Crime shows, podcasts, and movies have always been beloved, but these days they seem to be everywhere. For example, HBO has new limited series such as: landscape architect The film explores the lives of convicted murderers Susan and Christopher Edwards and their crimes, which were kept secret for over a decade.
Pentagram and Matt Willey, inspired by Susan’s love of Westerns, definitively incorporated Western motifs into the show’s design. Additionally, her type designer, Diana Ovezea, has created custom typefaces inspired by the innovations of movies such as “The Big Country,” “The Appaloosa,” and “Ride in the Whirlwind.”
Inspired by true events, the HBO/Sky limited series Landscapers follows convicted murderers Susan and Christopher Edwards, a good-natured couple who murdered Susan’s parents, William and Patricia Wycherley. (played by Olivia Colman and David Thewlis). He then buried them in the backyard of his Nottinghamshire home, but the crime went undiscovered for more than a decade. Pentagram partner Matt Willey and his team hint at the surreal fantasy world the Edwards have built for themselves and the thin line between reality and imagination that constantly shifts over the course of the series. We created a title sequence and custom typography for Landscapers. 4 episodes.
Conceived by writer Ed Sinclair and director Will Sharp as a quirky dark comedy, “Landscapers” unfolds from a variety of perspectives, from Susan and Christopher to the police officers and lawyers involved in the investigation. Susan was obsessed with the classic Westerns of the 1950s and 1960s, and both she and Christopher imagined themselves as Hollywood heroes in the stories they created. Referring to Western motifs found throughout the series, Willie collaborated with typeface designer Diana Overseer to create a design that was inspired by the film format The Big Country, Appaloosa, and A Whirlwind. It is conscious of the print language of Westerns, a wide, heavy typeface that emphasizes vast landscapes, but subverts the use of serifs in certain letters to achieve a more distinctive look.
Based on the title and the protagonist’s hallucinations, Willie and team began playing around with projecting the title onto different types of fabric, allowing the characters to “move” across this “landscape” before they were fully realized. . The title’s play with materials that stretch and transform reflects its illusory grasp of reality and the slightly uneasy atmosphere of the series. At several points in the show, Coleman’s character Susan escapes into dreamlike moments of reverie when she sees lines formed where the couch and blanket meet the walls and imagines landscapes and horizons. Masu. The folds and shapes of the fabric become undulating hills and valleys, bedspreads the tops of ridges and walls the sky.
The designers shot more than 200 takes for the title, casting the “Landscapers” logo on everything from burlap, canvas and tarps to cotton sheets and silk scrims. The type is photographed as it moves over the material, distorted and fragmented by folds as it flows over the “mountains”, and finally becomes fully legible when it reaches the flat “sky”. Masu. Each fabric had different properties as a projection surface, and each time the materials were rearranged, the distortion of the mold changed completely.
The planned titles will appear in the first three episodes. The fourth and final episode had the greatest emphasis on Western concepts, with a completely bespoke title sequence created, complete with exaggerated drop shadows and the most frequently used Western color graphics of the time. It was designed in yellow. The end titles for each episode were also tailored to the content, incorporating montages of actual news coverage at various stages of the case and behind-the-scenes footage of the show’s production. The end credits of the final episode appear against a bright red background, with music by Will’s brother Arthur Sharp.
project credits
Five-pointed star
matt willie
