Abstract Graphic design in film is the visual communication of cinematic works it plays an integral role in the development of the narrative, as well as providing crucial descriptive material to the audience while acting as a catalyst for the story's progression. As such, why is it so often disregarded as an irrelevant factor within the realm of Film? Could the lack of merit be a result of the poor scholarly support it holds? The subject of graphic props within film is not in histories of Graphic design. Minimal academic exploration exists relating to the relationship between film and graphic design; it lacks analytical depth and needs further educational support. When looking at the index of several design histories, graphic props are not often mentioned. MEGG’S History of graphic design only features film poster design or film titles, even then its primarily focused around Saul Bass, and lacks dynamic analysis. The lack of exploration was the case in most of the graphic design literature investigated. Graphic Design a history by S. J. Eskilson looks briefly into expressionist Film as a whole but lacks theoretical examination. Again it provides some information on poster design for film and the touches on film titles. Perhaps this lack of content is because the idea of recreating historical design ideas is seen as a false art form or producing products for hypothetical scenarios in film goes against the concept of designing for purpose and function. The word ephemeral means short-lived; it exists only for a short period. In day to day life ephemeral graphics could be seen in an array of articles; train tickets, newspapers, etc. but in film the term ephemeral could also relate to the time the graphic is seen within the film or the period it is used within a shot. Possibly the lack of research falls on that fact that designers want their work to last and be seen extensively, in the case of film, graphics are often only seen for a short time. However, this doesn't suggest that they are insignificant. Rather than being superficial or inconsequential, these ephemeral graphics are essential not only to the progression of the film but stand as a fundamental asset to capturing and holding the viewer's attention. The role of this investigation is to extensively analyse the intent of the graphic language in regards to film and evaluate the importance of graphic design in visual storytelling. Within the realm of film, visual storytelling relies extensively on graphics; everything has been positioned in the frame to serve a purpose. “In many respects, a film shot should resemble a painting� (Bordwell & Thompson, 2013 p.143) This idea suggests that every frame should stand alone as a still, emphasising the importance of the atheistic choices made about the frame. Whether it be creating momentum for the story by using the date on a newspaper to highlight the progression of time or using a death certificate to evoke emotion, all these decisions have been orchestrated to illustrate a certain aura or depict a specific period or locale. Graphic design is the visual communication of ideas with type and image, and film is the art of communicating an idea or story through visual imagery; therefore, the two forms share extensive parallels. This investigation focuses mainly on the works of director Wes Anderson, as his works emulate well thought out design, and his productions have been noted for bearing an exquisite graphical presence.
Chapter one An Introduction to graphics in film.
Figure 1. Film and Graphic design are often seen as two separate art forms. However, graphic design plays an integral part in the progression and development of cinematic features. The establishment of silent films in the late 1800s offered a new social opportunity for the whole family, although the gathering of rambunctious assemblies brought some unappreciated disruption to theatres. Thus, the cinema industry saw the creation of etiquette announcements later described as film titles. The “film titles were very utilitarian, and its key purpose was to deliver information to audiences.” (Gross, n.d) This idea suggests that the sole purpose of the graphic language used in etiquette announcements was to inform, whereas, in recent years, film titles have taken more of an aesthetic role, this idea is later explored. (See Chapter Four) Figure 1. depicts a series of lantern slides used as cinematic etiquette announcement published in 1912, “made by the New York firm of John D. Scott and Edward Van Altena”. (Onion, R. 2014) The monochromatic slides are lacklustre and are used to serve an informative purpose, considering the time they have dated the slides the cinematic experience only existed in black and white, this intern left little room for artistic exploration in terms of colour. However, the creation of this ‘non-diegetic material’ (Bordwell, Thompson, 2013 p.94) laid the foundation for graphic design to play an indispensable role in Film and allowed graphic imagery to become a necessary part of the cinematic experience we know and love today. This investigation will explore the impact of ephemeral graphic language in film and examine the role it plays in the progression of visual storytelling, touching on encompassing relevant subjects. Wes Anderson, as a director and artistic body has undeniably encapsulated the importance of graphic design in his films, the magnitude of detail presented in his films calls for an extensive graphical presence. By examining his works and other comparable works, a valued argument can be produced to highlight the importance of graphic design in film.
Chapter Two Literature Review. The basis of this review is to delve into the technical explanations of both film and graphic design; to further understand the similarities between the two art forms. Once an understanding of the two disciples has been established, it will allow a more coherent and educated analysis. The literature review will contain explanations of fundamental design principles used in both film and graphic design and how the two overlap.
Colour Colour plays an integral role in both film and graphic design. The choice of colour can be made by preference. However, it is often used to evoke a specific emotion. The composition of the shot is often carefully orchestrated, whether it presents a conscious or a subconscious emotion. ‘Colour perceptions are rooted in psychology. They are even used figuratively to describe feelings. “seeing red” or “singing the blues” are common descriptions of the mind’. (Dabner, Stewart, & Zempol, 2014 p.94) Colour is also relevant in science. Bright highly saturated colour is often seen externally in toxic animals, to be used as a deterrent against potential predators. In comparison to this, many animals have a dull or subtle exterior marking in-order to blend into the surrounding environment. The idea of colour having an evolutionary impact is described here. ‘Objects and events critical to survival are often associated with characteristic colours: the blue of the water, brown of a bear, green of leaves, amber of sunrise and sunset suggesting colour and our perceptions of them are embedded in our brain both through experience and emotion”(Cuykendall & Hoffman, 2008 p.1). This idea is further explained with the relevance it holds to design. “Colour can convey a mood, describe reality, or codify information. Words like “gloomy”, “drab” and “glittering” each bring to mind a general climate of colours, a pallet of relationships. Designers use colour to make things stand out (warning signs) and to make other things disappear (camouflage)”. (Lupton and Phillips, 2008 p.74.) Wassily Kandinsky, the colour theorist and artist, explained colour to spark in-depth emotive connections. He also suggested values that those colours upheld linking these values to specific sounds, a colour such as “Grey is dull and suggesting immovability and is said to be soundless. Whereas Yellow is warm and exciting and is parallel to loud, sharp trumpets.” (Wassily Kandinsky's Color Theory, 2016) The importance of colour in regards to design is paramount it can change the perception of viewer instantaneously, “colour can move the mind and emotions of a spectator. This understanding of the interconnection of the senses, intellect, and emotions is also, broadly construed, synthetic in nature.” (Yumibe 2012 p. 32) These ideas highlight the importance of colour within design and film and within day to day societal life. By compiling these ideas together, a greater understanding of the importance of colour can be made, and by highlighting the many avenues, it plays a role in a true justification of its gravity can be made.
Composition The composition of a piece is often the first theoretical step a designer will consult when creating a piece of work, and is systematically one of the first conceptual skills they will acquire through an educational syllabus. There are several factors to look into when examining good composition; some are arguably more important than others. Grids, Balance, Symmetry and Hierarchy are some of the key elements in a design, and all play sizeable roles in the perception of ideas. Composition relies heavily on the elements used converging to create a unified design. This, coupled with the correct positioning, can change the whole dynamic of how a message is communicated. “Good composition is an essential element of all art forms, graphic or otherwise, and should be considered the foundation of visual communication.”(Dabner, Stewart, & Zempol, 2014 p.32) This supports the idea that composition filters into all visual mediums, and could be transferred across all disciplines of art and design; therefore, this ideology reaches to film.
Grids and guides are essential terminologies for designers, and often play a huge role in the production of a film. Grids allow the director to position the characters or elements within the shot according to the desired visual outcome. “Grids are the hidden architecture behind design a grid is what holds everything together.”(Soto, 2019 p.61) By using a grid system, a foundational structure is created for the designer to place elements on top of. With relation to film, a director will distribute relevant assets within the frame, therefore, preventing the viewer from receiving redundant information. This idea of distributing elements is also associated with balance. A well-balanced piece of graphic work is often created by using symmetry, this is seen throughout film and specifically Wes Anderson's work, subsequently it is arguably a technique he as a director is most recognisable for. “Symmetry in design refers to a spatial relationship between elements, and specifically to a situation where the elements in a layout are centred.”(Dabner, Stewart, & Zempol, 2014 p.38) In regards to film, the terminology is slightly different in a symmetrical shot is described as a balanced composition and an asymmetrical shot is an unbalanced composition. Symmetrical compositions are often aesthetically pleasing and easily perceivable, therefor more accessible for the viewer to retain information. Symmetrical framing creates a focal point for the viewer. This idea of drawing focus can also be determined by Hierarchy. Hierarchy can change the whole dynamic of the composition and can relate to several aspects of design not exclusively the size of the element, and it is the “order of importance.” (Lupton and Phillips, 2008 p.115) This allows us to relate hierarchy to anything proximity, scale, alignment, focus or colour. In Graphic design, hierarchy plays a huge role in composition but also largely in typographic means. The important information is generally displayed larger than the body text or will have a clear distinction between the two. This is also translated into film; Hitchcock’s rule explains that “the size of the object in the frame should be equal to its importance in the story at that specific time.” (Swehla, 2016) Notably, within reference to Hitchcock’s film's this use of hierarchy can also act as a form of foreshadowing for an important narrative that will later reveal itself. Hitchcock’s Psycho (1960) uses hierarchy and foreshadowing eloquently. The “slashing of window wipers in the rain presage the slashing of the knife in the shower.” (Lunn, 2017) Hitchcock uses well thought out framing and hierarchy to create a subtle symbolism. The scale of the window wipers and kitchen knife within the relevant frames are distinctive and provide a perfect example of Hitchcock’s rule. At those specific points within the film they are the most important factors in the progression of the narrative. Balance can also be created using asymmetric techniques. By adjusting the focal point of the page movement is created. This often creates a more dynamic piece, “asymmetrical designs are generally more attractive than symmetrical ones, and designers achieve balance by placing contrasting elements in counterpoint to each other, yielding compositions that allow the eye to wander while achieving overall stability. (Lupton and Phillips, 2008 p.31) Within film, a similar result can be achieved, by using different focal points to draw the attention to specific characters or elements. Asymmetrical shots in film are often used to create depth or establish a contrast between characters. Using a variety of visual weight within a shot easily establishes vulnerability and power in the characters present. This is comparable to the visual weight of elements in a graphic piece. If an element is notably large, it will hold greater importance within the composition. Asymmetry can also allow compositions to breathe. This is referring to negative space. “Negative space is everything around or within an object the ‘empty’ space that helps to define the borders of the positive image.” (Dabner, Stewart, & Zempol, 2014 p.33) Allowing spacial movement for elements can assist the visual retention of information. The Fibonacci spiral or Golden ration is an ancient Greek mathematical concept, and the ideology is used today to create a balanced composition. The “Golden Rectangle is a form in which the ratio of the longer side to the shorter side is 1.618. Throughout the history of art and architecture, this proportional relationship has been seen as the most aesthetically pleasing. (Hunt & Davis, 2017 p.60) The idea of proportion relationships is also translated into the rule of thirds, another impactful choice for a composition. “The rule of thirds says that most compositions become more dynamic when divided into thirds vertically and horizontally with important elements placed within those thirds”(Dabner, Stewart, & Zempol, 2014 p.37) By using the rule of thirds suggested grid system elements are distributed
between the three by three format and produce a balanced composition. Important compositional elements can be placed in the centre of the cross points, or the lines themselves are used to create horizons within the shot. (See Figures. 2 & 3.) Figure 2 depicts a female character walking down a sizeable hallway, the focal point of the screen aligns perfectly within the grid system, creating depth and a clear representation of the horizon. Again the same style is reiterated in Figure. 3
Figure.2
Figure.3
Communication Art and communication have been closely linked since the beginning of time, touching on all avenues of life from biblical imagery to scientific illustrations. Visual art has allowed society to communicate through imagery for centuries. Both film and graphic design can be described as forms of communication and run along very similar paths, using the same techniques and processes. “The parallels between film direction and design practice are striking. Like the film director, the art director or designer is often distanced from his or her material and works collaboratively on it, directing the activity.”(Armstrong, 2009 p.112) This idea of working ties collaboratively in with communication. As the director and designer will need to use tools such as storyboarding to illustrate their ideas. To create a strong visual message that resonates with the viewer, the designer or director must create a well thought out coherent design. That uses strong compositional techniques to convey the message. In design, the communication of an idea is often rather literal and easily distinguished. However, the message can also be unclear and have an underlying concealed message, this can often be the case in film, as this allows the story to progress over time, unveiling the narrative. Mise-en-scène is “the placing of elements in front of the camera: the settings and props, lighting, costumes, makeup, and figure behaviour”(Bordwell, Thompson, 2013 p.503) Using mise-en-scène to communicate an idea is a simple practice to directors and is often used to “achieve realism, giving setting an authentic look or letting actors perform as naturally as possible” (Bordwell, Thompson, 2013 p.113) Again these ideas of mise-enscène need to be communicated, this is often be achieved by storyboarding. “The storyboard gives the cinematography unit and special effects unit a preliminary sense of what the shots should look like”(Bordwell, Thompson, 2013 p.19) By compiling a series of visual images to depict the scene the director can communicate their vision for the shots to the whole production team effectively. This idea of communication has strong parallels to graphic design, as storyboarding is a key element when considering video or animated graphics.
Existing literature There is ample research into design and film as separate art forms. However, there is a lack of academic research supporting the importance of graphic design within film. However, designer Annie Atkins published the book ‘Designing graphic props for film making’ in the early months of 2020, which delves into the production process and research that goes into designing graphic elements for film. On analysing the text, intriguing ideas were presented. Atkins describes the props within film to act as “the herald” or “Hero prop” (Atkins, 2020 p.9) This term describes a prop that the charters interact with, for instance, a letter or map, these props help in the progression of the story and act as a visual catalyst for the transpiring events. Atkins explains the uproar received from historians, after a headline using a large typeset was seen within the film ‘The man who invented Christmas’(Bharat, Nalluri. 2017) As this is not historically accurate to the visual appearance of newspapers in the 1800s, intern this caused some criticism towards the graphic team. (Atkins, 2020) Figure. 4 & 5 depict actual examples of British newspapers, which do not feature images or large typography besides the logo.
Figure.4
Figure.5
This can be argued on both parts, as the authenticity of a grphic should rely on the similarly it hold to reality however when dealing with film it is important to understand that the director and production team will alter reality in-order to convey ideas coherently and encapsulate the viewers. Atkins explains the extent of detail that a graphic designer for film will consider, for instance creating floor tiling that has to be “individually coloured and textured in photoshop and them framed with dirty grout lines” (Atkins, 2020 p.33) This process goes unnoticed by the viewer of the film, and ironically that is the purpose of a designer for film. The realm in which the viewer is immersed should not be distinguishable, and therefore the value of the work created is under-appreciated. Atkins also touches on the research process that is applied when designing for film and the difficulties faced when finding historical ephemera, as archiving physical articles can often result in low-quality imagery. Therefore, you lose certain aspects.“Weights of various papers disappear in scans, textures aren't always visible” (Atkins, 2020 p.47) This leads on to the idea that further research would need to be conducted when looking into historical ephemera. Akins explains the
importance of books, as they often hold great descriptive material from reliable historical sources, which often proves largely beneficial, and more successful in comparison to generating ideas through imagination. In regards to hypothetical worlds, Atkins worked on Wes Anderson ‘The Grand Budapest Hotel’ 2017. The team constructed the fictional country Zubrowka, creating a currency, police reports, telegrams, letters, newspapers, stamps along with various other graphical elements. The whole world and all the elements inside needed to be designed. Extensive research needs to occur when designing both fictional and historical films as there are copyright and disclosures laws that the production team have to follow. Overall the literature procured by Atkins gives great foundational insight into designing for film, and could potently permit other designers to publish more literature on graphic design within the field of film.
Chapter Three Research Methodology. The research method for this exploration concerning the ephemeral graphic language used within the realm of film must hold some primary qualitative research. Due to copyright and infringement laws, the publishing of books relating to this specific subject can be difficult, as clearance is needed from the films production companies and can cost a large fee. Therefore it is important to source primary research that delves into this subject. For instance, in-depth analysis of the selected films, alongside encompassing subjects in order to construct a substantial and multifaceted investigation. There is also a lack of academic research exploring the importance of graphic design in film. Therefore the depth of discussion must be formulated through observational analysis. The National Science and Media Museum hold large archives relating to film and cinematography. Visiting the archives helped provide the research for this investigation with a more dynamic standing and allowed the exploration of ideas to expand. Constant referencing to existing literature regarding both design principles and film techniques occurred during the progression of this investigation, as well as analysing specific content relating to subjects such as designers and particular techniques. In addition, observational analysis of ideas and themes will be conducted and drawing conclusions concerning the information found. By focusing the research towards the works of Wes Anderson a more focused argument can be formed, therefore resulting in a stronger foundation for the analysis to stand on, comparisons with other designers and directors have also been made to propose questions and links that allow a more complex investigation. Some limitations for the research arouse, finding graphic designers who specifically work on film and production companies willing to disclose information was difficultly partly due to disclosure laws but additionally a result of the lack of free time they have available due to the tile schedule filming schedule they follow.
Figure.6
Figure.7
Figure.8
Chapter Four The Great Works of Wes Anderson Director Wes Anderson is known largely for his aesthetically pleasing cinematic works, this investigation explores some of his work over the last 20 years and examines the graphic language used within these specific films. Anderson explains how Alfred Hitchcock influenced his early years. He notes that it was incredibly impactful to see a directors name on the front of the VCR tape instead of the leading actor. (Seitz, 2013) The idea of a film being more distinguishable by the director than the cast, sparked an innovative relationship between Anderson and directing. His career began with Bottle Rocket a short; starring Owen and Luke Wilson. Bottle Rocket was later adapted into a feature film, although not largely financially profitable. Bottle Rocket set Wes Anderson's career in motion. Rushmore (1998), an early creation from Wes Anderson, set the president for his later works.“There are a few perfect films; Rushmore is one of them. From the instant, the touch-stone logo floats from screen right to left...the movie creates an aura of sly enchantment�(Seitz, 2013 p.71) From very early on in Wes Andersons directing career he received praise for his aesthetic choices. At a glance, clear correlations can be made from Wes Andersons recent work back to Rushmore. (See Figure.6) His use of the typographic font Futura for the Yearbook Montage scene, echos the director's visual presence. It acts almost as an identifiable trait for many of his films. A very similar montage is seen in The Royal Tenenbaums, (2001) again using an almost identical composition, with some variants in colour and lighting, the imagery could be mistaken for the same film. (See Figure.7) Consistency is paramount for Wes Anderson; he uses incredibly similar creative choices within his films and often employs a recurring cast. This idea of consistency is also seen within the colour palates used within his films, they are often wellsaturated colours, with retro undertones and inserts of muted pastels. (See Figure.8) These types of colours could be relevant to the era the films are based around or perhaps have a strong relation to the emotive reflection of the characters within the films.
Figure.9
The Life Aquatic with Steve Zissou (2004) takes great inspiration from Jacques Cousteau, who also makes a brief cameo in both Bottle Rocket (1996) and Rushmore (1998). Suggesting director, Wes Anderson had thoughts of creating The Life Aquatic preceding the initial production. The preproduction images of graphical elements accentuate Wes Andersons thought process from the Zizzou Adidas shoebox to the Marine exploration stamps.(See Figure. 9) Several of these ephemeral pieces will never even been seen on screen, but all these elements have been considered and created by a designer. These components allow both the actors and viewers, to receive an authentic representation of theses constructed scenarios, on and off the screen. Many of the shots in the film are immensely large scale shots, using the full cross-section of the ‘Belafonte’. Steve Zissou’s boat was created from “Twin World war II boats”. (Seitz, 2013 p.182) One would be deconstructed to make the cross-section set, and the other would be used for the external sailing shots on the water. The incredibly large scale set and attentive framing give the viewer an impression of a realtime exploration of the monumental boat is taking place. (Seitz, 2013) This type of large scale production really emulates Wes Anderson as a director and suggests why he may have such a strong understanding of the importance of having a large graphical presence as all the small elements add to the authenticity of the shot.
Figure.10 Hotel Chevalier (2007) a short preceding the feature film The Darjeeling Limited (2007) explores ideas of heartbreak, grief, and love. The thirteen-minute short follows a separated couple who reconvene in a Paris hotel room. The set is blanketed with yellow, a colour associated with happiness a juxtaposition on the themes presented in the short film. Even though Hotel Chevalier is a short film, the presence of graphical elements is still undeniable. The use of the typographical font Futura is used in both the opening and closing credits, and ephemera can be seen throughout. A postcard rack is visible in the background at the front desk in the opening scene, various books, photographs, images and graphic ephemera can be seen within the hotel room pinned on the walls and on placed on the tables that occupy the room. (See Figure.10) All these elements have been positioned within the set to create an identity. This idea of creating a world relies largely on set and costume design. However, the small accents that singularly have no real relevance but together, they create a new layer of information that adds to the story. The
Figure.11
Figure.12 Darjeeling Limited (2007) explores ideas presented in its foreword Hotel Chavelier (2007). This film specifically highlights the importance of props within a shot, Wes Anderson explains this idea in an interview piece its reads “I remember all of us thinking that there are these sort of talismans the brothers carry- things like a pair of sunglasses or a music box or the father's luggage, and these various objects that a character is placing around the room at a certain point. They affix a meaning to each of those things� (Seitz, 2013 p.205) The fathers custom Louis Vuitton luggage is a beautiful example of how graphic design is a crucial aspect of the creation of a film universe, some
viewers may initially look passed the sentimental value the luggage holds to the brothers in this film. (See Figure.11)This sentiment has much to do with the grief of their father's death. They later dispose of the bags in a gesture of letting go. Suggesting that the bags hold some weight in proposing themes and ideas to the viewers. Figure 12 is a sketch for the design of the luggage. The luggage was designed by Eric Chase Anderson, the brother of Wes Anderson “with Marc Jacobs, the artistic director of Louis Vuitton, who studied firm archives and historical luggage to come up with the design for an authentic calf-leather suitcase.�(Classic Driver, 2008) This further supports the idea that drawing from reality is a key aspect in the production and authenticity of graphical production in film.
Figure.14
Figure.13
Fantastic Mr Fox 2009, is a beautifully constructed stop motion animation, a style of film that is closely related to graphic design. The productions reliance on graphic design is exhibited in Wes Anderson's extensive sketchbook storyboarding and various thumbnail creations, a technique often used by designers to depict initial or complicated ideas. Planning is a key aspect of Wes Anderson’s process. He uses sketches to visualise the shots as well as working drawing of sets, costume and prop design. Storyboarding is utilised in many disciplines to describe a progression through time or events. Wes Anderson and his production team use this technique throughout his collection of films. (See figures.13) This technique is adopted by many directors and their production teams. It is said that “behind most great films and filmmakers, there’s a storyboard.”(Far Out, 2019) This supports the idea that storyboarding is an essential aspect of the process for film making. Designers accumulate sketchbooks filled with designs and storyboards as a way of compiling and developing ideas. Director Guillermo Del Toro uses great detail in his sketchbooks; they are an exquisite example of using visuals to communicate ideas, and could independently be described as beautiful pieces of graphic design. (See Figure.14)
Figure.15 The film Moonrise Kingdom 2012, is mainly set in an exterior environment, so the use of graphical elements is mostly seen in the costumes worn, however one of the main protagonists Suzy reads various books to the other characters. (See Figure.15) These books were fictional and had been created by “screenwriters Wes Anderson and Roman Coppola” (Seitz, 2013 p.282) specifically for the film. The books are a defining aspect to Suzy’s character development, and in the absence of these books, the film would lose a key narrative aspect. Therefore suggest the importance of the involvement of a graphics team.
Wes Anderson understands the relevance of having a strong graphical presence within his films. Many of his films focus largely on using graphic elements to push the story along. The Grand Budapest Hotel 2014, has previously been explained as a “very meticulously created masterpiece.�(Gosling, 2015) The detail within the film is unmatchable. Everything is incredibly well designed and meticulously calculated, no shortcuts have been taken with this film, and the impact of that is undeniable to the viewer. Receiving nine Oscar nominations and successfully winning four, The Grand Budapest Hotels extravagance is indisputable. An exploration of the graphic elements used within the film is later discussed. (See Chapter Seven)
Figure.16
Figure.17
Figure.18
Figure.19
Isle of Dogs was released in 2018, again another beautifully executed stop-motion animation. The film used elements of graphic design for several aspects including prop design. (See Figure.16) The film pulls inspiration from a number of areas, absorbing the historical art forms originating in Japan, and drawing on other visually impactful pieces such as the 1988 animation Akira. The imagery used for the city of Megasaki (Figure.17) holds a strong visual similarity to the dystopia that is Neo-Tokyo (Figure.18) both fictional settings. The colour choices and overall design of the congested buildings are similar. This could be due to the inspiration for the landscape being influenced by the skylines seen within Japan. (See Figure.19) However, it is hard to say this for certain, even though the architecture is similar, no direct links can be made. Again another aspect of inspiration could be pulled from Dodes 'Ka-Den (Dodesukaden. 1970) a Japanese film from director Akira Kurosawa. The Japanese junkyard has a strong visual resemblance to Wes Andersons Trash island. (See Figures. 20 & 21) The general aesthetic is very similar, with heaps of waste pilled up to form mountains. By drawing inspiration from various avenues, a more dynamic feature can be constructed, and by combining reality with fictional elements, it allows the narrative to become more convincing.
Figure.20
Figure.21
Chapter Five Title Sequences
Figure.22
The title sequences in a film are the opening scenes we see before the film begins providing the audience with an essence of the narrative. As explained previously, the graphical elements at the beginning of films were created for functionality and served merely for an informative purpose. However, this saw a change. From the early 1950s title scenes have become more and more prevalent in the film industry and are now undeniably used to create tone and give an insight into the commencing film. Renowned designer Saul Bass is often acknowledged as the trailblazer for creating a new era of title sequences and respected in both graphic design and film. On the back end of the second World War Bass began using “ambiguity, layering and texture as well as
startlingly compact imagery to reshape the time before the film properly began…and in doing so he would transform our understanding of what a title sequence could be.” (Bass, Kirkham, 2011 p.106) Bass explains that “the film begins with the first frame and that the frame should be doing a job at this point” (Bass, Kirkham 2011p.106) suggesting that the role of the title cards would create a foundation for the film and act as a starting point for the visual storytelling, thus begin to echo the course of the forthcoming events. The title cards play a key role in “giving us narrative information”. (Bordwell, Thompson, 2013 p.94) From the initial title sequence we can draw ideas on the time period and location of the film, or perhaps present themes and concepts within the film. For example, the title sequence in David Fincher’s Se7en provides the viewer with an insight into key aspects of the narrative. (See Figure.22) The style and execution of the sequence within the film provides the viewer with a real sense of the films nature. Designer Kyle Cooper’s distressed title sequence gives an agitated feel; it is mainly constructed by hand then complied and edited digitally, the text is “hand-etched into black-surface scratchboard and manipulated during the film transfer process to further smear and jitter it. This transfer was then cut up and reassembled during post-production to add a final layer of temporal distress”.(Radatz, 2012) The stylisation of the title sequence is subconsciously insightful to the viewer, it presents the main graphic prop within the film, throughout the tile sequence, providing an insight into the importance of the notebook within the film.
Figure.23
Wes Anderson’s opening title sequences both set the tone of the film but give a beautiful insight into the world in which the viewer is about to delve into. Looking into a select few of Anderson’s title cards, you can see an indisputable correlation between his works. (See Figure. 23) There are apparent links between the colour pallet within films and with his visual composition. Anderson is noted for his consistent use of symmetry. Within all the films investigated it is obvious that the films follow a coherent style, Fantastic Mr Fox and The Grand Budapest Hotel both use Books in the early frames of the film to illustrate the film titles, this is an interesting occurrence and could be linked to his relationship with the authors of those books. Roald Dahl wrote the Fantastic Mr Fox and Director Wes Anderson has noted that the author is one of the biggest influences within his work. This also refers to Stephan Zweig, who is the author of the book The Crossed Keys Society which The Grand Budapest is said to be inspired by. (See Figure. 24) Therefore this idea of using a
book cover as visual imagery could be paying homage to his personal relationship with the books in question and potentially have the same effect on viewers.
Figure.23
Figure.24
Wes Anderson has been noted for his preference of the typographic font Futura it is present in a number of his artistic material.( Figure.24) Futura is used in several of Wes Anderson's films. There is no evidence of the visual reasoning for this; it may rely solely on preference. Although the optical continuity between films creates a stronger, more coherent visual presence as if the films are connected. Futura holds a strong graphical presence, a vastly functional sans-serif typography with
a strong symmetrical form. The typeface is favoured by many creatives and can be seen in a number of both digital and print pieces in all aspects of society. (See Figures.)
Figure.25
Figure.26
Figure.27
Figure.28
Figure.29
Figure.30
Figure.29
Figure.30
Figure.31
Figure.32
The scene titles presented in The Grand Budapest Hotel (Figure 30) shows some interesting artistic choices. The parallels between the visuals displayed, and the progression of the story depict an undeniable relevance to the visual communication of the story. Figure. 31 depicts a Vermillion door reading, Part 1. “M. Gustave”. The scene title foreshadows the personal traits of Missouri Gustave, within the following scene, it is apparent his character exists as a pillar of the Grand Budapest Hotel. The scene title used to introduce his character uses a similar aesthetic as the doors seen within the hotel, as depicted in Figure. 32. The viewer observes the ‘liberally perfumed’ concierge opening a door; the comparison between the two is obvious. This signifies the importance of the artist's choices made by the director; the viewer is subconsciously made to make associations between M. Gustave and The Grand Budapest Hotel through the visual imagery presented within the scene title.
Figure.33
Figure.34
Figure.35
This idea is seen throughout the film. Figure. 33 highlights the regality of Madame Celine Villeneuve Desguffe, the secret owner of The Grand Budapest Hotel. The scene title is embellished with crests and family emblems, using a highly saturated colour pallet to emphasised importance of Madame Desguffe. This specific scene title has a strong visual resemblance to medieval and renaissance tapestries often presented to or commissioned by monarchs. There is a strong visual comparison between this and Figure. 34. The Lady and the Unicorn, a tapestry series “commissioned by a noble French family in the 1500s and created by unknown weavers�. (Delaney. B 2018) Both use a very similar colour pallet and similar imagery. The use of branches or trees is seen in both; flags are also depicted in both images. The visual comparison between the two is undeniable; designers will draw inspiration from historic pieces to create an authentic design, that not only to convey a specific idea but to improve the legitimacy of the piece. Figure.35, depicts a recreation of the Black Family Tree used in the Harry Potter series, again using a similar aesthetic to Figures 33 and 34, although there is an obvious variation in style and colour, a strong visual correlation can be seen, again using a lot of the same imagery. This suggests that the thought process from the designers is within the same realm.
Figure.36
Director Quentin Tarantino also uses chapter titles, mostly used to explain a change in time or location, a technique he uses in several of his films. Specifically, in Kill Bill Vol.1, the chapter titles used within the film create a sort of periodical layout. (Figure. 36)The chapter titles are not deeply complex in terms of design. However, they hold a strong purpose within the film in terms of communicating information. They resemble chapter titles you may see within a book, perhaps using a technique such as “chapter headings are a sign of directors who want to be taken seriously as auteurs� (Bilson, 2010). It is hard to definitively understand why directors make these decisions; we can only draw observations on the imagery and ideas proposed.
Chapter Six Film posters
Figure.37 Film posters play a huge role in creating a visual presence for the film before it is realised in reality, and with specific primary research, its inclusion in this investigation is key. In terms of relating this chapter to ephemera, film posters only exist with a real purpose for the duration that the film is promoted. After the promotional period, film posters become something of a memento for that film. The Science and Media museum holds a large film poster archive, showcasing film posters from a vast period. The development of techniques is clear; hand-rendered typography is often used in the early prints, as well as technical practices such as screen printing and also including some hand-drawn details. (See Figure. 37) The progression of this through time saw the increase in digital elements such as photography and digital typography being used. These techniques and development of practices emphasise the ties between graphic design and the film industry massively, due to actual graphic design practices being used to create the posters. Figure highlights and an array of early film posters within the archives, a variety of practices have been used to create each poster.
Figure.38
Comparing Figure. 37, to Figure. 38 the difference in time is established by the techniques used. A clear distinction can be seen in the paper used for the posters and also the choice of colouring. The recent poster designs use a wider colour pallet, including darker shades and richer tones, whereas the earlier posters use a smaller selection of colours, or used pigmentation achieved by mixing shades.
Figure.39
Drew Struzan is the creative mind behind many of the greatest Film posters created. (See Figure. 39) A true trailblazer of his discipline. His work is hand-rendered thus presents a real sense of personality that is not achievable when working digitally, this idea is further explained “part of the enchantment of Drew’s work is the texture, tactility, and irregularity created by hand-painting. Rough edges, visible brush and pencil strokes, and fantastical renderings of characters”(Dunne, 2013) This unique result that only occurs when working by hand give the film posters a sense of individuality and life. Drew Stuzan’s popularity amongst directors and productions companies did not go unnoticed. “Struzan was the must-have illustrator for everyone from George Lucas and Steven Spielberg to Frank Darabont and Guillermo del Toro because of his ability to tell a story with a single image.”(Lasane, 2015) This emphasises the idea that he really captured the essence of the film within his posters. This idea is supported by Emily Kings she's explains “it is often said that movie posters communicate the essence of film” (King, 2003 p.6) In contrast she later goes on to say “This is not entirely true”(King, 2003 p.6) King then goes on to explain that in cases where the director and production company work with distance ideas can become translated differently.
Chapter Seven Graphic Props
Figure.40
Figure.41
Figure.42
Figure.43
Graphic props can present themselves in an array of forms. It might be something trivial such as a crisp packet or have a key role within the film, such as the protagonist's journal. Graphic designer Martin T. Charles has produced work for films such as Ghostbusters, The Avengers and The Artist, he is a renowned designer in his field and explains that “the role of the graphic designer in film is to create a world visually.” (Academy Originals, 2016) This idea of creating a world, emphasising the fact that graphic design plays a huge role in the film, as the reality of universe ceases to exist without a graphic designer to produce the components that create its authenticity. Designers often pull ideas from reality; the signage in The Grand Budapest hotel is a great example of this. (See Figure. 40) Director Wes Anderson asked for apparent errors in the signage, a strange style of kerning is used, as it created a more authentic appearance.(Figure.41) Designer Annie Atkins explains that the visual imagery for the signage was taken from a grand old hotel in Cairo (See Figure. 42) (AIGAdesign, 2017)This truly emphasis the idea that authenticity is key when designing for film and all these ideas that may seem minute actual play a significant role in the legibility of that orchestrated universe. Figure. 43 is the correct kerning for the sign, the model designers rearranged the text as it ‘should’ however, it was then changed back to the original style. Designer Annie Atkins had drawn the original design with an unusual kerning and Wes Anderson preferred it this way. The small changes to the kerning are visible when comparing both Figure. 41 and Figure. 43.
Figure.44
Figure.45
Continuity is a key aspect that has to be taken into consideration when designing for film, as a change in appearance for a prop can prove to cause huge commotion for viewers. A labours task, however, essential for the authenticity of a shot. (See Figures. 44 & 45) This truly highlights the depth a designer will go to in order to create a true sense of continuity within a film. The creation of a prop often means several replicas will need to be created at different stages, in order to create a streamlined shot. The director will film multiple shots. Therefore all the replicas must be almost identical; this is an incredibly difficult task when dealing with blood stains or intricate tearing. Atkins explains that “continuity can suddenly become one of the most captivating things about an entire film�(Atkins 2020 p.108) This idea could be applied to when the continuity is undetectable or when errors or mishaps can be seen, then there is almost an unspoken cult interest to find such errors, for example, the Mendl's box in The Grand Budapest Hotel has a spelling mistake, Patisserie is spelt with two T’s instead of one. (See Figure. 46)
Figure.46
Figure.47
Figure.48
Figure. 47 depicts a series of beautiful graphic props used within The Grand Budapest, as mentioned previously the film uses graphic elements throughout, as evidenced by Figure. 48.
Figure.49 Graphic props within film are often portrayed as a novelty component. However, they provide an authentic element to the film. By using tangible components that look legitimate, the visuals become more compelling. The Bridge of Spies (2015) director Steven Spielberg selected graphic designer Annie Atkins to create various 1960’s graphic ephemera consciously dotted within various scenes. (See Figure.49) Atkins explains that these types of props although not hero props “can all add up to create a more authentic experience for both cast and the audience” (Atkins 2020 p.36) This idea is supported by Figure. 50 as the use of props is seen throughout the whole of the film, for various reason such as development or progression within the narrative.
Figure.50
Figure.51
Figure.52
Figure.53
Figure.54
Figure.55 The incorporation of graphic props (Figure. 51) within Wes Anderson’s Isle of Dogs (2018) could be described as unusual, as it is a stop-motion animation.Therefore it would not usually require such intricate detail. However it is evident that specifically in Wes Anderson’s films, detail is a integral factor. The film draws extensive inspiration from Japanese culture, and strong visual and graphical comparison can be made. Although with stop-motion animation, the objects within the shots are largely described as part of the set design, the objects seen specifically within this film are undeniably graphic design elements. In regards Wes Anderson’s films, vast research is conducted to create relevant and coherent visual pieces, both for the character to interact with but also to use as visual content throughout the films to allow narrative progression. Figure. 52 depicts a still taken from Isle of Dogs. In this scene, Professor Watanabe is discussing a cure for ‘snout fever’, and an image appears on the presentation screen.(Figure. 53) It is clear that the similarity of this image has almost identical visual properties to ‘The Great Wave’ by Hokusai (Figure. 54) with its iconic “Prussian blue” (Clark, 2017 p.123) this image is undeniably recognisable. This idea of drawing from reality is also seen in the opening scene of Isle of Dogs, some beautiful “Ukiyo-e” (V&A, 2020) or woodblock prints are presented. A traditional technique used in Japan which was “hugely popular during the Edo period” (V&A, 2020) Figure. 55 depicts the heroic tale described by the narrator, again this has strong cultural links to japan, as it depicts a young samurai as well as a traditional temple and various warriors. This idea is supported by The V&A“Japan has a long and rich tradition of folklore and storytelling, and traditional tales of heroes and villains, monsters and demons provided dramatic and popular subjects for woodblock prints.” (V&A, 2020)
Figure.55 Stanley Kubrick is an incredible director; his works are undeniable masterpieces. The Shining is arguably one of his best examples of directional work. Figure. 55 highlights the importance of graphics within film. This specific scene is centred around jacks typewriter. Wendy, a main character finds her deranged husband writing full pages of the phrase 'All work and no play makes Jack a dull boy' continuously on several pieces of paper. Highlighting his ongoing psychotic behaviour and truly emphasise the fact that jack has lost his mind. The length of detail within this prop is evident; the hand-typed prop has several imperfections, typos and ribbon smudges. All this adds to the authenticity of the prop. By using errors, it creates a sense of individuality. This reiterates the extend of detail put into the graphics production. In the early stages of the film Kubrick also presents some ideas of reasoning for Jack psychosis. Figure. 56 & 57 depicts two stills from the film. The scenes take place in kitchen stock room within the hotel. In Figure. 57 a can of ‘Calumet’ baking soda is depicted in the background, with an image of a Native American wearing a traditional headdress.
Figure.56
Figure.57
The positioning of the can is interesting, as it almost looks out of place, this supports the idea that the director has made intentional decisions to place certain graphic elements within the shot. There is also various “Native American artefacts and designs throughout the hotel�(Ebiri, 2013) This suggests that the characters erratic behaviour could be linked to some sort of spiritual disruption. However, Kubrick leaves these ideas open-ended. However all of these decisions have been made intentionally.
Figure.58
Figure.59
Figure.60 Design studio MinaLima created the graphic props for The Harry Potter Series. Figure. 58 and 59 are only a small depiction of the impressive number of graphical props created for the film series. The creative duo describes clear transitional periods of designs. During the first film they used very little digital software, whereas during the second film they had to take on many digital attributes. (Adobe UK, 2018) This idea of transitional periods in design also applies to the graphics within the film. The Daily Prophet is a clear example of how a change in the story, constitutes a change in visual imagery. (See Figure. 60) They explain that a more “dogmatic, the utilitarian aesthetic is given to the newspaper once The Ministry of magic takes over.” (Attractions Magazine, 2014) A clear distinction can be made between the whimsical design present in the earlier films, and the constructive design of the newspapers from the films where the ministry is in power. MinaLima also explains how important “working practically by hand, and marrying the process to digital elements.” (Adobe UK, 2018) As this allows dynamic and multifaceted pieces of work to be created.
Conclusion This investigation intended to explore the role of ephemeral graphic language within the realm of film while highlighting the importance it holds with visual storytelling as well as helping with the progression of the film. By examining specific pieces used within certain films and exploring the ideas they present, the argument has been formulated to highlight the importance of graphics within the film of film and also delve into how closely the two disciplines align. Film and graphic design are undeniably similar in practice and theory; this is evidenced by the parallels drawn between crucial design principles such as compositional structure, balance, symmetry, colour and storyboarding. The two disciplines often crossover undetected, designer Saul Bass has worked seamlessly throughout both fields as he understands the two art forms are similarly aligned. Wes Anderson is an advocate for impeccable design that accentuates the importance of a strong graphic presence, in creating his visions he leaves no stone unturned. Therefore understands and appreciates the meticulous thought process the design team go to when working on a film sets. Wes Anderson and a few other directors such as Quentin Tarantino use title cards within their films to present a new character or perhaps a change in setting. By doing so ideas can be suggested to the viewer or allow direct information to be displayed whereas title sequences are a crucial aspect of film, as they introduce the commencing feature and give the viewer an insight into ideas and themes. The title cards create a foundation for the film and act as a starting point for visual storytelling. Another aspect of foundational storytelling could be described as the film posters produced. A visual representation of the film used to draw the attention of filmgoers. Film posters are also the memento that is left behind after the film has ceased to exist in cinemas, they play a huge role in creating a visual presence for the film before it is realised in reality. Another part of the film realm that could be described as a memento is the graphic props used within the film. Graphic props are a true form of physical ephemera for the world of film; they become obsolete after production has come to a halt, however, carry some physical immortality for the film if they are preserved or archived. The graphic props create an authentic experience for both the viewer and the cast members. Graphic designers who create work for film, consistently draw inspiration from all avenues, whether it be designed for historical or fictional scenarios. Despite the lack of academic literature regarding the subject, it is clear that the role of graphic design within the real of film is slowly becoming more recognisable. Gradually through time, the monumental role that graphic design plays in communicating ideas is becoming more visible and more accessible. It is clear that more work is beginning to be published and large groups are forming that find these graphical mishaps, and this aspect of both film and design should not go unnoticed and therefore deserves a larger platform.