The Origin of Title Sequences
Although many people believe that motion graphic title sequences in films and television shows are a relatively new concept in the world of Design, they would be incorrect. Over the past few decades, Hollywood and the media industry, in general, have taken a bolder approach to appeal to their audiences through the use of color, typography, and movement, blending various forms of design into one project to show the world.
The use of motion graphics to create moving title sequences in movies and shows was brought to fruition by American graphic designer and filmmaker, Saul Bass. In an article by Ruxi Rusu for Daily Art Magazine, they describe, “(Bass)...who introduced title sequences, reinvented movie posters, and crafted several advertising campaigns. He worked with some of the greatest names in the movie industry such as Stanley Kubrick, Otto Preminger, Alfred Hitchcock, and Martin Scorsese in a series of projects which set the scene for the next generation of graphic designers to come. Saul Bass was the man who revolutionized cinema through graphic design.” He put forth a new art form that gains popularity in the graphic design and film community, creating an entire subsidiary of content that would pave the way for designers and creators alike to share their passion and creativity.
In 1946, Bass moved to Los Angeles to pursue his career in graphic design and eventually ended up working for associates in Hollywood. For his first movie poster, Carmen Jones, he received such an overwhelming number of compliments, the director asked for him to design and fully create a moving title sequence. In the industry, at this moment, it wasn’t common for movies or even tv shows to have title sequences, even with credits.
With his dramatic and eye-catching style, Bass revolutionized the industry and convinced many directors to have title credit sequences appear in their films to match the design of their posters and create a cohesive signature.
There are numerous projects that Bass is known for, for example, his work on The Man with the Golden Arm, Vertigo, as well as Anatomy of a Murder. These sequences specifically are what made Bass a figurehead in the graphic design and film industry. He perfectly captured the essence of every film he worked on with his use of shapes, illustrated silhouettes of the characters, spinning spirals, close-ups of facial features, and unique color palettes. There are countless works in today’s Hollywood industry that take inspiration from Bass’ vast array of work.
Imaginary Forces created an extensive list of title sequences that are deeply influenced by Bass’ mind and design style in general, just to name a few:
Even if some movie and television title credit sequences don’t look or even have the same feel as Bass’ work, the consideration to have a sequence is in itself using his ideas and bringing them into the 21st century of design and media. With What Nerd’s thoroughly researched article on “The 17 Best TV Show Intros That Are Visually Striking”, Bass’ influence does not seem to be leaving graphic designers’ minds anytime soon.