A retro title sequence in the style of Saul Bass, pioneer of title sequences. Whether you've a Hitchcock style detective film noir or a more up beat Spielberg, Catch Me if You Can, production – maybe even a horror film – this sequence is abstract enough to cater for most movie genres.

A retro title sequence in the style of Saul Bass, pioneer of title sequences. Whether you've a Hitchcock style detective film noir or a more up beat Spielberg, Catch Me if You Can, production – maybe even a horror film – this sequence is abstract enough to cater for most movie genres.

I do not own, nor did I create this video. This video is an example of the work of Soul Bass and I take no credit for the production of the video.  Saul Bass (May 8th 1920 – April 25th 1996) was an extremely popular and well known animator that focussed on using his skills to create movie intro sequences for more than 40 years of his career and life. Bass has even claimed an Oscar award in his name, along with three other awards and two other nominations. Saul Bass is well known for his…

I do not own, nor did I create this video. This video is an example of the work of Soul Bass and I take no credit for the production of the video. Saul Bass (May 8th 1920 – April 25th 1996) was an extremely popular and well known animator that focussed on using his skills to create movie intro sequences for more than 40 years of his career and life. Bass has even claimed an Oscar award in his name, along with three other awards and two other nominations. Saul Bass is well known for his…

Part two of our interview with Kyle Cooper. Great insights from the acclaimed title designer and (art) director on the use of typography in three classic main titles that made a big impression on him: The Dead Zone by Wayne Fitzgerald, To Kill A Mockingbird by Stephen Frankfurt, and Walk On The Wild Side by Saul Bass.   In part one, Cooper discusses typography, his love for the imperfection of handmade things, and his Main Titles for Darkness Falls, Se7en and Spiderman 2…

Part two of our interview with Kyle Cooper. Great insights from the acclaimed title designer and (art) director on the use of typography in three classic main titles that made a big impression on him: The Dead Zone by Wayne Fitzgerald, To Kill A Mockingbird by Stephen Frankfurt, and Walk On The Wild Side by Saul Bass. In part one, Cooper discusses typography, his love for the imperfection of handmade things, and his Main Titles for Darkness Falls, Se7en and Spiderman 2…

"Saul Bass + Flying Lotus + 2001: A Space Odyssey" (Fall 2012)  TRT: 0:41min  An alternative title sequence for Stanley Kubrick's "2001: A Space Odyssey," stylistically inspired by the motion graphics work of Saul Bass set to the music of trip-hop artist and Producer Flying Lotus.  As part of an experimental animation class we were asked to design alternative title sequences for an existing film inspired by the style and legacy of Saul Bass. Bass, grandfather of filmic title design, sa...

"Saul Bass + Flying Lotus + 2001: A Space Odyssey" (Fall 2012) TRT: 0:41min An alternative title sequence for Stanley Kubrick's "2001: A Space Odyssey," stylistically inspired by the motion graphics work of Saul Bass set to the music of trip-hop artist and Producer Flying Lotus. As part of an experimental animation class we were asked to design alternative title sequences for an existing film inspired by the style and legacy of Saul Bass. Bass, grandfather of filmic title design, sa...

Adobe After Effects CS5.5 animation for the psychological thriller, Black Swan.   Per a Saul Bass inspiration, I tackled the project from a purely graphical perspective, maintaining the severity and drama of the film through clean, contemporary language. Similar to the flavor of ballet, the piece is controlled, every text transition and graphical coloring purposeful and intent. However, the music and rhythm offer the sequence a daunting undertone which accompanies the film's unsettling…

Adobe After Effects CS5.5 animation for the psychological thriller, Black Swan. Per a Saul Bass inspiration, I tackled the project from a purely graphical perspective, maintaining the severity and drama of the film through clean, contemporary language. Similar to the flavor of ballet, the piece is controlled, every text transition and graphical coloring purposeful and intent. However, the music and rhythm offer the sequence a daunting undertone which accompanies the film's unsettling…

Title sequence for the Disney•Pixar movie "Up" based on Saul Bass' style.  Academic project done with Mayara Závoli oriented by Leonardo Ventapane for the subject "Digital Media II" in 2012.1.

Title sequence for the Disney•Pixar movie "Up" based on Saul Bass' style. Academic project done with Mayara Závoli oriented by Leonardo Ventapane for the subject "Digital Media II" in 2012.1.

Nothing sets the scene for a film better than a well executed title sequence. I have always admired the work of Saul Bass, so for my final university project I decided to address the sad fact that movies often neglect to include one these days.  I chose the modern remake of the classic Ocean's Eleven because the film itself exudes style, and features a slick plot that leaves that ‘smile in the mind’. Yet it lacks a proper title sequence, perhaps out of respect to Bass' work on the…

Nothing sets the scene for a film better than a well executed title sequence. I have always admired the work of Saul Bass, so for my final university project I decided to address the sad fact that movies often neglect to include one these days. I chose the modern remake of the classic Ocean's Eleven because the film itself exudes style, and features a slick plot that leaves that ‘smile in the mind’. Yet it lacks a proper title sequence, perhaps out of respect to Bass' work on the…


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Alternate Dexter Intro. Inspired by Saul Bass, created by graphic designer Ty Mattson,

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The Thing from Another World (1951).wmv - YouTube

The Thing from Another World (1951).wmv - YouTube

70+ ejemplos de tipografia experimental (Diseños)

70+ ejemplos de tipografia experimental (Diseños)

Created by Sig Vicious, an icelandic designer based in Reykjavik, the disorder font is a strange typeface with a distinct personalities.

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