Archive for July, 2012

Interactive Prototypes And Time-Savers With Adobe Fireworks


  

As interface designers, we’re often required to demonstrate the look and feel (and interactions) of the interfaces we design. We often begin with a series of flat images, and while these may be pixel perfect and show some amazing detail, they lack the context of the user experience.

Without context, it would be difficult for your clients to understand the flow of an app or website in the way you originally planned it. The best way to introduce context is by adding interactivity. By providing an interactive prototype (or interactive mockup), your clients can play around with it to their hearts’ content to get an idea of how the app will work and to test the interactions.

The tool for creating interactive prototypes that wins hands down is Adobe Fireworks. Fireworks focuses on designing, prototyping and exporting for the Web, and it has a few hidden features that can easily add interaction to your prototypes and that will speed up your workflow.

But first, a little introduction. My name’s Trevor Kay and I’m a designer for Exvo. At Exvo, we create a range of Web apps, from small widgets to full desktop-like Web apps. Using Adobe Fireworks has increased our efficiency in designing and maintaining our app prototypes. “How?�, you may ask. The answer is simple: pages and symbols: the best kept secrets in interface design!

Prototyping In Code Vs. Prototyping In Fireworks

There are many prototyping techniques, and the one you use will depend on your level of technical skill in coding, the speed at which you need to produce the prototype, and the level of visual fidelity needed. Lately, prototyping in the browser has become a popular trend. So, do we still need visual tools such as Photoshop and Fireworks, or can we start right in the browser?

The answer is, it depends! Sometimes prototyping in code is best, and sometimes designing (and prototyping) in the browser is certainly not the answer.

When the prototype needs only simple interactivity, must be created quickly or requires detail and polish in its appearance, then Adobe Fireworks is the perfect tool because you don’t need to know any code to make a live prototype in very little time.

Why not Photoshop? While both Fireworks and Photoshop are excellent design tools (and often compared in UI design), Fireworks can take you one step further and produce a live prototype right from your design. In this article, we’ll cover this subject in more detail.

Fireworks is also very good when you need to create graphics for more complex prototypes that are created in development environments or even in the browser, because it can quickly slice, optimize and export graphic assets and can even help provide the CSS code for layout and text styles.

On the other hand, if you are proficient with code and need to make a prototype with complex interactivity, then prototyping in the browser might be the better option.

Now, let me show you why Fireworks works so well for me in both the prototyping and design phases of my projects!

PNG, Pages, Master Pages

Pages (and PNG)

Fireworks’ best friend is the PNG file format. Together, they achieve some pretty cool things, such as storing a multi-page document in one Fireworks PNG file (known as a Fw PNG). But I hear you say, “PNG is a flat file format!� While this is generally true, a PNG can also be extended to include various types of meta data. By using this ability to add meta data, Adobe Fireworks can store multiple pages in one PNG file, while maintaining complete editability within Fireworks itself (of vectors, bitmap objects, pages, layers, live filters and so on).

The benefit of this is two-fold. First, editable PNG files are usually very small, much smaller than comparable Photoshop PSD files. The actual difference in size can be stunning, as some designers report: one Fireworks PNG editable file with approximately 30 pages (equivalent to 30 separate PSD files or one PSD file containing 30 layer comps) can be as low as 9 MB in size, while in some cases a three-page PSD file (with layer comps, which can partially simulate pages) can be as big as 100 MB or more! A small size also means that Fireworks’ editable PNG files are easy to share and quick and simple to sync, even over a slow Internet connection.

Secondly, by storing all of the screens of your app’s prototype as pages in one file, nothing gets lost, and sending the file itself to coworkers and clients is easy.

One PNG File vs Many PSD files
One Fw PNG file may contain many pages.

Pages give you almost unlimited freedom. You can have many pages in one PNG file, and each page can have its own unique settings. You can also give each page its own name (just like you can rename layers and states). Naming your pages clearly will help you when you make the prototype interactive.

Pages actually enhance the layer model that you might already be familiar with from working with Photoshop, because each page in Fireworks is like a separate file: each page may have its own size, optimization settings, and unique content as well as shared content from other pages. Fireworks also uses layers and states.

Think of each page as a flat canvas for you to place objects on. You can move these objects around and reorder them easily, because you can interact with them directly on the canvas (just as you would with objects in Illustrator), and not through the Layers panel, which can speed up your workflow considerably!

Master Page

Fireworks also has a master page feature, which is a template for all of the other pages in your prototype. Let’s say that the same toolbar appears on all pages of your app: simply place the toolbar on the master page, and it will appear on every page. This eliminates the need to constantly duplicate elements and can save you many hours. Creating a master page is easy: just right-click on any page in the Pages panel and select “Set as Master Page.�

If you need to update an element that appears on all pages, edit it on the master page and it will be automatically updated on all other pages!

Note that objects placed on the master page will appear at the same coordinates on all other pages connected to the master page. You cannot move or change the position of master-page objects on a per-page basis.

You can also share layers to pages, which is an alternative to using a master page. However, the master page always shares all of its layers to all pages, whereas sharing a layer from a page allows you to select which pages the contents of the shared layer should appear on.

Select Behind Tool, Subselection Tool, Symbols

Fireworks also provides two powerful tools to help you avoid touching the Layers panel (and work more efficiently): the Select Behind tool and the Subselection tool.

(A layer in Fireworks is a container for objects (much like a group in Photoshop), whereas a layer in Photoshop is an individual object.)

Select Behind Tool

The Select Behind tool (located in the Tools panel or by pressing V twice) enables you to select a top-most object, and, with repeated clicking, select each of the elements directly beneath it in turn. This is yet another feature that helps you work more efficiently by not requiring you to awkwardly navigate the Layers panel, searching for an object either by name or tiny thumbnail.

Select Behind tool
In this example, five individual objects are placed on the canvas. With the Select Behind tool, selecting any object beneath another object is easy.

Subselection Tool

The Subselection tool (located in the Tools panel or by pressing A) enables you to select individual objects that are part of a group. This speeds things up because you won’t have to continually ungroup and regroup objects.


In this example, five objects are grouped together. With the Subselection tool, selecting any object inside the group is easy.

Once you get into the habit of working with pages and objects, you will feel a weight lift from your shoulders. The Select, Select Behind and Subselection tools make it a breeze to interact with the elements in your design!

See the article “Using Pages, States, and Layers in Fireworks CS4� by David Hogue for an excellent explanation of how all three elements interact with each other in Adobe Fireworks.

Symbols

Symbols are another powerful feature in Fireworks, and they complement pages and master pages quite nicely. A symbol is a special graphic group that gives you “edit once, update everywhereâ€� functionality, which saves a lot of time, too. Any object, layer or group of objects can be turned into a symbol simply by pressing F8 or by going to Modify → Symbol → Convert to Symbol in the menu. (We’ll talk about symbols in detail later.)

Want to learn a bit more about symbols in Fireworks? Watch the useful video tutorial “The Power of Symbols in Adobe Fireworks� by Rogie King.

How To Create Interactive Prototypes

All of the Fireworks workflow improvements mentioned so far are important on their own, but the real magic happens when you start making interactive prototypes. Fireworks was originally created by Macromedia as a tool targeted specifically at Web designers, and Adobe continues to develop Fireworks in this direction. It covers a lot of the things we need: pages, master pages, symbols, styles, bitmap- and vector-editing tools, and one of the best image exporting and compression features. But Fireworks has another feature that the Web has pretty much forgotten about: image maps.

Image Maps and Hotspots

Fireworks uses hotspots to generate image map areas. An image map encompasses multiple areas, which are referred to as “hotspots.â€� Adding a hotspot is as simple as selecting an object on the canvas, right-clicking on it and selecting “Insert Hotspot.â€� Alternatively, you can use the shortcut Control/Command + Shift + U, or in the menu go to Edit → Insert → Hotspot. You can also manually add hotspots with the Hotspot tool (found in the Tools panel).

Hotspots may be rectangular, circular or polygonal, but the best practice is to use rectangular hotspots because you can’t replicate circular or polygonal hotspots with normal links, which the final product will have. Also, if you decide to export the prototype to a PDF, only the rectangular hotspots will export.

Two Hotspots in Fireworks
Two hotspots (notice the blue-colored overlay).

Once added, a hotspot will appear as a blue-colored overlay above everything else. If you wish, you can change the color of a hotspot in the Properties panel. Hotspots exist in the Web Layer, which always resides at the top of all layers in the Layers panel.

Web Layer in the Layers panel
Inside the Web Layer.

Note that when you export a prototype to HTML, the names that you gave to the pages in the Fireworks PNG document will become the names of the exported HTML files.

Manipulating Hotspots

When a hotspot is selected, the Properties panel will change and give you the option to add a link to the currently selected hotspot, as well as to specify how that link should open (in the same window or a new one, for example). The link could point to an external website (such as http://www.smashingmagazine.com) or to an internal Fireworks page. By linking to an internal page, you have taken the first step in making your prototype interactive.

Properties Panel
The Properties panel when a hotspot is selected.

The selector for link: is divided into two sections, separated by a horizontal divider. Below the divider are the pages in the current Fireworks file; above the divider are all links currently in use in the open Fireworks document, and they may be either internal or external links.


A list of URLs in the Properties panel.

Now, all you have to do is go through the rest of the prototype and add the links. Remember, anything may be a linked hotspot. Need that button to open a new page? Done. Need that image in the slideshow to look like it progresses to the next image? Done. Achieving these effects really is that simple, and it will change the way you present your design prototypes. Also, you don’t have to worry if the names of your pages change; Fireworks will handle that for you as well and will automatically change all relevant hotspot links so that nothing becomes unlinked.

Export the Prototype

Once you have created all of your hotspots, how do you go about sending your clients the interactive prototype? Of course, you wouldn’t send them the editable Fw PNG file. While the PNG file contains all of your pages and links, it isn’t interactive. Clicking on a hotspot in Fireworks would not take you to the linked page; it would just select the hotspot. To make the prototype interactive, you need to export it to HTML files. These HTML files are what your clients can view and click through. They can be opened in any browser (Firefox, Safari, Chrome, Internet Explorer, Opera), so you don’t need to worry about compatibility.

The Export Dialog in Fireworks
The Export dialog in Fireworks.

When exporting an interactive prototype, use the default option of “Put images in Subfolder� to keep everything neat and organized. This has the added benefit of allowing you to easily send only the images to the client, if required. The exported images may be in any common image file format: PNG8, PNG24, PNG32, JPG, JPG Progressive, GIF. Note that the default format of the exported images is determined by their page’s optimization settings and then overridden by any slice’s individual optimization settings, which gives you a fair amount of control and flexibility.

Fireworks Pages: What Is Their Limit?

Pages allow for the efficient creation of prototypes, but what happens if they become too efficient?

Handling a Fireworks PNG Document With Many Pages

I don’t know what the record is for a Fireworks document with the most pages in it, but I currently have one with over 150 pages, and it is still growing! While this is a complex file with a large number of objects, it shows how awesome Fireworks’ PNG file format is: the file’s actual size is only 16.6 MB!

Moar pages??
150 pages in one Fireworks PNG document? Possible!

Why would anyone need a prototype that big? The simple answer is that I’m designing a complex app (Exvo’s Web app), and many intricate parts need to be covered by the prototype, so I’ve let it keep growing and growing.

While Fireworks can handle that many pages, it is certainly not recommended, for performance reasons. Try to keep your documents to fewer than 50 pages inside. Once you get past 50 pages, you might notice that Fireworks starts to use more RAM and opens and saves the document more slowly than usual. Performance also depends on each page’s canvas size, the number of objects and more, so keep the pages to a reasonable number to maintain an efficient file.

Pages Under Control: Splitting a Complex PNG File

Should our Fireworks PNG file become too large and unwieldy, how do we reduce the number of pages and optimize it? Because we are now relying on Fireworks’ ability to link pages and hotspots to create an interactive prototype, the hotspot links need to remain intact, even if we split the complex Fireworks PNG into several files. So, how do we proceed? Is it possible?

First, go through the prototype and make sure it is structured as defined sections. If the prototype is properly structured, we can split it up into smaller, more manageable pieces. To do this, we will need to count how many sections are in the prototype. If there are 10 main sections, for example, we would duplicate the file 10 times.

After that, we rename the duplicated files to match the sections of the prototype. Then, we open each of the duplicated prototype files and simply delete the pages that are irrelevant to that section; this will take some time and you have to be careful, but it is worth the effort. And… that’s it! You have now successfully split up your massive project file into more manageable pieces.

We also have to ensure that the smaller prototype files keep things together so that the exported HTML continues to link up correctly. To do this, we have to make sure that all of our top-level page names stay the same. While the relevant links will be changed within the single prototype file to make sure there is no unlinking, the other files will not update and will thus become unlinked. If you do opt to change the name of a top-level page, you would have to go through all of the other Fw PNGs and alter the hotspot links by hand.

If you do opt to split up a Fireworks PNG into multiple PNGs, then the master page and symbols will become unlinked. If you make a change to one PNG file, you will need to make the same change in all corresponding PNG files.

One prototype now Split into Several Smaller Ones
The prototype (Fw PNG) is now split into several smaller files.

The massive prototype file we had is now split up into smaller pieces, so you will surely want to export it to be interactive. This is still possible and made easier if you still have the original large prototype file. Export the large prototype to a folder so that all pages are in the one folder. Keep this folder around because when you make changes to your smaller prototype files in the future, all you will have to do is export to this folder and overwrite the old files. Because all of our top-level links are still the same, everything will link up correctly as long as all of the exports are saved to the same folder.

Symbols

While pages facilitate file management and enable us to easily make interactive prototypes, Fireworks gives us other workflow improvements, too, such as symbols. Symbols originate in Flash and are an easy way to build a library of reusable elements. If UI design has one defining characteristic, it is reusable elements. Here are a few things that make symbols in Fireworks so powerful:

  • Once a symbol is created, you can save it to the Fireworks Common Library;
  • Fireworks symbols allow for intelligent scaling with the use of 9-slice scaling guides;
  • Symbols can be scaled as much as you like without losing quality.

Let’s take a close look at these features.

Reusability of Symbols

One of the best features of symbols in Fireworks is their reusability.

Symbols can be document-specific or available globally through the Common Library panel. Saving symbols to the Common Library means that no matter what document is open, all of your symbols will be available to use. The benefit is that you don’t have to recreate common UI elements across each prototype. If all of your apps have the same theme, then once your symbols have been created and saved to the Common Library, you will save yourself a lot of time by not having to redraw everything from scratch. This is an amazing time-saver because now all of your UI elements can be simply dragged and dropped into the current project!

The Document Library contains all of the symbols that have been used in the current document; these could include symbols selected from the Common Library, as well as symbols created specifically for that document. A benefit of the Document Library is that anyone who opens the Fireworks file will have access to all of the symbols being used in that document, including any symbols that were not created on their computer.

Symbol libraries
The Fireworks libraries of symbols: Common Library (left) and Document Library (right).

9-Slice Scaling Guides

Symbols may also include 9-slice scaling guides. These guides make it possible for you to define how a symbol will scale intelligently in all directions, and they reduce the number of times you need to manually edit vector points in order to change the object’s size. You can learn more about 9-slice scaling in a video tutorial by Jim Babbage and in a detailed article by Sarthak Singhal.

The 9-slice scaling guides are optional and are not included by default. You can decide whether to use them based on the type of object that you’re converting to a symbol. To make things even easier, Fireworks also gives you the option to activate or deactivate the guides for any existing symbol.

When you edit a symbol for which the 9-slice scaling guides are enabled, Fireworks presents you with the graphic for the symbol as well as four guides overlaid on top. These guides effectively divide the symbol into nine slices, with each determining how a particular part of the symbol will transform when scaled:

  1. Corner slices
    All corners will not resize and will stay the same size no matter what. This is very effective for buttons made out of rounded rectangles.
  2. Left and right slices
    These two slices will transform vertically but not horizontally.
  3. Top and bottom slices
    These two slices will transform horizontally but not vertically.
  4. Center slice
    This slice will transform both horizontally and vertically.

A Symbol in Symbol-editing mode
A Symbol in symbol-editing mode.

The ability to reuse and resize symbols without losing quality is what makes them so powerful. You will have a common set of elements ready to be dragged and dropped into your prototypes. The amount of time this alone will save you is amazing.

Just as Fireworks uses PNG as its primary file format, symbols are also stored as PNG files. All Common Library symbols can be found in the following location:

  • Mac OS X
    ~/Library/Application Support/Adobe/Fireworks CS5/Common Library
  • Windows XP
    C:\Documents and Settings\*username*\Application Data\Adobe\Fireworks CS5\Common Library
  • Windows Vista and 7
    C:\Users\*username*\AppData\Roaming\Adobe\Fireworks CS5\Common Library

(If you are using a different version of Fireworks, just replace “CS5� with the version you’re using.)

If you ever need to migrate to a new machine or give a coworker access to your symbols, all you need to do is copy your symbols to the new location and Fireworks will recognize them instantly!

The Common Library
The Common Library in Fireworks.

Download A Sample Fireworks PNG File

Want to jump right into pages and symbols and easily make an interactive prototype with Fireworks? To help you, we have created a three-page prototype of an iPhone music player for you to download. You can open the music-player-demo.fw.png file in Fireworks and export it to a small interactive prototype.

Three-page demo prototype for download

The sample Fireworks PNG not only will show you how hotspot links and pages work, but will give you a chance to play around with symbols. To export the Fireworks PNG as “HTML and Images,â€� just go to File → Export. Set the “Exportâ€� type to “HTML and Imagesâ€� and set “Pagesâ€� to “All,â€� and then select where on your computer to export it to. After the export, open one of the HTML files in a browser and try interacting with the prototype, navigating through the app by clicking the links.

When you’re testing the file, make sure the following panels are open in Fireworks: Pages, Layers, Document Library and Properties. Feel free to experiment with the prototype, add more hotspots and pages, and navigate around to see how the file is organized and how the pages inside are linked together. (Seeing which parts will be clickable once they’re exported is easy because the hotspots are marked in blue.) The file also makes use of symbols (stored in the PNG file itself — see the Document Library panel), shared layers and a master page.

Further Reading

(al) (jc)


© Trevor Kay for Smashing Magazine, 2012.


From Head to Foot: Showcase of Beautiful Header and Footer Designs


  

Studies show that the website header is one of the first things a visitor sees on your website. That is mainly due to the way we are used to browser information on the computer presented from top to bottom, and due to the way HTML is built with the header being the first thing it’s loading on the page. Thus the importance of the header.

A beautifully designed one can help make a difference when attracting visitors to your website and getting them to stay awhile. Of course, content is still the most important website element, demonstrated by the latest Google algorithm updates, Panda and Penguin. But no matter how good your content is, if the visitor decides not to stick around long enough to see it, then your website suffers.

A visually appealing header design can assist in this department. To further add to its importance, a header often contains the website’s navigation and logo. Having solid, user-friendly navigation facilitates the browsing of your content and keeps users on your site for longer.

A website footer is like a book’s foot note. When you need more information, usually you find it there. In the case of a website, a footer usually features copyright information, a second navigation and in some cases contact details. But the footer has a more important role than that. If a visitor has made it to the bottom of the page, that tends to mean they are hooked. They have gone through your offerings, and are now looking for more. So it is important to keep that in mind as you build yours.

Below are a few examples of beautiful header and footer designs that stand as effective testaments to the roles these web design elements play.

Header Designs

Cult-Foo has probably one of the most well known header designs around the design community. The use of colors and pixelation effects is stunning.

Cultfoo

Corvus Art uses a beautiful canvas effect with awesome illustrations and a functional menu to achieve the desired visual impact.

Corvus Art

Merchand de Trucs is like a story of its own. The overall feeling of the header is simply “Welcome! What would you be interested in?”

Merchand de Trucs

Viget Inspire has a simple yet powerful header. The menu is basic and very functional.

Viget Inspire

Glamping‘s vivid illustrations give an overall feel of delight. It bids you to stay longer and see what it’s about.

Glamping

Ten 24 Media‘s header invites you to “Enter the Show”, and join the game if you will. Hurry if you don’t want to be left out.

Ten 24 Media

Komodo Media‘s header is a preview for the wild and beautiful design resources available there. Brilliant use of illustrations.

Komodo Media

Octwelve is another great example of the use of an illustrated header. The author uses the header to introduce himself and his skills.

Octwelve

That Indie Dude features one of the best uses of Twitter integration in the header around the web.

That Indie Dude

Ozon 3, the header makes you think of ecology and the concept of “eco-design”, as one of the categories of the blog also suggests.

Ozon 3

Pixel Resort has a beautiful animated header. The overall feeling is, as the title suggests, one of relaxation and joy.

Pixel Resort

Helmy Bern features one of the most innovative headers and menus on the web. The stitched cardboard design does the job well, and raises the eyebrow of the visitor; making them want to see more.

Helmy Bern

PSD Layout‘s header suggests many things coming together in harmony and creating the web layout. The message is clear and the design is great.

PSD Layout

Koko Digital has another header that makes excellent use of illustration and really stands out on the web.

Koko Digital

Larissa Meek uses a very simple, personal, and efficient header. Need we say more?

Larissa Meek

Dana’s Garden…as the subtitle says: “A storybook setting for memorable events”.

Dana's Garden

Blog Solid makes excellent use of Photoshop brushes and effects.

Blog Solid

Sprintime Tennessee, “Tennessee is calling”…the beautiful landscaped header almost single-handedly makes you want to be there.

Sprintime Tennessee

Bits and Pixels has a simple, yet effective design. This header features a beautiful logo and diagonal menu.

Bits and Pixels

Toucoleur‘s header is an amazing blend photo-manipulation and illustration.

Toucoleur

Veerle’s Blog is probably known by nearly every designer. Not just the website, but also the talented designer behind it. Nothing more to say than an amazing website overall with a beautiful illustrated header.

Veerle's Blog

20CM Records‘ header is for a Romanian hip-hop band, and the functionality is quite stunning. On the push of the button the light is turned on or off and the disk is rotating and playing one of their beats. Truly beautiful.

20CM records

Ernest Hemingway Collection has an amazing storybook-like header featuring the journey through the life of one of this highly regarded American author.

Ernest Hemingway Collection

Footer Designs

Black Sheep Brewery‘s beautiful use of footer space features the mascot of the brewery reading a sign saying “To the Baa..r”. Excellent integration of Twitter here also.

Black Sheep BreweryReady made Designs features another great integration of Twitter in the footer, this time with Facebook also. The middle of the footer is used for the most recent blog posts.

Ready made Designs

Sand and Starfish has a beautifully illustrated postcard blog footer, inviting users to subscribe to the posts RSS and comments RSS.

Sand and Starfish

Golden Boy Media‘s organized footer with a good Twitter and newsletter subscription integration shines. The left column is used for information where you can reach the company both online and offline.

Golden Boy Media

Inchoo has a beautiful multiple row, multi-column footer featuring a contact form, Twitter integration, social media reach and services offered.

Inchoo

Pound and Grain uses the footer to summarize the services they offer to effectively drive the point home.

Pound and Grain

Visionssuche is an example of a simple, yet beautiful, use of the footer to display the copyright information and website sections.

Visionssuche

V Dezign Studio‘s footer features a beautiful and creative “Back to top” section.

V Dezign Studio

Chriswi has an amazing illustrated footer which includes a contact form and social media information.

http://www.chriswi.be/

Keith Cakes uses the footer in a very efficient way, displaying the running schedule, address, map and telephone information for the business.

Keith Cakes

InfinVision uses a creative footer featuring social media info and contact information.

InfinVision

Gauvain Bricoult‘s footer doesn’t do much in terms of functionality, but it sure says something in terms of beauty. Amazing design with a “Back to top” button for user’s convenience.

Gauvain Bricoult

Matthew D. Jordan has a clever and impressive footer. First of all the message “It’s You, It Was Always You” brilliantly fits the site, and the contact box…well, we’ll let you discover that on your own.

Matthew D. Jordan

Munch 5-A-Day employs a beautiful, organized footer featuring a newsletter subscription module, social media links and copyright information.

Munch 5-a-day

Mike Dascola has an amazingly creative footer displaying the different awards won by the website as well as social media info.

Mike Dascola

Simply Artifice‘s extensive footer features a beautifully designed contact form.

Simply Artifice

Jay Hafling is another extensive footer example with 2 sections. A section presenting the services the website offers and another with the most recent blog posts organized in columns.

Jay Hafling

What Do You Think?

We would really love to hear your opinions on the importance of header and footer designs. Do you know of other websites with amazing header and/or footer designs that were not featured here? What were some of your favorites from the showcase?

(rb)


Hands-On Experience: The Rehabilitation Of The Script


  

Serifs, sans serifs and… scripts. In theory not a bad typographic palette to play with, but when it comes to practice, the options are always far fewer.

One member of that stylistic trio could never quite punch its weight. But over the last few years we have seen something of a rebirth and revitalization of scripts, a category that once represented a care home for the typographically underemployed. But why has this come about, and why was one needed in the first place?

The problem with scripts was that although they were supposed to offer a freer, natural, handwritten style of lettering, when you tried to use them, most turned out to be more rigid and constricting than sans serifs and serifs. There was little room for any play with letterspacing, because the characters needed to connect. Uppercase letters could be equivocal, to put it mildly, in terms of legibility.

Although one of their traditional default applications was wedding invitations, even there you could run into problems. If the RSVP address included a postal code composed of capital letters and numbers the visual effect was clumsy at best, unreadable at worst. There was often a density of strokes in the x-height area that impeded legibility, an angle that always seemed to dog scripts; like handwriting itself, certain words could look ambiguous, or not readily identifiable. If you pushed nagging doubts to one side and persevered in your decision to use a script on aesthetic grounds — just because it looked great or felt right — it would frequently be shot down by client or editor for lack of clarity.

For a typeface this is a considerable disadvantage; as designers we can sometimes be forgiving, but others can be brutally frank. Jan Tschichold, in his 1946 book An Illustrated History of Writing and Lettering, provides a possible explanation as to why this state of affairs came about, blaming eighteenth century “seductive engraved copy-books”, where a florid over-decorative style had emerged which owed little to genuine penmanship. What would be called the copperplate style, and commercial script, was a further distortion of this, using “regular alternation of fine and thick strokes [to disguise] the unnatural writing technique”.

Where it went wrong, according to Tschichold
Where it went wrong, according to Tschichold, the abandonment of a natural writing style in favour of decoration.

There was also a stylistic handicap. R.S. Hutchings, in A Manual of Script Typefaces (1965) says: “Until well into the 1930s it was exceptional for even a well-stocked composing room to hold more than a single script series, and their use was restricted almost exclusively to the circumscribed field of professional and social stationery”. To test this out I took a look at my copy of the beautiful A Book of Typefaces produced by printers WS Cowell of Ipswich, England in 1952.

In their main display of faces is a solitary script, Marina, a 1936 design from Stephenson Blake, the standard copperplate style that would have been hauled out if someone came in and wanted some wedding invitations printed. It’s this kind of lifeless, off-the-peg sophistication to which designer Michael Bierut alludes in Gary Hustwit’s Helvetica film, when talking of corporate makeovers of the 1960s; clients would have “some letterhead that would say ‘Amalgamated Widget’ on the top and some goofy… maybe a script typeface … the nuptial script and the ivory paper.”

Marina in action
Marina in action; although Cowell’s catalogue features some attractive pages of type in action, this is probably the least confident example. The fault of the type?

Style of American ads of the forties and fifties.
Scripts were almost a default headline style for American ads of the forties and fifties, a “visual bad habit that was endemic in those days,” says Michael Bierut. But some have since found them inspirational.

Later, more informal styles emerged, based on letters written with a brush, or contemporary handwriting. Several have become standards on computer operating systems; Brush Script, a 1940s American Type Founders advertising face by Robert E Smith, and the celebrated Mistral of Roger Excoffon, (1953) a handwriting-style script that belonged, says Julien Gineste in Roger Excoffon et la Fonderie Olive, “to the ‘civilization’ of the ballpoint pen”.

A more recent addition to the lineup has been Hermann Zapf’s magisterial Zapfino (1998). But these three all present problems. Think of the logo of world-conquering 1980s Australian soap Neighbours to get an aesthetic reading on Brush Script. Excoffon’s designs are wonderful, but outside of France, carry too much aesthetic baggage. They seem more like works of art than typographic workhorses. Zapfino is a cathedral; you want to fall to your knees before the power of its sweeping ascenders and descenders, but it feels like a script that no mortal hand could actually have written. Just how or where do you use it?

Brush Script
Everybody needs good ones — scripts that is. Brush Script was used for the logo of Kylie’s springboard.

Roger Excoffon overcame the physical limitations of metal type while moving diametrically away from the rising Swiss aesthetic.
Roger Excoffon overcame the physical limitations of metal type while moving diametrically away from the rising Swiss aesthetic.

Label using Zapfino.
Cynical writer proved wrong; the designer of this label thought Zapfino was just the thing.

Fortunately the choice has broadened considerably. With it a lot of the old legibility issues seem to have disappeared, surely a result of faces being properly designed and considered for a purpose rather than being bastardized historical hand-me-downs. Nick Cooke has recently released Rollerscript, described in MyFonts” March 2012 Creative Characters newsletter as “the most realistic script face on the market”. Rollerscript is based on multiple versions of characters written in his own hand using a Pentel roller pen. I wondered if he thought there was a script renaissance, and what the reasons were:

“There has been a huge rise of script/handwriting fonts over the past couple of years and it’s definitely to do with more type designers exploring the features of OpenType and the complexities of programming. Designers are finally becoming aware of and are embracing OpenType technology and its possibilities for more expressive type usage, now that most programs are OT savvy, even the dreaded — by me — MS Word.”

Nick Cooke's latest typeface.
Nick Cooke’s latest comes in Rough and Smooth versions, seen here. Described as a “modern sister” to his Olicana, it has over 100 ligatures.

Developments in software are clearly a factor then, but maybe another is that different people are moving into the field. Nick continues:

“I noticed that when I released an earlier script, Olicana, in 2007 there were many more purchases from the USA than in Britain. I think scripts have been popular over there a lot longer than here. Of course there are a lot of very poor fonts but there are also many more fantastic new ones available from the likes of Alejandro Paul at Sudtipos, Laura Worthington and Emily Lime. This seems to be an area which attracts more women designers, which is a good thing. Type design has for too long been pretty much a male preserve.”

You can probably see more connecting and brush scripts in one place at the site of Argentinian collective Sudtipos than anywhere else, or at any point in history. This struck me as possibly a cultural influence, and brought to mind the beautiful individualistic script lettering you can often see on shop fascias in Spain. But assumptions can be risky. In Creative Characters: the MyFonts interviews, volume 1, Alejandro Paul says that Argentinian graphics are broadly European modernist in flavour, outside of packaging, his own background. Much of his inspiration comes from early twentieth century American scripts. Which brings us back to one of Nick Cooke’s observations. It’s a field in which Buffalo NY-based P22 are strong. They offer as one option fonts based on the handwriting of artists: Cézanne, Van Gogh, Michelangelo, Rodin, Monet and Gauguin. Christina Torre’s Dearest is an elegant addition to this field, although using an anonymous nineteenth century century as its source. But that twentieth century advertising feel is strongly represented too: Rob Leuschke’s Corinthia and Michael Clark’s Sneaky are two examples. Richard Kegler’s Casual Script is a “free-flowing thin brush style evocative of vintage product advertisements and packaging lettering”.

Alejandro Paul's Buffet Script.
Alejandro Paul’s Buffet Script was based on the calligraphy of American signwriter Alf Becker. (image from Creative Characters: the MyFonts interviews, vol 1).

P22 Gauguin.
P22 Gauguin, based on the artist’s own handwriting.

P22 Casual.
P22 Casual – look at the ad picture above, and the source of inspiration is fairly clear.

Nick also picks up on a significant wider trend, the desire for the handmade: “I think designers nowadays are looking for a personal touch and faux handwriting is just part of that ‘homemade aesthetic’ trend”. This is due partly to the turning of fashion’s wheel. During the 1990s the complete dominance of computer-generated design made other methods look obsolete. It was a period in which photography dominated, to the point that Rick Poynor could write in Eye in 1993 that “the effect of the continuing preference for photography… is to make most design based on illustration look decidedly old hat”.

Photography could be easily manipulated in Photoshop and — certainly in the UK — we saw the blanket dominance of the “fuzzy-photo” school of book cover design. Why spend money commissioning an illustration when you could use a stock photo, or even take one yourself? Crop in very close or take your subject at a great distance and then, crucially, blur to add mystery, obscure awkward details and cover up any technical shortcomings in the picture. But eventually people tire of production line design that anyone can do, and turn again to the personal and the handcrafted. The latter also chimes with a post-global economic meltdown, do-it-yourself aesthetic that has also seen a rise in popularity of traditional homemaking crafts previously considered moribund, such as sewing and knitting.

But — and here I risk making myself very unpopular — I think there’s another contributing factor to the rise of the script. It may be sublimal, but significant — the ubiquity of Comic Sans. Although it is not a script in the sense that the letterforms connect, consider its source of inspiration. The lettering in the speech balloons of comic books are handdrawn, and often have a slight calligraphic incline to them. It is this characteristic that drew enough people to use it in its early years as a bundled font for Windows 95 for it to reach a tipping point of familiarity to over-familiarity. As its creator Vincent Connare has said: “People like it because it isn’t the kind of font that they would use to type a serious letter.” Although you might complain that that is exactly what a lot of people have been doing with it for years, his point is an important one. Comic Sans has had an impact on our feel for type, whether we like it or not, and part of that effect has been a new wave of lively, fun, informal scripts, definitely not the kinds that you would use for your society wedding invites. Now I’m getting out of here before you start looking around for something to throw.

(il)


© Simon Loxley for Smashing Magazine, 2012.


A Hands-On Experience Of The Rehabilitation Of The Script


  

Serifs, sans serifs and… scripts. In theory not a bad typographic palette to play with, but when it comes to practice, the options are always far fewer.

One member of that stylistic trio could never quite punch its weight. Over the last few years, however, we have seen something of a rebirth and revitalization of scripts, a category that once represented a care home for the typographically underemployed. Why has this come about, and why was one needed in the first place?

The problem with scripts was that, although they were supposed to offer a freer, natural, handwritten style of lettering, when you tried to use them, most turned out to be more rigid and constricting than sans serifs and serifs. There was little room for any play with letterspacing, because the characters needed to connect. Uppercase letters could be, to put it mildly, equivocal in terms of legibility.

Although one of their traditional default applications was wedding invitations, even there you could run into problems. If the RSVP address included a postal code composed of capital letters and numbers, the visual effect was clumsy at best, unreadable at worst. There was often a density of strokes in the x-height area that impeded legibility, an angle that always seemed to dog scripts; like handwriting itself, certain words could look ambiguous, or not readily identifiable. If you pushed nagging doubts to one side and persevered in your decision to use a script on aesthetic grounds—just because it looked great or felt right—it would frequently be shot down by client or editor, for lack of clarity.

For a typeface this is a considerable disadvantage; as designers we can sometimes be forgiving, but others can be brutally frank. Jan Tschichold, in his 1946 book An Illustrated History of Writing and Lettering, provides a possible explanation as to why this state of affairs came about, blaming eighteenth century “seductive engraved copy-books”, where a florid over-decorative style, which owed little to genuine penmanship, had emerged. What would be called the copperplate style, and commercial script, was a further distortion of this, using “regular alternation of fine and thick strokes [to disguise] the unnatural writing technique”.

Where it went wrong, according to Tschichold
Where it went wrong, according to Tschichold. The abandonment of a natural writing style in favour of decoration.

There was also a stylistic handicap. R.S. Hutchings, in A Manual of Script Typefaces (1965) says: “Until well into the 1930s it was exceptional for even a well-stocked composing room to hold more than a single script series, and their use was restricted almost exclusively to the circumscribed field of professional and social stationery”. To test this out I took a look at my copy of the beautiful A Book of Typefaces produced by printers WS Cowell of Ipswich, England in 1952.

In their main display of faces is a solitary script, Marina, a 1936 design from Stephenson Blake, the standard copperplate style that would have been hauled out if someone came in and wanted some wedding invitations printed. It’s this kind of lifeless, off-the-peg sophistication to which designer Michael Bierut alludes in Gary Hustwit’s Helvetica film, when talking of corporate makeovers of the 1960s; clients would have “some letterhead that would say ‘Amalgamated Widget’ on the top and some goofy… maybe a script typeface… the nuptial script and the ivory paper.”

Marina in action
Marina in action; although Cowell’s catalogue features some attractive pages of type in action, this is probably the least confident example. The fault of the type?

Style of American ads of the forties and fifties.
Scripts were almost a default headline style for American ads of the forties and fifties, a “visual bad habit that was endemic in those days,” says Michael Bierut. But some have since found them inspirational.

Later, more informal styles emerged, based on letters written with a brush, or contemporary handwriting. Several have become standards on computer operating systems; Brush Script, a 1940s American Type Founders advertising face by Robert E Smith, and the celebrated Mistral of Roger Excoffon (1953), a handwriting-style script that belonged, says Julien Gineste in Roger Excoffon et la Fonderie Olive, “to the ‘civilization’ of the ballpoint pen”. A more recent addition to the lineup has been Hermann Zapf’s magisterial Zapfino (1998).

Yet all three present problems. Think of the logo of world-conquering 1980s Australian soap Neighbours to get an aesthetic reading on Brush Script. Excoffon’s designs are wonderful but, outside of France, carry too much aesthetic baggage. They seem more like works of art than typographic workhorses. Zapfino is a cathedral; you want to fall to your knees before the power of its sweeping ascenders and descenders, but it feels like a script that no mortal hand could actually have formed. Just how or where do you use it?

Brush Script
Everybody needs good ones—scripts that is. Brush Script was used for the logo of Kylie’s springboard.

Roger Excoffon overcame the physical limitations of metal type while moving diametrically away from the rising Swiss aesthetic.
Roger Excoffon overcame the physical limitations of metal type while moving diametrically away from the rising Swiss aesthetic.

Label using Zapfino.
Cynical writer proved wrong; the designer of this label thought Zapfino was just the thing.

Fortunately the choice has broadened considerably. With it a lot of the old legibility issues seem to have disappeared; surely a result of faces being properly designed and considered for a purpose, rather than being bastardized historical hand-me-downs. Nick Cooke has recently released Rollerscript, described in MyFonts’ March 2012 Creative Characters newsletter as “the most realistic script face on the market”. Rollerscript is based on multiple versions of characters written in his own hand using a Pentel roller pen. I wondered if he thought there was a script renaissance, and what the reasons were:

“There has been a huge rise of script/handwriting fonts over the past couple of years and it’s definitely to do with more type designers exploring the features of OpenType and the complexities of programming. Designers are finally becoming aware of and are embracing OpenType technology and its possibilities for more expressive type usage, now that most programs are OT savvy, even the dreaded—by me—MS Word.”

Nick Cooke's latest typeface.
Nick Cooke’s latest comes in Rough and Smooth versions, seen here. Described as a “modern sister” to his Olicana, it has over 100 ligatures.

Developments in software are clearly a factor then, but maybe another is that different people are moving into the field. Nick continues:

“I noticed that when I released an earlier script, Olicana, in 2007 there were many more purchases from the USA than in Britain. I think scripts have been popular over there a lot longer than here. Of course there are a lot of very poor fonts but there are also many more fantastic new ones available from the likes of Alejandro Paul at Sudtipos, Laura Worthington and Emily Lime. This seems to be an area which attracts more women designers, which is a good thing. Type design has for too long been pretty much a male preserve.”

At the site of Argentinian collective Sudtipos, you can probably see more connecting and brush scripts in one place than anywhere else, or at any point in history. This struck me as possibly beeing culturally influenced, and brought to mind the beautiful individualistic script lettering you can often see on shop fascias in Spain. But assumptions can be risky. In Creative Characters: the MyFonts interviews, volume 1, Alejandro Paul says that Argentinian graphics are broadly European modernist in flavour, outside of packaging his own background. Much of his inspiration comes from early twentieth century American scripts.

Which brings us back to one of Nick Cooke’s observations. It’s a field in which Buffalo, NY-based P22 are strong. They offer as one option fonts based on the handwriting of artists: Cézanne, Van Gogh, Michelangelo, Rodin, Monet and Gauguin. Christina Torre’s Dearest is an elegant addition to this field, although using an anonymous nineteenth century German book as its source. But the twentieth century advertising feel is strongly represented too: Rob Leuschke’s Corinthia and Michael Clark’s Sneaky are two examples. Richard Kegler’s Casual Script is a “free-flowing thin brush style evocative of vintage product advertisements and packaging lettering”.

Alejandro Paul's Buffet Script.
Alejandro Paul’s Buffet Script was based on the calligraphy of American sign-writer Alf Becker. (image from Creative Characters: the MyFonts interviews, vol 1).

P22 Gauguin.
P22 Gauguin, based on the artist’s own handwriting.

P22 Casual.
P22 Casual—look at the ad picture above, and the source of inspiration is fairly clear.

Nick also picks up on a significant, wider trend; the desire for the handmade: “I think designers nowadays are looking for a personal touch and faux handwriting is just part of that ‘homemade aesthetic’ trend”. This is due partly to the turning of fashion’s wheel.

During the 1990s the complete dominance of computer-generated design made other methods look obsolete. It was a period in which photography dominated, to the point that Rick Poynor could write in Eye in 1993 that “the effect of the continuing preference for photography… is to make most design based on illustration look decidedly old hat”. Photography could be easily manipulated in Photoshop and—certainly in the UK—we saw the blanket dominance of the “fuzzy-photo” school of book cover design. Why spend money commissioning an illustration when you could use a stock photo, or even take one yourself? Crop in very close or take your subject at a great distance and then, crucially, blur to add mystery, obscure awkward details and cover up any technical shortcomings in the picture.

Eventually people tire of production line design that anyone can do, and turn again to the personal and the handcrafted, though. The latter also chimes with the post global-economic-meltdown, do-it-yourself aesthetic that has also seen a rise in popularity of traditional homemaking crafts previously considered moribund, such as sewing and knitting. But—and here I risk making myself very unpopular—I think there’s another contributing factor to the rise of the script. It may be sublimal, but significant—the ubiquity of Comic Sans.

Although it is not a script in the sense that the letter-forms connect, consider its source of inspiration. The lettering in the speech balloons of comic books are handdrawn, and often have a slight calligraphic incline to them. It is this characteristic that drew enough people to use it in its early years, as a bundled font for Windows 95, for it to reach a tipping point of familiarity, to over-familiarity. As its creator Vincent Connare has said: “People like it because it isn’t the kind of font that they would use to type a serious letter.” Although you might complain that that is exactly what a lot of people have been doing with it for years, his point is an important one. Comic Sans has had an impact on our feel for type, whether we like it or not. Part of that effect has been a new wave of lively, fun, informal scripts, definitely not the kinds that you would use for your society wedding invites.

Now I’m getting out of here before you start looking around for something to throw.

(il) (jc)

Note: A big thank you to our typography editor, Alexander Charchar, for preparing this article.


© Simon Loxley for Smashing Magazine, 2012.


Saul Bass: The Evolution of an Artist


  

The film titles, the American graphic designer, Saul Bass designed between 1954 and 1995 not only helped bring graphic design to the attention of Hollywood, and to the forefront of the sixties art movements, but revolutionized the way we watch films. From being regarded as an annoying legality – the only way to give credit to the hundreds of people that worked on the set – his minimalistic, conceptual sequences helped film titles become an integral part of the story and ultimately the whole cinematic experience.

Yet this was only one part of his legacy. As this essay shows, it was his ability to evolve as an artist, adapting his unique vision to a huge range of material, that made him arguably the most influential American graphic designer of his generation.

A Cinematic Revolution

With a smile the projectionist slowly read the handwritten note sellotaped to the canister: “PROJECTIONIST: PULL CURTAIN BEFORE TITLES�

What a strange request! It was the opening night of the latest Frank Sinatra vehicle- the Man with the Golden Arm. The opening night of a film so graphic in its depiction of heroin addiction the MPAA had refused it a certificate. What, he thought, could a two minute title sequence have to do with all that?

Shrugging his shoulders the projectionist discarded the note, wound the film, turned down the lights and pulled the curtains.

The audience’s stunned silence on that opening night may have shocked the projectionist, but for Saul Bass their reaction was very close to what he was aiming for. Very close. What he didn’t quite reach was that level of perfection, that extra yard, only an artist of his caliber could comprehend. From his foundation in the European school of graphic design to his collaboration with some of Hollywood’s most legendary directors, that would take him a whole life time.

Learning His Trade

From the prominent baseball player striking a ball so hard it explodes into the words “The Breakfast of Championsâ€� to the bright-faced housewife thrusting her Coca Cola bottle through the words the “Hit That Saves the Day.” The brash images and taglines on the streets and magazines of 20s and 30s America dazzled Saul Bass as a child, but it was the roots of this culture – the old world sensibilities of the Europeans – that lured him into graphic design.

Brought up in New York, he saw the country’s first exhibits of the European modernists at the Metropolitan Art Museum– not only the paintings of pioneers such as Vincent Van Gogh and Paul Gauguin, but the compositions of contemporary designers such as Josef Albers and Herbert Bayer. Their success gave Bass the hope that the art he admired from American counter culture – pulp fiction, the lost generation, bohemianism, jazz – could, one day, become part of the mainstream.

The New Swiss Style his teachers taught him on his graphic design course at Brooklyn College both embraced and tempered his ideals. Under Gyorgy Kepes, one of the many Central and Eastern European teachers that immigrated to American in the 30s and 40s, Bass learned an effective design did not have to conform to societal values. While the social realist designs of the American posters, for example, sold a product through a collective view point- such as society’s idea of female beauty – the more measured, constructionist approach of the New Swiss Style tried to sell it through the company’s or an individual’s.

The following two Coca Cola posters, the first from an American graphic designer in 1947 and the second from a Swiss graphic designer in 1953, highlight the difference in styles.

As you can see the differences are marked. The American designer has created a realistic, yet idealistic scene of a couple on a ski slope waving to a friend who is offering them a bottle of Coke. By drawing from the perspective of the friend, the designer can place the bottle of Coke in the center of the picture so it looks like it is the Coke and not the friend that is the focus of the couple’s attention. The tagline only reinforces the message: Coke is a welcome and sociable addition to any wholesome activity.

The European poster is no less idealistic, but the careful placement of its images gives the impression that it is offering rather than spelling out the message. What is not in the poster is as important as what is. While one can see a trumpet, a music stand and a chair, for example, there is no musician. But where is the musician? Juxtaposed against the hand drawn outlines of musician’s tools, the realistically drawn Coke and sign signifies that a sip of Coke has jolted him or her back into reality. The designers leave it up to the consumer to imagine how that time away from work should be spent.

The European teachers weren’t rejecting the American approach, but promoting their theories in a society looking to oppose the political propaganda of Soviet realism. It was up to Saul Bass and his contempories, to mold them into something more American.

In the following poster for the Champion (1949), Bass attempted to combine the New Swiss style with the realist art of American pulp fiction.

Putting It Into Practice

Despite that Hollywood was struggling, Saul Bass’s migration to Los Angeles in 1947 was a clever career move. It was true that television was stealing a huge portion of Hollywood’s audience. It was true that the government was suing the Hollywood majors for violation of the anti-trust laws – their victory in the 1948 Paramount Case would all but end the studio system that had dominated since the 1920s. Yet it was equally true that these same factors were forcing the majors to turn to people who could create something different.

For the first time since the introduction of the Hays Code in 1930, the creatives and not the executives were calling the shots. When the filmmaker Otto Preminger first hired him to design the film titles for the 1954 film Carmen Jones, Bass not only knew that he hired him out of respect for his talent, but that he would give him the freedom to express it.

While in retrospect his flaming rose didn’t quite do justice to the film’s core themes of racism and miscegenation, the idea of expressing a film’s concept through one simple image, was for those times, highly innovative. Up to that point Hollywood had mostly listed the main players over a pretty but basic background. And even then audiences rarely saw them – most projectionists didn’t open the curtains until after they had finished.

By introducing ideas from the New Swiss Style, Bass made the film title an integral part of the cinema experience. As he stated in the documentary Bass on Titles (2006) he approached each film title with the same three point approach he would use with any other design project.

  1. He saturated himself with knowledge of the company.
  2. He made sure he understood the vision of the company.
  3. He didn’t try to symbolize a point of view.

His approach was far more successful in his next film for Otto Preminger, the Man With the Golden Arm. Preminger’s vision was to represent the reality of drug addiction without judging the morals of the main character. Used to Hollywood representing addicts as drug fiends, it was a vision that Bass knew would challenge the sensibilities of the audience so he sandwiched the credits between a series of straight and off-kilter lines. By the time they came together to form the foreboding jagged arm, the audience knew they were about to witness a film that would step over the lines of traditional values.

The Experimental Phase

It is a shame that many people regard the Man with the Golden Arm as the peak of Bass’s career when it was only the first of a series of film titles in the 50s and 60s that would increasingly stretch the boundaries of both technology and his art.

A year later he contributed a 7 minute end credit for Around the World in Eighty Days(1956). Its extravagance reflected a film that with its three hour running time and huge cast of A-list stars was one of the most expensive of its day.

For Vertigo (1958), the first of three titles he designed for Alfred Hitchcock, he took the audience through a woman’s eye and into the hypnotic swirl of colors that represented her mind. Though based on a simple image, the sequence had a story like structure – a beginning (entering through the eye), a middle (traveling through the swirl of colors) and an end (coming back out of the eye)

The Big Country (1958), a live action piece, further developed the idea of the film title as a mini story. Depicting a family’s journey to the Wild West, the sequence acted as a prologue to the rest of the action.

For his next two films for Hitchcock -North By Northwest(1959) and Psycho (1960) – Bass combined the techniques of kinetic typography with the constructionist approach of the New Swiss Style. In North by Northwest he used a building as a grid for his typography.

Interestingly, for West Side Story (1961) Bass and the director Robert Wise decided to show the title credit sequence as an epilogue. This they thought would lessen the impact of the film’s tragic ending.

Its striking symbolism, its story like structure and its use as both the prologue and an epilogue of the film  - Bass’s film titles for Preminger’s Walk on the Wild Side (1962) almost condenses all of his trademark ideas into one sequence. The only thing that is missing is the creative use of typography.

Four years later Bass would bring all these elements together in what would prove to be one of his last film title sequences for 20 years – the audacious opening to John Frankenheimer’s Grand Prix (1966).

Yet despite its technical and filmic brilliance Grand Prix was an example of film titles around that time becoming, as Bass stated, a “tap dance” of their own. “Fancy titles became fashionable rather than useful,” he told the Sight and Sound Magazine, “and that’s when I got out.”

Finding His Voice

Saul Bass moved into filmmaking, directing among others the Oscar winning short the Man Who Creates (1968) and the science fiction feature Phase IV (1974). Both excellent examples of his now trademark ability to combine striking images with literate and tight storytelling (please see below for links to his films). For the opening sequence of Phase IV, for example, he cut together real footage of an ant colony to show their evolution from harmless insects to an intelligent and dangerous force.

If such inventive works had continued we would be talking about a great filmmaker. Unfortunately Phase IV flopped. From being one of the darlings of the film industry, Saul Bass found himself having to reassess his career.

In retrospect it helped rather than hindered him. Seeing how far away his later work had gone from his original aim of understanding the vision of a company, he decided to return to his roots as a graphic designer. Between 1967 to 1991, Saul Bass designed a series of logos that, seemingly effortlessly, fulfilled each criteria of the 3 point approach without ever having to compromise his distinct style and voice.

The Finished Product

With Hollywood facing strong competition from the independents, they again turned to artists such as Saul Bass for inspiration. From 1990 to his death in 1996, Martin Scorcese – a great admirer of Saul Bass’s work – hired him to design the film titles for Goodfellas, Cape Fear, Age of Innocence - and for what proved to be his epitaph – Robert de Niro’s descent into the neon lit hell of Casino.


As one can see this is no tap dance. Instead of harking back to what many would perhaps, unfairly, regard as his signature – his cutouts and hand drawn animations – he used modern technology to create a sequence that fit perfectly with the film’s themes of greed and corruption.

His Legacy

The sequences Bass designed for Scorcese exposed his back catalogue to a whole new generation of movie-goers. On You Tube for example you can find a array of homemade film titles paying homage to his distinct hand drawn style. Picking up on their interest famous Hollywood filmmakers have hired designers to create titles very similar to his early animations and cutouts. The film title for Steven Spielberg’s Catch Me as You Can (2002), for example, is similiar in both tone and style to Bass’s title for Around the World in Eighty Days.

Unfortunately one feels such work is only cashing in on the popularity of his earlier work. As this essay shows Bass experimented with a range of different styles; unless it suited the material, he would never have thought about about repeating himself. In this respect the designers most profoundly influenced by him are those who have looked to find their own style and perspective.

The contemporary graphic designer Kyle Cooper is more influenced by Bass’ literate approach to film title design than by his designs. As he states “story based film titles are something that have always been more comfortable to me. And by story I mean specific backstory, but also a metaphor – a poster like pun that has to do specifically with what the film is about.”

His film titles for Seven are, even for Saul Bass, a perfect example of how to prepare an audience for what is at times a horrific film.

There are many other examples of modern film and even TV titles influenced by Saul Bass’ work. Some are listed above, but can you think of any others that share aspects of and even pay homage to his vision? Of course, as shown, Bass was continuously looking to push the boundaries of his art, using a variety of techniques.

From this perspective do you think that the graphic designers who have paid homage to him have truly captured the essence of what made him one of the greats? What aspects of his work do you think are the most important for modern graphic designers to take on board? Finally, how have modern designers evolved film title design since Bass’s heyday in the 1960s? What film titles influenced Saul Bass when he made his comeback in the 1990s? Leave us your thoughts in the comment section.

Links to Other Work by Saul Bass

Why Man Creates
Phase IV
A Short Film on Solar Energy
Quest

Title Champ
Saul Bass – Documentary

Its a Mad Mad Mad Mad World
Ocean’s Eleven
A Personal Journey
Goodfellas
Seconds
The Victors
Cowboy
Not With My Wife You Don’t
Such Good Friends
Bunny Lake is Missing
The Cardinal
Age of Innocence
Cape Fear
Facts of Life
Saint Joan
The Big Knife
Trapeze
The Human Factor
Spartacus
Anatomy of a Murder
Seven Year Itch

(rb)


  •   
  • Copyright © 1996-2010 BlogmyQuery - BMQ. All rights reserved.
    iDream theme by Templates Next | Powered by WordPress