Category:Film and television title designers
Pages in category "Film and television title designers"
The following 25 pages are in this category, out of 25 total, this list may not reflect recent changes (learn more).
The following 25 pages are in this category, out of 25 total, this list may not reflect recent changes (learn more).
1. Saul Bass – Saul Bass was an American graphic designer and Academy Award-winning filmmaker, best known for his design of motion-picture title sequences, film posters, and corporate logos. During his 40-year career Bass worked for some of Hollywoods most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Bass designed some of the most iconic logos in North America, including the Bell System logo in 1969. He also designed Continental Airlines 1968 jet stream logo and United Airlines 1974 tulip logo and he died from non-Hodgkins lymphoma in Los Angeles on April 25,1996 at the age of 75. Saul Bass was born on May 8,1920, in the Bronx, New York, United States and he graduated from James Monroe High School in the Bronx and studied part-time at the Art Students League in Manhattan until attending night classes with György Kepes at Brooklyn College. He began his time in Hollywood in the 1940s, designing print advertisements for films including Champion, Death of a Salesman and The Moon Is Blue and his next collaboration with Preminger was to design a film poster for his 1954 film Carmen Jones. Preminger was so impressed with Basss work that he asked him to produce the sequence as well. Bass was one of the first to realize the potential of the opening and closing credits of a movie. Bass became widely known in the industry after creating the title sequence for Otto Premingers The Man with the Golden Arm. The subject of the film was a musicians struggle to overcome his heroin addiction. Bass decided to create a title sequence to match the films controversial subject. He chose the arm as the image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict, as he hoped, it caused quite a sensation. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest, Vertigo, working with John Whitney and it was this kind of innovative, revolutionary work that made Bass a revered graphic designer. One of the most studied film credit designers, Bass is known for integrating a stylistic coherence between the designs and the films in which they appear. Bass once described his goal for his title sequences as being to ‘’try to reach for a simple, visual phrase that tells you what the picture is all about. Another philosophy that Bass described as influencing his title sequences was the goal of getting the audience to see parts of their world in an unfamiliar way. In 1955, Elaine Makatura came to work with Bass in his Los Angeles office, by 1960, with the opening to Spartacus, she was directing and producing title sequences, and in 1961 the two married, beginning more than 40 years of close collaboration
2. Dan Curry – Dan Curry is a visual effects producer and supervisor, as well as a main title designer in the film and television industry. He is most famous for his work on Star Trek, The Next Generation, Star Trek, Deep Space Nine, Star Trek, Voyager and his work on these series has earned him seven Emmy awards. Starting on TNG, Curry used his experience as a martial artist to develop a style for the fictional alien race known as the Klingons. He designed several Klingon hand-to-hand combat weapons, including the Sword of Kahless, the mekleth, Curry has also designed many memorable title sequences for feature films including Top Gun, Big Trouble in Little China, and ¡Three Amigos. He also worked as visual effects supervisor on the television series Chuck, as of 2015, he is also a member of the board of directors for the Hollywood Science Fiction Museum. Curry attended Middlebury College in Vermont and graduate school at Humboldt State University in California, Dan Currys Official Website Biography of Dan Curry Dan Curry at the Internet Movie Database Interview with Dan Curry
3. Theodore W. Drake – Theodore Ted W. Drake was an American cartoonist, graphic artist, and sports artist known for creating the college-sports mascot the Notre Dame Leprechaun. Drake is probably best remembered for the creation of the Notre Dame Leprechaun, the Leprechaun was first used on the 1964 football pocket schedule and later on the football program covers, and featured on the cover of Time magazine in November 1964. Http, //content. time. com/time/covers/0,16641,19641120,00. html The Timeless Artwork of Ted Drake, archived from the original on December 17,2005. Boardman Comics Monographs #3 The Spindrift Cartoons,1943 edited by Matthew H. Gore
4. Oliver Elmes – Oliver Elmes was a British graphic designer. Doctor Who producer John Nathan-Turner commissioned Elmes to design a new opening for the show after the announcement that Colin Baker would not be returning to the series, Elmes worked with graphic designer Gareth Edwards from CAL Video to produce the new logo entirely on computer. The new design featured a Big Bang and a purple spiral cosmos, overlaid first with the TARDIS, the opening was accompanied with a new version of the theme by Keff McCulloch. The new sequence cost nearly £20,000 and took 3 months to complete, after the series was cancelled, the new logo continued to be used for the Virgin New Adventures until Bad Therapy. It also appeared on some of the final Target Books novelizations, in addition to his TV work, Elmes also designed book illustrations. BBC logo gallery with example of Elmes work History of Doctor Who opening sequences
5. Pablo Ferro – Pablo Ferro is an American graphic designer, film titles designer, and founder of Pablo Ferro Films. Born in Antilla, Oriente Province, Cuba, he was raised on a farm before emigrating to New York with his family as a teenager. Ferro taught himself animation from a book by Preston Blair, in the mid-1950s he began freelancing in the New York animation industry for Academy Pictures and Elektra Studios. He found his first solid job with a company that made commercials and it was while working there that he met and befriended former Disney animator Bill Tytla, who became a mentor. Another co-worker was Stan Lee, the editor of Marvel Comics. In 1961 he became one of the partners to form Ferro, Mogubgub and Schwartz with animation stylist Fred Mogubgub and comics artist Lew Schwartz, Ferro worked on films as diverse as Stanley Kubrick’s Dr. Strangelove to the split-screen montage of the original The Thomas Crown Affair. He was a pioneer of quick-cut editing, multiple screen images, ferro’s visual style has influenced many in film, television, animation, commercials, novels and children’s books. Ferro worked with Gus Van Sant on To Die For and Good Will Hunting, Ferro has worked as visual consultant, second-unit director on several films and contributed the “pornographic” effects to Midnight Cowboy in a special montage within the film. Ferro has produced and directed short films such as The Inflatable Doll. Ferro has won over 70 national and international awards, among them numerous CLIO’S, a DGA Excellence in Film Award and he has also received nominations from such highly regarded institutions as the Smithsonian Cooper-Hewitt. In 1999 Pablo was awarded the prestigious DaimlerChrysler Design Award, pablo’s titles and montage sequences have appeared in 12 Academy Award winning films. Pablo is currently creating a book, a graphic novel. He did the animation on his own documentary, Pablo, which was released in 2012, list of AIGA medalists Pablo Ferro at the Internet Movie Database
6. Wayne Fitzgerald – Wayne Fitzgerald is an American main title designer. A native of Los Angeles, Fitzgerald graduated from Art Center College of Design in 1951 and his first major motion picture title design was for MGMs Raintree County. He worked on a great many titles during his 17-year tenure at Pacific Title, becoming head of the art, during that time, Pacific Title did all the motion picture title work for Warner Bros. MGM, and 20th Century Fox, as well as some for Paramount Pictures and Columbia Pictures, neither Pacific Title nor its employees received title design credit. In addition to providing a background for the credits, Fitzgeralds titles often set the mood. For The Music Man he directed a group of 35 technicians who built sets and painted and animated the musical instruments and he then shot and edited the sequence. In the film Max Dugan Returns, the character does not appear for half an hour. Fitzgeralds titles with Bob Kurtz animation provided a background for the character, for Bonnie and Clyde, Fitzgerald used old snapshots and a quick-cut style driven by sound that melded seamlessly with film editor Dede Allens groundbreaking editorial style. The photos established the mood and look of the 1930s, and referenced the fact that Bonnie & Clyde were known for taking snapshots of themselves, until the music starts to fade in, the only sound is the click of a Brownie camera. While working together on Bonnie and Clyde, Warren Beatty convinced Fitzgerald to strike out on his own and he left his job as head of the art department at Pacific Title and formed Wayne Fitzgerald FilmDesign. Chinatown, Nine to Five, Footloose, Total Recall, to name a few, in addition to opening titles, Fitzgerald shot second unit and edited montage sequences. Fitzgerald also continued to design titles for prime time television shows Night Gallery, Dallas, Quincy, M. E. Matlock and he won an Emmy Award in 1987 for The Bronx Zoo. He also designed for the soap operas The Bold and the Beautiful 1987, One Life to Live 1984, and The Guiding Light 1991. In 1993 Fitzgerald briefly joined the digital design firm, Pittard-Sullivan. Fitzgeralds last work with the company was in 1995, after which he reformed his company, Wayne Fitzgerald FilmDesign, in 1995, Fitzgerald designed the logo for the Motion Picture Editors Guild. Until recently, Fitzgerald was a member of the Directors Guild of America and he was a two-term governor in the Academy of Television Arts and Sciences, representing title designers, and is still a member of the Academy of Motion Picture Arts and Sciences. He has lectured at UCLA and AFI, and participated in discussions in Los Angeles. He also taught at Art Center College of Design, groundhog Day Grumpy Old Men Wyatt Earp Maverick Waterworld Fitzgerald won a Primetime Emmy with David Oliver Pfeil for outstanding main title design on The Bronx Zoo in 1987
7. Bill Gold – Bill Gold is an American former graphic designer best known for thousands of film poster designs. His first film poster was for Yankee Doodle Dandy, and his most recent work was for J. Edgar, among his most famous film posters are those for Casablanca and A Clockwork Orange. Bill Gold was born on January 3,1921, in New York City and he studied illustration and design at Pratt Institute in New York. He began his design career in 1941, in the advertising department of Warner Bros. Bill Gold became head of design in 1947. In 1959 his brother Charlie joined him in the business and they formed BG Charles to do the film trailers, Charlie operated BG Charles in Los Angeles, while Bill operated in New York City. In 1987 Charlie left the business and retired to Vermont, Charlie Gold died on December 25,2003 at the age of 75. Bill Gold lives in Greenwich, CT, in 1962, Bill Gold created Bill Gold Advertising in New York City. In 1997 Bill moved the company to Stamford, Connecticut and continued his business, producing posters for every film Clint Eastwood produced, directed, and/or acted in, in 1994 Bill was awarded a Lifetime Achievement Award from The Hollywood Reporter. Richard Benjamin was the MC for the ceremony at the Directors Guild, in 2011, Bill ended an unsuccessful retirement when he agreed to create posters for Clint Eastwoods film, J. Edgar. Bill Gold is currently a member of the Society of Illustrators, the Art Directors Club. A limited-edition, oversized one-volume retrospective was published in January,2011 in coordination with Golds 90th birthday, after his first film project, Yankee Doodle Dandy, Gold collaborated with the American film industrys top film directors and film producers. Especially fruitful was Golds relationship with the illustrator Bob Peak, Golds work has spanned eight decades and has inspired numerous other designers. Secrets Behind Hollywoods Greatest Movie Posters and this feature article about Golds career has a link to fourteen images of his posters. Poster Master With a Cool Hand, article on Gold on the occasion of a book about his art. The Gold Standard, Roundtable Pictures Interviews Legendary Movie Poster Designer Bill Gold, meet Bill Gold, The Man Behind the Most Iconic Movie Posters Ever. Bill Gold reflects on his art and his career,1994 Hollywood Reporter Lifetime Achievement Award video