Prologue for Robin Hood

Prologue’s treatment for Robin Hood is a study in patient analogue work. Ridley Scott called on the studio create Legends to open the film as well as End and Main Titles. Ridley’s vision for the film required Prologue to treat all the type in a handmade fashion, this meant taking the type out of the computer for most of the process and filming and treating them as handmade elements.

What stuck out to me were the gorgeous end titles that Prologue worked on in collaboration with Italian artist and animator, Gianluigi Toccafondo. I spoke with Prologue’s Creative Director on the project, Henry Hobson about their process for type development for the film and how they worked in collaboration with Toccafondo, here is what he had to say:

The type development was key to our work at Prologue, our idea was to echo Tocafondos effect with our typography. Initially we worked with existing fonts but found them too limiting. So we created a complete custom serif typeface to evoke the adventure, romance, promise, mystery qualities of the movie. We printed out each credit, then hand inked each name, working in 4k meant we could really go to town with really fine details. Manija Emran, one of our typographers, then added amazingly intricate custom flourishes to each letter, not just a full alphabet, but also every single character had its own custom flourish, to produce a truly unique type treatment. Even the locator cards had more love poured into them than most title sequences. During the end credits we printed our comped name cards onto non-porous paper then smudged and distorted by hand each name a dozen times, to produce a living hold and hand made transitions. Principally animated by Georgia Tribuiani, the smudged elements really integrated and transitioned the type into a constantly shifting and flowing sequence.

As a side note, when I was browsing through Prologue’s recent list of work one thing began to become apparent to me, their role in film production has evolved. Prologue was once called upon to vignette a film’s story with their personal treatment as a means to both draw the audience into the story as well as leave them with a final impression of the film. Now it seems that Prologue is called upon to envelope the film with a design system that ties the whole world together. Robin Hood, along with Iron Man 2, Sherlock Holmes and Ninja Assassin, are cases of Prologue’s further involvement with establishing a graphic style for a film.

Click here for the full interview as well as the clips

Director – Ridley Scott

Animated illustration -Gianluigi Toccafonda

Creative Director & Design – Henry Hobson

Producer – Unjoo Lee Byars

Typographic Design & Illustration – Manija Emran

Animators – Jorge Almeida, Cris Kong, Georgia Tribuiani, Stephen Villari

Executive Producer – Kyle Cooper

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About the author

Jon Saunders

internet surfer/designer extraordinaire


Aaron B

As a former Prologuer, I can honestly say that this is one of the most exciting pieces to come out of the company in the last couple years. Congratulations to my good friends and former colleagues, and to Henry Hobson, for a job well done!

Ayhan Cebe

Absolutely great work!.. and thanks for the interview..


Wow. gorgeous!

Karlis Stigis

This was a great surprize at the end of the movie. Like it very much!


Was this piece done with rotosoping technic? I think so.


Awesome that an entire hand-drawn alphabet was created just for the project. I would like to see it in it’s entirety!


…lovely stuff

Brian Gossett

Nice insightful interview and very beautiful titles.


Just a guess, but it seems as though Gianluigi Toccafondo must have created the Scott Free theatrical logo.


The comments/article were insightful and interesting. I really just wish you would learn how to write or have someone edit your work. I know the site is about design, production, etc. but the inability to have basic grammar skills does cloud and diminish how we receive your viewpoint. Please your article again out loud and see how bad it is. Look at that first sentence, good god, pathetic.


Please your posting again out loud. Look at that second to last sentence, good god, pathetic.

the doctor

great type. i think the end title sequence is well crafted…but i guess i don’t really understand why everyone is so wild over it? the technique doesn’t seem relevant enough to the film…kind of just a highlight reel of the movie done in a generic painterly style. you could maybe argue that expressively it’s in line with the film’s mood…sort of. but to go with such an overpowering aesthetic..i think it’s relevance should be pretty solid and intact.


Where was the animation produced? Italy or in the US.
Who produced the animation?


Was the animation created in Italy or in the US?
Who produced the animation?

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