But Guillermo’s experiment also reminded me of how awful the typography was of those opening crawls. The original Star Wars opening crawl uses two different typefaces (three if you count “A long time ago…”), is justified without hyphenation, and thus creates obvious rivers and awkward tracking.
Opening crawl from A New Hope as grabbed from the DVD.
As the subsequent movies came out, the typography was all over the place. The Empire Strikes Back dispenses with letter-spacing altogether. Return of the Jedi overcompensates for the failure of the previous two crawls by using too much letter-spacing.
Opening crawl from The Empire Strikes Back. What happened here? I can drive many trucks through those spaces.
Opening crawl from Return of the Jedi. Standbackafewfeetandtrytoreadthatlastparagraph.
The absolute worst though was when ILM matched the style for the Star Wars prequels. At least there was more tracking in the original 1977 version. The 1999 version of the crawl that appeared in The Phantom Menace lacked any letter spacing whatsoever and created huge holes between the words that made the crawl barely readable. (No offense to special effects god and Photoshop co-creator John Knoll. He’s great with FX but he’s not necessarily a designer nor typographer.)
Opening crawl from The Phantom Menace. Shit in = shit out. It’s a tragedy that they used Empire as the model.
I set out to do a quick experiment—to see if I could redo the crawl any better. The first thing I did was to standardize on one typeface. The “A long time ago…,” title and body copy are all Franklin Gothic. Then I tried a version where I kept the justified alignment but decreased the type size. The copy becomes much more readable, but feels too small and loses that epic quality George Lucas was probably after.
Then I simply tried centering it and I think it works. I am able to keep the type size large without creating large gaps between words or letters. Although the very straight sides are lost, I think the intended dramatic effect is still there.
And of course I had to whip it up in After Effects to really test the design.
Whenever I look at anything with words on it, I look at the typography. Bring me to a local corner lunch cafe with a menu typed out and printed from Microsoft Word and I will have a field day. I would judge even more harshly at a more expensive restaurant. I can’t help it as I—like most designers, I’m sure—just look at everything with a critical eye.
My biggest typographical pet peeve is the rendering of apostrophes, single and double quotes.
It astounds me when I notice this on any piece, and all I can mutter to myself is “Where is the craftsmanship?!” This was not the case decades ago when copy was sent out to professional typesetters. The very thing that democratized graphic design was the the same thing that lowered the bar on what passes for “professional” graphic design. I’m talking about how the computer and software allowed more people access to the tools necessary to create great looking stuff. No longer did designers need to send out manuscripts to a typesetter who would in turn set the type into galleys for the designer to paste up in the mechanical. This spawned a whole new industry called desktop publishing, but killed the entire profession of typesetter, and along with it some higher standards.
Don’t get me wrong. I’m no luddite. I put myself through college by working at a desktop publishing service bureau. But because of some great teachers I had, my sometimes unhealthy attention to detail, I had a lot of respect for typography, and took the time to learn all the rules and standards. But I digress.
What passes sometimes today for single and double quotation marks are actually foot and inch marks (or hour and minute marks). Why is that? My theory is that to be efficient in the manufacturing of some of the first practical typewriters, they straightened out the quotation marks so they could be dual purpose—open and close. In fact in Christopher Sholes’ patent for the QWERTY keyboard, only a single straight apostrophe key is shown, presumably the user would strike the key twice for a double quotation mark. And of course, most of this layout made its way into our modern computer keyboards and software.
Software companies like Microsoft and Adobe have been trying to mitigate this error by employing “smart quotes” technology. The software will analyze whether the quotation mark is at the beginning of the word (and then use the open state) or the end of the word (and use the close state). Most the time this actually works well. But what happens when you need to use an apostrophe in its close state as a contraction replacement in words like ’Til, Rock ’n’ Roll, and mac ’n’ cheese? The software isn’t smart enough to replace it with the proper close state and the designer or brand ends up looking amateurish.
How to not look like an amateur designer? (OK, maybe amateur could be considered a harsh term to you pros. Maybe bad craft is what I’m really talking about.) Go ahead and turn on the smart quotes feature of your favorite design app, but pay attention and override when necessary.
Although he has been designing since the seventh grade, Roger Wong officially began his design career in 1995. He is currently group creative director at LEVEL Studios in San Jose.
This site is an outlet for his musings on design, advertising and culture.
