All the Streets are Silent
Motion language for a documentary film chronicling the collision of two subcultures in New York City.
The film, directed by Jeremy Elkin, merges interviews from major characters of the scene and archival footage from the film’s central time period of the late 80s and into the 90s.
All the Streets are Silent
Motion language for a documentary film chronicling the collision of two subcultures in New York City.
The film, directed by Jeremy Elkin, merges interviews from major characters of the scene and archival footage from the film’s central time period of the late 80s and into the 90s.
In the spirit of the archival footage used in the film and the film’s focus on a pre-digital world, the motion design of the titles take an unembellished approach.
Like the flickering lights of a subway car, the titles come and go in between moments of imperfection, adding a level of expression to seamlessly merge crisp white typography with the subjects on camera.
Beyond the opening sequence, the motion language adapts to the scale and moment of typography within the documentary. Each title has its own bespoke timing and rhythm.
Key events and locations in the film are marked with rolling numerals, reminiscent of an analog split-flap display.
The typesetting, by Jesse Reed, balances consistent type sizes with a flexible layout system, allowing titles to align to quadrants on screen. The motion language adds a proportionate level of expression to this system—adding only what is necessary to bring the characters on and off screen.
Credits
- Title design
Jesse Reed, Order
- Client
Jeremy Elkin, Elkin Editions
