Contents & References of Examining the role of typography in movie titles
List:
Introduction..1
Chapter One: Outline of the Plan
1-1 Statement of the problem. 4
1-2 Importance of the research topic and the reasons for its selection. 5
1-3 Research questions or hypotheses. 5
1-4 Research objectives. Research theory.7
1-7 Research background.7
Chapter two: theoretical studies
About typography
2-1 writing..8
2-2 calligraphy.11
2-3 Gutenberg galaxy.13
2-4 typography.17
2-5 type and Typeface. 24
2-5-1 What points should be observed in your typing? 26
A
2-6 The basis of typing in the West. 29
2-6-1 Pattern structure. 30
2-7 Gridding. 35
2-8 Typography and visual communication. 36
2-9 The beginning of Arabic types and Persian. 39
2-10 The basis of type design in Arabic and Farsi. 40
2-11 Determining hierarchy and valuing contents. 43
2-12 Classification of Persian fonts. 45
2-12-1 Text types. 46
2-12-2 Header types. 46
2-12-3 Type Displayed Form. 46
2-13 Spacing. 47
2-13-1 Spacing and spaces left from lead types. 47
2-13-2 Spacing of form and anti-form - darkness and negative space - within the text. 47
2-13-3 The space between words and the stream phenomenon. 48
2-13-4 Spacing between Line/visual distance between lines. 51
2-14 Morphology of Persian writing. 51
2-14-1 Classification of Persian expressions based on their place in the word part. 53
2-14-2 Ride of word parts. 54
2-14-3 Ride of Persian signs. 55
2-14-4 Structure and form of words. 56
2-15 Typography goals.59
2-16 Typography capabilities.62
B
2-16-1 Helping to place the writing and topic in the mind and memory of the audience.62
2-16-2 Making the writing objective and tangible.63
2-16-3 Arousing the audience's curiosity in order to understand visual capacities. Writing. 63
2-16-4 Putting the audience's imagination beyond the writing. 63
2-17 Color and hierarchy of typography. 64
2-18 Content..66
2-19 Combination of letters and image. Picture. 72
2-22 Form..74
2-22-1 Form proximity and fit.74
2-22-2 Form conflict.75
2-22-3 Form Alternation.76
2-22-4 Form Combination Form Combination.78
2-22-5 Form Substitution Substitution. 79
2-22-6 Visualization. 80
2-22-7 Decoration and abstraction. 81
2-23 Methods of sensitizing letters. 82
2-23-1 Positive and negative. 82
2-23-2 Abbreviation, removing parts of letters. 82
2-23-3 Repeating a A letter or a part of a letter in the whole composition of the word. 83
2-23-4 Overlapping or contact of letters. 84
2-23-5 The sequence of all or part of the letters of a word. 84
C
2-23-6 Changing the size from strong to weak or from dark to light. 85
2-23-7 Placement of letters in a set of Levels. 85
2-23-8 Adding visual elements to the word or a letter of the word. 86
2-23-9 Designing new letters. 86
2-23-10 Specializing - emphasizing part of the word or letters. 86
2-23-11 Writing without prior thought - impromptu. 87
2-23-12 Working with (point) in the composition of a writing. 87
2-23-13 Creating rhythm in word composition. 87
2-23-14 Creating balance in the word. 88
2-23-15 Using color. 88
2-23-16 Including in a format. 89
2-23-17 Working with numbers. 90
2-23-18 depth.91
2-23-19 connection.95
2-24 use of letters in designing the title and title of the film.96
2-25 summary of the chapter.106
Chapter three: methodology (methodology)
About moving graphics
3-1 Introduction. 108
3-2 visual perception. 115
3-3 motion and time. 118
d
3-3-1 time. 119
3-3-2 factors of seeing motion (light and its reflection). Philosophy. 121
3-3-5 Movement in myth. 123
3-3-6 Movement in visual communication. 125
3-3-7 The spirit of movement in Iranian calligraphy. 126
3-3-8 Movement in different periods. 128
3-4 History128
3-4 History and inventions in the motion picture industry.135
3-4-1 Zoetrope.135
3-4-2 Tomatrope.136
3-4-3 Perxinoscope.137
3-4-4 Flip Book.138
3-4-5 Motoscope. 139
3-4-6 19th century and new perspectives in the motion picture industry. 139
3-4-7 animation. 144
3-4-8 experimental animation. 148
3-5 motion picture production techniques. 149
3-5-1 frame-by-frame animation. 149
3-5-2 Cell animation. 150
3-5-3 directly on the film. 151
3-5-4 Free Hand animation. 152
3-5-5 stop-motion. 154
E
3-5-6 pixelation.
3-6 moving graphics in film titling.156
3-7 chapter summary.164
Chapter four: analysis
about movie titling
4-1 introduction.165
4-2 different interpretations about the definition of titling.166
4-3 history of titling in world cinema and Iran.170
4-3-1 Titling in world cinema.170
4-3-2 Titling in European cinema.176
4-3-3 Titling in Iranian cinema.177
4-4 Classification of titling.192
4-4-1 Opening credits.192
4-4-2 Titles Credit. 193
4-4-3 Final credits. 194
4-4-4 Comparison of film and television credits. 196
4-5 Characteristics of a good title. 200
4-5-1 Creativity. 201
4-5-2 Catchiness and attractiveness. Spacing. 204
And
4-5-4 Connecting the credits to the film. 205
4-5-5 Coordinating the beginning and end credits. 211
4-5-6 Matching the font type with the film space. 212
4-5-7 Readability. 214
4-5-8 Timing Title. 220
4-5-9 image; Synchronized with the sound. 222
4-5-10 Edit credits. 226
4-6 Necessity of designing titles for the film. 231
4-7 Issues of making titles. 233
4-8 Types of titles. 241
4-9 Techniques of making titles. 247
4-9-1 Captions and fixes. Frame. 248
4-9-2 Engraving on the film. 250
4-9-3 Moving graphics. 251
4-9-4 Animation. 252
4-10 Correspondences of cinema and graphics. 253
4-10-1 Matching the seat line in the graphics with the imaginary line in the cinema. 253
4-10-2 Color matching In graphics with sound in cinema. 256
4-11 Cinematic graphics. 257
4-12 Titling in today's cinema. 259
4-12-1. In Iranian cinema. 262
4-13 A look at the works of top designers. 265
Z
4-14 Interview with Mr. Asghar Farhadi
(screenwriter, director and producer). 287
4-15 Chapter summary. 292
Chapter Five: Conclusion Conclusion 5-1. 294. Practical project. 300. Sources and references. 303. Image resources. 306. English abstract. 307. Source:
Abstract (Including summary, aims, performance methods and final results): Many movies around the world have been produced with similar themes. What differentiates these works from each other is the distinction between the directors' view on film production and the portrayal of the desirable theme. A film is comprised of numerous parts as various specialties are applied for its production. Title sequence is one of the various parts of a movie. All the title sequences consist of the entire cast and crew of movie yet a title sequence may be distinctive and outstanding through the different perspective of designer.
The influential factors on performance of title sequence has been studied in this research with a look at the history and classification of title sequences as well as the study of their typology, techniques and features while the consistencies of the two arts of graphic and filmmaking have been discussed.
Application of graphics in movies as well as the title sequence design is nowadays observed more than ever. Motion graphics has been quite influential in this area and it is a discipline widely applied in setting and creating the tone of the title.