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Teen Team. Sign up here to get the latest news, updates and special offers delivered directly to your inbox. This style of text is also complemented by child-like pencil sketches. The detective-mystery was centred on a boy who claimed to remember his past life. His sketchbook seamlessly transitions into the credit sequence of the film. The text used here also looks like it was written by the meticulous but inexpert hands of an eight- year-old.
The artwork was done by Ray. With the advent of sound films, songs became an integral part of Indian films. This is why the title sequences of Indian films from the s and 40s are often accompanied by swelling music. This was a few years before the song was adopted as the national anthem of independent India It then, acts a bridge as Rahmat moves from Kabul to Calcutta. The titular character of Bhuvan Shome, on the other hand, is a strict officer of the Indian Railways who is travelling to rural Gujarat.
The Foley sounds used in the title sequence of this film are louder and blended in with robust vocals and tabla. Sadly, all the prints of these films have been lost. This was done using stop motion animation with small stone chips. Known as the father of Indian animation, Ram Mohan began his career as an animator for the Films Division of India under the supervision of Disney animator Clair Weeks. He worked for the Films Division from the late s to the late s and established Ram Mohan Biographics in The studio, led by Mohan was a popular choice for producing animated titles sequences for Hindi films.
In the late 90s, the studio merged with United Studios Ltd. His signature approach to designing a credit sequence was to put his own spin on the story of the film. Animated caricatures of the key characters and props of the film were introduced with the credit information appearing in hand-lettered script.
The title sequence was a humorous 4-minute slapstick sketch of the two characters trying to outdo each other in their criminal activities and eventually being captured by a police officer. The film then opens with the two rivals in prison, almost as a continuation of the animation into live-action.
The value that animation brought to storytelling was the setting of tone before a long form narrative began. It is able to entertain while delivering customary information. The tortoise and the hare represent the good-natured Rajaram and the artful Bashu in the film. Title sequence design in India has seen the use quite a few techniques of animation in the last decade or so, but these are few and far between. In most cases, neither financial nor creative investments of this sort are made in the title sequence.
The male protagonist is a game designer and the entire scene plays out in his imagination. But Satyajit Ray was one of the few directors who imagined, designed and finished noteworthy title sequences for his own films.
He included several indigenous calligraphic motifs into Roman characters while he was working in publishing and advertising, creating 4 new Roman fonts — Ray Roman, Ray Bizarre, Daphnis and Holiday Script. Roman typefaces created by Satyajit Ray Source: The Quint Most of the typographic component of the title sequences of his films has text designed specifically for that purpose. This kind of craftsmanship is found in old punthi or manuscripts.
While working on the play, he must have folded and unfolded those sheets of paper hundreds of times, causing that crease. They belong to upper middle class social backgrounds and the moment they come too close to the uncomfortable truths of life, they take a step back. All that they see is through a filter, from a distance, as if through a window of a moving car. This is achieved by designing text in relation to images, which are either textual or symbolic.
These references are simple enough and can easily be related to the story that unfolds afterwards. The credit sequence simply has dark bars that progressively increase in number and form a cage-like structure. Light leaks through the bars that mask the man beneath. The audience can only see the back of his head and does not see his face for several minutes into the film. His work is unmistakably modernist bearing strong influences of modernism and the Swiss Style of graphic design which was being revived in the s and 60s.
Considered to be an absolute, objective and universal form of graphic expression, this design movement has found at least as many critics as it has admirers.
It allows for a compact presentation of what the filmmaker wants to establish while also performing utilitarian functions of providing acknowledgement, backstories, anecdotes and other information. Calligraphy, typography, graphic design, illustration, animation and so on can be utilized to great advantage while putting together these sequences. Attention-grabbing visuals can be an efficient marketing tool. There are also instances where a test audience was unable to understand subtle details in the film, which were then included in the title sequence during post-production to introduce the reference.
Perhaps, most importantly, they are a reflection the art movements of the times. The greatest challenge facing title designers and typographers in the Indian film industry is indifference. This is why we have mainstream Hindi films that spend millions on the movie-making process but fail to impress in this regard.
Credit sequence design for film provides an opportunity to marry together art, calligraphy, music and movement together in a way that no other medium does.
In this age of increased awareness and appreciation, computer-aided design and various kings of social display platforms, what can be achieved is limited simply by the imagination. He graduated from the Govt. How would you compare typography on paper and typography on screen? There is no difference between the two. They are both a combination of lines and volumes. And how old is that concept?
About 50, years The cave paintings are the earliest examples of it, like the bison of Altamira. The huge volume of the bison is balanced on four thin legs. And that is the visual contrast that appeals to the human brain.
Now, this grammar that has been set for so many years is employed the same way on paper as it is on screen. On screen, we see kinetic typography which has basic animation like a scroll or a rotation. Also, when we work with our hands, we can keep small errors, to make the type more interesting, instead of achieving regimented uniformity.
Today, we do see a lot of morphing in terms of animation — a man morphs into the demon, the camera moves to reveal 40 other demons, etcetera. But that one clean, scientific concept — the display of sheer intelligence is missing.
There are a bunch of perspectives now — we need to 24 There is debate among historians relating to the actual dates of the paintings of Altamira caves. The most common opinion is that they are about 36, years old. So, what kind of work is being done in typography? What are the challenges you faced when you worked in the field?
This is because there was no practice of giving names when I was working. The problem with designing a Hindi or a Bangla font is that we cannot just design the base alphabet — 26 capital letters and 26 small letters — like one would do in case of an English typeface.
They simply design the specific characters that they require for a particular project. In the earlier days, a creative font was designed for the title card of a film. If these people working on celluloid were here today, they would probably use the same process for digital media too.
Is there a practice of creating custom typefaces for cinema? Not at all. But, say a Hitchcock getting a typeface designed for the specific purpose of writing the text of his film, is beyond imagining. Hitchcock worked with designers like Saul Bass for the logos and title cards.
He did design new fonts for a few films like Vertigo It was perhaps, inevitable. Satyajit Ray was one of the very few directors in world cinema who could imagine, design and meticulously finish fonts required for his own films.
The variety is mind boggling. Jean Luc Godard created beautiful designs using disproportionately big letters beside inordinately small ones. The same technique was used by Lewis Carroll in the printing industry. It was quite difficult to accomplish this with the treadle machines used in the days of letter press technology.
So, how would you say, Ray stands apart in this regard? The titles are hand-written on manuscript paper. Every sheet of paper has crease running down the centre. And because the paper was handmade, it had grains and the brushstrokes were distinctive.
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