PABLO FERRO armond aghanian dynamic typography dma spring 2006 01 BIOGRAPHY Name Pablo Ferro A K A DePablo Film Work He got his big break when he was hired to cut the trailer for Stanley Kubrick s Dr Strangelove Or How I Learned to Stop Worrying and Love the Bomb in 1964 He has Born and Raised made titles and special effects for almost 90 films He was born January 15 1935 in Antilla Cuba Raised on since then a farm in Antilla until moving to New York in his teens Ferro is the least known of the great title designers Animation such as Saul Bass yet has made the titles to some of Self taught animator from a book by Preston Blair Ferro the biggest films such as Dr Strangelove 1964 The worked freelance in the 1950 s for animation studios Thomas Crown Affair 1968 A Clockwork Orange 1971 like Elektra and Acadmeny Pictures making black and Beetlejuice 1988 The Adams Family 1991 white commercials He worked with Stan Lee at Marvel Philadelphia 1993 LA Confidential 1997 Men In comics and produced some science fiction noveles Black 1997 Good Will Hunting 1997 My Big Fat Greek Also trained by Disney animator William Tytla Wedding 2002 The Manchurian Candidate 2004 and many more He rose to prominence when he becme the member of the firm Ferro Mogubgub and Schwartz and made Presently Pablo Ferro continues working as a title the famous NBC peacock animation and Burlington designer and movie producer Mills stitching logo In 1964 he would create his own production company Pablo Ferro Films armond aghanian dynamic typography dma spring 2006 02 WORKS Dr Strangelove Or How I Learned to Stop Worrying and Love the Bomb 1964 Director Stanley Kubrick hired Ferro originally to create the trailers and television spots for Dr Strangelove because Kubrick was a fan of Ferro s commercial work Ferro used his quick cutting technique of using as many as 120 unique images within one minute of film This technique of using images and quick cutting would become one of Ferro s trademark techniques The title scene for Dr Strangelove was thought up by Ferro who decided to use stock footage of a bomber refueling and playing it to a love song making a sexual reference and playing off the satire of the film The title sequence was a film within a film which was pioneered by Ferro and a few others at the time The elongated hand written text was only supposed to be a test which would be further refined but Kubrick loved it so much he kept it as is armond aghanian dynamic typography dma spring 2006 03 WORKS A Clockwork Orange 1971 Kubrick hired Ferro again to design the title sequence for a clockwork orange and also a one minute commercial for the film Ferro again used his quick cutting technique for the commercial which told the whole story even including a frame from a rape scene in the film His commercial was never shown but his title sequence is included in the film armond aghanian dynamic typography dma spring 2006 04 WORKS Men In Black 1997 Ferro s elongated font style shows up in both the Men In Black films and shows how his iconic writing still resonates with todays audiences The elongated font also shows up in the Adams Family and a Talking Heads concert from 1984 armond aghanian dynamic typography dma spring 2006 05 WORKS L A Confidential 1997 Ferro uses stock footage again to depict the 1950 s and set the tone of the film He also uses quick cuts to setup a lot of story in a short amount of time armond aghanian dynamic typography dma spring 2006 06 WORKS Napolean Dynamite 2004 One of the reasons that Napolean Dynamite got the backing it needed to be made was because of the concept art that Pablo Ferro made for Director Jared Hess to pitch the film at the Sundance Film Festival The Title that appears on Napolean s desk in the beggining of the movie was designed by Pablo Ferro The credit sequence with plates of food was designed by Aaron Ruell when the film got a budget armond aghanian dynamic typography dma spring 2006 07 CONCLUSION Pablo Ferro created many iconic styles From quick cutting images and text to creating iconic typography Ferro has done it all He is a typographer editor animator and film maker His use of multiple images and quick cuts in title sequences for The Thomas Crown Affair and Dr Strangelove set standards that are copied by film makers to day His organic and elongated has been a source of creative inspiration for many designers such as Kyle Cooper who did titles for films like Seven The Mummy Spiderman and the Dawn of the Dead remake Ferro is also a pioneer in motion typography which won him acclaim and caught the eye of Stanley Kubrick back when Ferro was designing commercials with motion type that had never been done before armond aghanian dynamic typography dma spring 2006 08