This project has meant a passionate challenge from the very beginning. The issue was to deal with a limited process both in resources and timing, getting the most creative and inspiring solution possible.

The original film Gernika Movie doesn’t include credit titles and starts with a historical introduction as a prologue. This feature was interesting for me when I selected this film for the Credit Titles Course taught by Fernando Domínguez Cózar.


The brief for including credit titles is established in 2 clear blocks. The first one allows me to include logos and the prologue under a flexible format. The second one introduces the main theme of the soundtrack which suggests and defines the tone of the film. In this case, it is a historical war-drama.


There is a pretty interesting visual and semantic metaphor in these tags which are implied in the film and in this historical event.

The dropped bombs over the town create a canvas of tragedy, destruction, and death. But the death gives way to life and in this canvas, a unique artwork is born.

The international press echoing the bombing thanks to the journalists who cover the conflict. The tears and blood drops transforming into ink drops which print the newspapers in the form of hope.


Most visual references from this concept are related to experiments with pigmented liquids spilled out on different permeable textures. The tests carried out for this were quite satisfactory.

Ink/Paint drops over absorbent textures creating breakups and hostile shapes pretty stimulating for macro-photo mode – 1:2 scale -. This permits to make a visual metaphor with the halos of destruction caused by bombs.

The technic print called -offset- generates a peculiar weave that is associated with newspapers and the rotary printing press. This element is quite interesting as a visual link for the concept “drop”.

A macro lens can catch these points or micro-drops of any publication. This way it’s possible to create a sketch of Picasso’s Guernica made with ink drops.

Music & Tempo

The analysis of the main theme permits to fix the tempo and organize the sequence. By doing this, it’s possible to consider the titles as a short story with 3 clear sections: introduction – conflict – ending.


The previous diagram allows configuring the shots which make up the scenes of the sequence. This storyboard is based on the codes or feelings that the music communicates in each section of time established.

The introduction needs a flexible time to incorporate brands and a prologue. This margin is covered with a fixed shot of a cloudy sky full of smoke and ashes. The scene can be extended whatever it is necessary until finishing it with the plane bombarding.

The conflict starts with the bomb (ink drop) which deforms the surface of the paper. This drop, together with many others, spreads like a trail of destruction creating a desolated Guernica. As well these drops make up the cover published by The New York Times.

Finally, the ending of the sequence introduces the desolation and drama going on the movie as the background of the plot.


All styleframes are created by macro-photo mode and digital retouching. Once the testings are carried out in order to achieve the ideal light and texture, the best results are retouched to achieve the chromatic palette and effects desired. In the following pictures, the general style of the sequence is presented.

Shooting & Edition

With a crafted storyboard and the styleframes defined, the shots needed for the sequence are clear. Any credit titles need an accurate edition, but in this case, the music and sound set the order of the shots.

Software: Adobe Photoshop, After Effects and Premiere.

Color correction

Finally, the color correction is applied. In this case, the color profile of Picasso’s artwork is ideal because this provides a consistent cinematographic style with the tone of the movie. Lastly, the motion blurs and vignetting generate unity to the sequence.


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