Saturday
Mar082008
Title Sequence Montage - 25 of the best title designs
Saturday, March 8, 2008 at 9:51PM
For a tour through the annals of title design and motion graphics history, and to get a sense of the trajectory of complex visual cinematic language over the past four decades, you could do much worse than to sit back at watch this 10 minute montage. the piece draws together 25 of the more significant, influential, clever and dynamic title sequence designs; and whilst there may be arguments to be had over what was left out, it still serves as highly informative collection.
[youtube=http://www.youtube.com/watch?v=aPP5jx-kx0Y]
What i find most interesting about the art of motion graphics is that for much of the past 3 decades it has been resigned to a specific role in constructing condensed visual meaning for the 'introduction' of larger, more traditional, cinema - title sequences for movies and TV shows. In many ways the more interesting evolution for motion graphics going forward will be the saturation of motion graphics as a common visual language, not only for 'intros' but for the consumate telling of cinematic stories and evocation cinematic meaning.
Many may scoff at the idea of a layered, dynamic, complex and visually dense array of media elements being a mainstay of a movie rather than the introductory, special purpose, fringe. But those same people, a few decades ago, would have also scofed at the idea of hand-held camera or fast cutting. Cinematic langauge evolves and the literacy of cinema's viewers evolvs with it. To the 'digital native', who's minds work at twitch-speed, for whom digital, screen-based multitasking is a everyday practice, for whom the senory overload of immersive gaming is their mainstay of cinematic media, such a proposal for Motion Graphics is hardly far fetched.
For a crash course in motion graphics form both a technical and aesthetic viewpoint check out this article 'Poetry in Motion (or Vertical Editing).
[youtube=http://www.youtube.com/watch?v=aPP5jx-kx0Y]
What i find most interesting about the art of motion graphics is that for much of the past 3 decades it has been resigned to a specific role in constructing condensed visual meaning for the 'introduction' of larger, more traditional, cinema - title sequences for movies and TV shows. In many ways the more interesting evolution for motion graphics going forward will be the saturation of motion graphics as a common visual language, not only for 'intros' but for the consumate telling of cinematic stories and evocation cinematic meaning.
Many may scoff at the idea of a layered, dynamic, complex and visually dense array of media elements being a mainstay of a movie rather than the introductory, special purpose, fringe. But those same people, a few decades ago, would have also scofed at the idea of hand-held camera or fast cutting. Cinematic langauge evolves and the literacy of cinema's viewers evolvs with it. To the 'digital native', who's minds work at twitch-speed, for whom digital, screen-based multitasking is a everyday practice, for whom the senory overload of immersive gaming is their mainstay of cinematic media, such a proposal for Motion Graphics is hardly far fetched.
For a crash course in motion graphics form both a technical and aesthetic viewpoint check out this article 'Poetry in Motion (or Vertical Editing).
