Spider-Man: Far From Home Title Design

Using "archival" footage of Mysterio's planning process, this direction creates an energetic editorial look at the making of one of Spider-Man's greatest villains. This direction pulls a ton of archival footage and uses it throughout to tell the story of how Mysterio came to be. We designed some interesting transitions, layouts and mortises to create a fun energy to follow along.

This direction is focused on the creative process. As Mysterio plots his grand-scale illusions, there is a massive amount of preparation, design and engineering required to pull it all off. We want to investigate every inspiring, fun, and unexpected moment in this complex process. This is ultimately a love-letter to a process very similar to how we spend our favorite days: creative problem solving.

This direction wanders through a thick green fog of innovation and madness. We see brilliant multi-layered formulas written through the space, while lucid images are conjured of Mysterio’s aspirations, and his enemies. As Mysterio’s plan is built in this mental landscape, his spherical helmet becomes an ever-shifting lens into his psyche.

This direction creates a tabletop still-life built from found documents, photographs, newspaper clippings, souvenirs, and other items collected during the events of the movie. Each artifact is designed to relive a scene in the film or add additional backstory to specific moments and characters.

We wanted as many real assets from production as possible to make the world of the title sequence feel like it was pieced together from objects collected during the European class field trip. Marvel Studios helped by providing hundreds of individual assets that were used during production like brochures, tickets, luggage tags, and maps. These assets were organized by size, shape, and color to create a library of documents that were then used to create a collage of Spider-Man's face.

Fun fact: The jester mask is the actual mask worn by Tom Holland during production. Originally, we felt uncomfortable painting on a prop used in the film and tried to create a version of the shot that kept the mask intact. After a few tests it was clear that the best way to do it was to do it for real, and after director Jon Watts gave our team his permission, we did exactly that. The mask was painted frame by frame to create the growing paint effect. The transition out of the mask was created by printing a photo of the mask on large glossy photo paper and then cutting it up frame by frame.

Don’t blink or you'll miss it! This quick transition adds Spidey's face to all the posters in the opera playbill.

One of the most exciting days during production was when we received a box full of costumes from Marvel Studios. We were sent the Homecoming suit, the stealth suit, Far From Home suit, and Mysterio’s suit. With only 3 days with the suits, we had to make sure we had enough footage for the shots we needed as well as any shots we might have to make in the future if there were any notes. Hundreds of photos were taken of each suit folding, unfolding, spinning, turning, twisting, crumpling, and doing anything else you could think of. Everything except trying it on!

With so many practical elements created during production of the title sequence, we wanted to have a card that showed the scope of what was made. The Marvel Studios card features an element from almost every other card. You can see hints of Spider-Man's suit, Mysterio's cape, notebooks, newspapers, water, brochures, luggage tags, tickets, and much more.

Each layer of the tunnel was hand drawn on a sheet of notebook paper and photographed several times. The layers of notebook paper were then composited together in After Effects where a camera was pulled back through them.

The final logo lockup was built with scraps of paper and unused assets created during the production. "Spider-Man" and "Far From Home" were hand drawn several times to create a living energetic hold on the type.