FINAL COVER DESIGN
 

Who Framed Roger Rabbit

STUDENT WORK

 

THE CLASSWORK FOR MY ADVANCED TYPOGRAPHY CLASS WAS FOCUSED ON DESIGNING FOR A SINGLE FILM, CHOSEN BY THE STUDENT, AND CREATING A DVD CASE AND MENU UTILIZING ONLY TYPOGRAPHICAL ELEMENTS. 

 

 
FINAL MENU DESIGN
 

Design Process and Rationale

 
IN SELECTING THE TYPEFACE FOR THE DESIGN THERE WERE A FEW CRITERIA THAT I LOOKED FOR, NAMELY THE ABILITY TO APPEAR CARTOON-LIKE AND EXUDE A FILM NOIR QUALITY SIMULTANEOUSLY. MY LOGIC HERE WAS THAT WHILE THE FILM WAS FUNNY AND GOOFY, IT WAS ALSO FRIGHTENING AND SUSPENSEFUL, WHICH I WANTED TO CONVEY THROUGH TYPE. 
 
 
IN MOVING FROM THE COMP ABOVE TO MY FINAL DESIGN, I NEEDED A COLOR SCHEME. I WANTED TO USE SOMETHING THAT TIED IN DIRECTLY TO THE FILM, SO I USED THE COLORS OF ROGER’S CLOTHING.
 
I ALSO ADDED THE STRIPES WHICH CREATED A TWOFOLD LOOK; ON THE ONE HAND, THEY RESEMBLE PRISON BARS, WHICH ARE APPROPRIATE FOR A MURDER MYSTERY, BUT THEY ALSO LOOK VERY SIMILAR TO THE STRIPES OF A CIRCUS TENT, ALSO APPROPRIATE BECAUSE THROUGHOUT THE FILM THE INVESTIGATION IS ESSENTIALLY A CIRCUS OF CRAZY TOONS!

I KNEW I WANTED TO USE A SPOTLIGHT IN SOME REGARD FROM THE VERY BEGINNING OF THE PROJECT. IN FILM NOIR, SHADOWS ARE KEY, AND THAT IS A BIG ELEMENT OF WHO FRAMED ROGER RABBIT - ESPECIALLY WITH THE "BUMPING THE LAMP" SITUATION.
THE TERM "BUMPING THE LAMP" ORIGINATED FROM A SCENE WHERE EDDIE VALIANT BUMPS HIS HEAD ON A LAMP AND SETS IT SWINGING, CASTING MOVING SHADOWS BACK AND FORTH ACROSS THE ROOM.
 
THE ANIMATORS THEN HAD TO ANIMATE ROGER WITH A CONSTANTLY SHIFTING LIGHT SOURCE IN TANDEM WITH THE LIGHT SOURCE USED ON THE ACTUAL ACTORS. THE TERM IS NOW USED IN THE FILM INDUSTRY TO DESCRIBE OVERLY DEDICATED INDIVIDUALS WHO WORK FOR THEIR BRAND AND PAY SUCH CLOSE ATTENTION TO EVEN THE MOST MINUTE OF DETAILS THAT VIEWERS MAY NOT HAVE EVEN NOTICED.
 
ODDLY ENOUGH, THE SPOTLIGHT ENDED UP FUNCTIONING IN A SIMILAR FASHION TO THE STRIPES; IT LOOKS SIMILAR TO A POLICE SEARCHLIGHT AS WELL AS A SPOTLIGHT AT A CIRCUS.