best concept and execute the remaining frames of your story board. Format your story board frames for printing on 8.5 x 11 paper (portrait or landscape). Add a revised JPEG to your personal personal Process Page for final critique. If necessary, make additional refinements until you are 100% satisfied with the project. Print a high-quality b&w proof for your portfolio. Be sure to save all your files for future editing.

4. GRADING: Submit two b&w laser proofs of your final proof with your name on it for grading. File the graded proof in your Process Book for individual review along with all the preliminary work you did for the project (sketches, preliminary proofs, final proof). You will not receive credit for this project if any of the above elements are missing.

5. EXTRA CREDIT: Submit your project into next year's student show by printing an art gallery quality proof and mounting it on foam board. Also prepare an archival quality JPEG (800px wide, no larger than 200K) and submit your project using the online entry form at gds.parkland.edu/show. Your project may win a cash prize and be published in a showcase of student work on Parkland's website.