Op-art patterns in black and white suggest LSD-induced hallucinations. Stills from the title sequence of the second episode of Wormwood. The challenge was to make the typography “trippy” while avoiding direct references to the visual language of sixties psychedelia. His death predated most of the examples of psychedelic imagery Landman gathered during his research.
The fact that Olson died in 1953 complicated matters. “I asked myself, ‘What did Frank see at the end?’” Landman tried to imagine how Olson’s perception might have been altered during and after the experiment-how letters might have looked to him in that state. “It’s incredibly moving to see the family from his perspective, to literally see what he saw,” Landman recalled.
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One of Landman’s favorite parts of the series is the extensive use of Olson’s home movies. Wormwood investigates the death of Frank Olson, an army scientist who fell or jumped to his death in 1953 after being surreptitiously dosed with LSD by the CIA. All of these factors led Landman to select Font Bureau’s Titling Gothic FB. Landman explained that for Wormwood, the choice of typeface and decisions about typesetting were driven by considerations like the series’ subject matter, its time period, Morris’ filmmaking techniques, and stylistic continuity with his previous work. Landman inventively combined Titling Gothic FB’s various widths to create hallucinatory typography. All I have to do is figure out which ones best lend themselves to typographic interpretation.” Stills from the title sequence of the first episode of Wormwood. “His projects are always my favorites,” Landman said. He has also created graphics for many of Morris’ short films, such as the IBM centennial film They Were There, and several New York Times Op-Docs, including El Wingador, The Umbrella Man, and Demon in the Freezer. More recently, Landman worked on The B-Side: Elsa Dorfman’s Portrait Photography. Landman’s work on the documentary garnered him a Cinema Eye Honors award for Outstanding Achievement in Graphic Design and Animation in 2013, he was nominated in the same category for The Unknown Known. The pair first collaborated on Tabloid, released in 2010. When I interviewed Landman via email, he explained that he had previously worked with Morris on some of his documentary features, as well as many of his commercials and short films. Today, we offer an exclusive sneak peek at the project’s adventurous typography, created by Jeremy Landman, an independent designer who specializes in graphics and title design for film and television. David Berlow’s Titling Gothic FB, inspired by that century-old favorite ATF Railroad Gothic, is used extensively and exclusively throughout Wormwood: for the title sequences (of which there are multiple versions), intertitle date cards, lower third supers, and end credits.
The hybrid documentary, directed by award-winning filmmaker Errol Morris, is being released both as a six-part television series and as a continuous film in select theaters. On Friday, December 15, streaming-content provider Netflix launches Wormwood. DecemTitling Gothic FB hypnotizes viewers of Errol Morris’ “Wormwood”ĭesigner Jeremy Landman takes Font Bureau’s seven-width wonder to mind-bending heights in a new Netflix docudrama.
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