Type in Motion Part Deux

Dreaming of the Mad Men Era:

As promised, this week I am sharing some more favorite typographic film titles. Today I thought I would focus on one of my favorite design periods: the 1960s, especially the early 1960s. I’ve been missing my favorite television series Mad Men. So let’s pretend we are Don Draper, land on the quintessential leather couch and with a perfect old-fashioned in hand and enjoy some mid-century typographic goodness.

First, a loving recreation of 1960’s Saul Bass graphics for the 2002 movie Catch Me If You Can. Notice the era-perfect combination of the low slung slab serif and helvetica with the ascenders and descenders extended to lines to create strong compositions in each frame. Kuntzel + Deygas borrow the look of the Saul Bass, in particular the look of his handmade designs by using modern technology.

Screen Shot 2016-08-16 at 4.28.50 PM
Catch Me if You Can (2002) Title Montage: Art of the Title

Remember all those times Don skipped out of Sterling Cooper, particularly in the early seasons, to find some inspiration in the darkness at an afternoon movie? I can see him enjoying the French New Wave films of Jean Luc-Godard, particularly Godard’s 1961 film, A Woman is a Woman. This series of typographic title cards feel distinctly Gallic: must be the brush block printing.

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A Woman is a Woman (1961) Title Montage: Art of the Title

The titles for 1959’s Pillow Talk starring Rock Hudson and Doris Day remind me of Salvatore Romano, the closeted gay Art Director at Sterling Cooper from seasons 1 and 2. The combination of brush script and the low-slung san serif (Engraver’s Gothic) references so well the advertising style of the late 50s and early 60s. The Pillow Talk titles were created by Wayne Fitzgerald at the Pacific Title and Art Studio.

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Hope you got some design and creative inspiration, just like Don, at the movies.

Here are links to the Mad Men era titles in today’s post:




Next week, some particularly quirky, yet enjoyable kinetic type/film titles.

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