Compose styles
Rather than blending styles toward a middle, this gives them roles. The first one carries the structure, the next comes in as the accent, and anything after that shows up in a single detail. Where they fight each other, it says so before you start.
How to divide the work
- Composition
- Follow Saul Bass Title Design: Hand the names to the moving shapes, fix one reading position
- Type
- Set in Saul Bass Title Design's manner (One face only, entrances and exits designed to the musical beat), and let Visual Music's lettering (Use no lettering, or treat any lettering as one more figure) appear only where you want the eye to catch.
- Material
- Ground in Saul Bass Title Design's material (Art built apart from the feature, few colors, one repeated motif); bring in exactly one thing from Visual Music (Map hue to pitch and brightness to dynamics when choosing color).
- Colour
- Build on #f3f3ee, #eca506, #1c1b16 and admit one accent from #c9fefd, #ffff02, #03221d.
Where they fight
These are already listed as related entries, so the join should come easily.
Caution
- Saul Bass Title Design Decoration unrelated to the feature is not the form, since only the structure that summarizes the theme survives, and when moving the names becomes the point there is no time to read them.
- Visual Music Wiring shape size straight to volume, which hits the beat and never shows the structure of the piece.
Image prompt
Produce four original images that take their structure from Saul Bass Title Design (style, 1955 to 1990s) and their accent from Visual Music (style, 1920s–). ## What to make Make the kind of thing Saul Bass Title Design exists for: handing over a work's theme and temperature before the story starts, or redesigning the obligation of credits as a piece in its own right. Choose one subject and hold it across all four. ## Structure comes from Saul Bass Title Design - Flat cut paper silhouettes - A palette held to a few colors - Uneven hand drawn capitals - Simple moves along straight lines Composition: Hand the names to the moving shapes, fix one reading position. Type and lettering: One face only, entrances and exits designed to the musical beat. ## Accent comes from Visual Music, used sparingly - Abstract forms in motion - Chords of color - Counterpoint of sound and shape - No narrative Let one material quality come from it: Map hue to pitch and brightness to dynamics when choosing color. ## Colour and feeling Build the ground on #f3f3ee, carry the structure in #eca506 and #1c1b16, and let a single accent come from #c9fefd. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: exhilaration, luxury, play, calm, technique. ## What goes wrong - Saul Bass Title Design: Decoration unrelated to the feature is not the form, since only the structure that summarizes the theme survives, and when moving the names becomes the point there is no time to read them. - Visual Music: Wiring shape size straight to volume, which hits the beat and never shows the structure of the piece. ## Across the four Keep the roles fixed in all four. Vary the framing, the scale and the arrangement so the set shows what this pairing can do rather than four versions of one picture. ## Constraints - Do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. - Do not reproduce the composition of an existing work. - Produce original compositions in the general period languages described above.
Related entries
- Saul Bass Title Design 1955 to 1990s / Style / Broadcast Design
Moves flat cut paper shapes and hand drawn capitals along simple straight paths in time with the music, stating the theme before the film begins.
- Visual Music 1920s– / Style / Experimental Film
Film art that translates musical structure into abstract shape, color and motion. From the color organ through abstract animation to today's audiovisual work, it forms a lineage of listening with the eyes.
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