![]() Michelle Dougherty teamed up with designer and lead animator Eric Demeusy to experiment with analog methods for creating titles, mainly to study the inconsistencies they could find. The Duffer Brothers weren’t responding to that, because it wasn’t a familiar motion in the 1980s, so it was changed to the sliding motion seen in the final version. Initially, it had a motion where the letters locked into place in a rigid and snappy fashion. Eventually, they settled on a concept called “Red,” which was close to the final version, but with a different typeface. ![]() One was called “Missing” and contained eerie scenes showing what the world looked like without Will Byers, but they decided to drop the idea because they felt like it was too "apocalyptic." Another was “Shadows,” which was simply type creating shadows, or objects creating shadows with type.ĭougherty, Kashiwagi and My Tran, another designer, continued to experiment with several typefaces, including Cortez, MT Light and Avant Garde Futura. Imaginary Forces initially presented three ideas to the Duffer Brothers conceived by Michelle Dougherty and storyboarded by designer Arisu Kashiwagi. In addition to this, the studio got a rough cut of the theme song early on, and started using it in the animation right away. The brothers then described the series in great detail, and sent Imaginary Forces the pilot script before anything had been filmed, to give them an idea of the tone they were going for. The brothers spoke in detail about the title sequences they liked, in particular referencing the work of Richard Greenberg.Īfter the call, the Duffer Brothers sent the company a stack of pulpy horror novels from their childhood for inspiration, most of which were by Stephen King. Some of the book covers that inspired the title design.Įxecutive producer Shawn Levy set up the first meeting over telephone between the Duffer Brothers and Imaginary Forces, the design house behind the titles of Mad Men, Transformers, Boardwalk Empire and Marvel’s Jessica Jones. Each was released by ITC in the 1970s, and were inspired by art movements of the early twentieth century Benguiat by Art Nouveau and Avant Garde by Bauhaus. It is used in combination with ITC Avant Garde for the credits, a sans-serif typeface designed by Herb Lubalin and drawn by Benguiat. The title sequence primarily uses the serif typeface ITC Benguiat, designed by its namesake Ed Benguiat. The primary typeface, ITC Benguiat, was used on many '80s books including those of Stephen King and the Choose Your Own Adventures series, as well as Dungeons & Dragons handbooks, The Smiths’ Strangeways album and the title sequences of Star Trek movies in the '90s, to name a few. ![]() ![]() Imaginary Forces studied Greenberg’s titles for Altered States and The Dead Zone in particular, as well as the titles for Bullitt by Pablo Ferro. The simplistic design of the sequence draws inspiration from the work of Richard Greenberg, who designed many of the Duffer Brothers’ favorite title sequences, including Alien, Altered States, Superman, The Goonies and The Untouchables. Like the show, the title sequence pays homage to the 1980s by echoing book covers and title sequences from the era. Designers: Arisu Kashiwagi, My Tran, Eric Demeusy.Executive Creative Director: Peter Frankfurt.
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