Danny Yount is an internationally recognized graphic designer for his work in feature film and mainstream television titles.


As a self-taught designer, Danny Yount learned everything he knows the hard way. It was the work of Kyle Cooper that lead him in the direction of main title design.

“It wasn’t until I heard about what Kyle Cooper was doing with Imaginary Forces that I was able to get a clear sense of what I wanted to do,” Danny told Desktop in an interview, “From that point on I made it my goal to design main titles. To me it was like gravity – it seemed to be the most logical thing to do. I spent a year building a reel and refining my skills.”

Yount is now one of today’s top main title designers for film and television working with Cooper at one of the most prestigious main title firms in the industry: Prologue.

Before Prologue, Yount served as a creative director at Digital Kitchen where he designed the Emmy award-winning main title for Six Feet Under. His main title for The Grid was nominated for an Emmy.

His 1960’s-style animated main title sequence for KISS KISS BANG BANG calls into mind the best work of main title design legend Saul Bass and was nominated for an AD&D award. His most recent work includes the visually spectacular main title sequences for both Sherlock Holmes 1 & 2, Tron and Iron Man 2.


I came across an interesting interview on the website “The art of VFX” in which the interviewers investigate the work that Yount and his team worked on for Iron Man 2.


They were responsible for all the CGI and computer effects that were in Stark’s laboratory. In the example picture below, he explains,

“Ilya Abulhanov and Clarisa Valdez designed all the screens and directed a team of terrific animators and designers to execute the many detailed and complex interactions and data. Daniel Kloehn and Takayuki Sato spent countless hours animating the insanely detailed interactive components. It was definitely a labor of love – and fear – but mostly love.”


One of the most challenging scenes was with the hologram city scene in which Tony explains about his proposed development. Paul Mitchel was the designer in charge of the team that lead this sequence. He explains, “The Expo hologram sequence posed a number of issues both technically and artistically. Artistically we had to handle a lot of detailed visual information on screen at one time, so we had to find the balance between the right level of complexity verses too much confusion. We needed to make sure Tony wasn’t overwhelmed by the information presented to him. We also had to make sure we enhanced his performance with holograms matching his eye line and arms reach.

Technically the challenges were getting this long sequence to feel like one coherent piece and getting it rendered for our weekly reviews with Marvel, so it took a long time to finalize the subtleties in each shot. Getting the holographic look right and consistent was a challenge as it needed to feel like the same hologram in the wide and close up shots, each shot had it’s own issues which effected the light and transparency of the hologram.”


After the stress of Iron Man, there was no chance of a rest with the subsequent phenomenally successful Sherlock Holmes movies being another creative challenge. This time, the challenge was with Watery cobblestone logos and longitudinal linotype layer. Danny explains how they became involved with the movie. “ I got a call from director Guy Ritchie while he was in the middle stages of principal photography. He liked what we made for RockNRolla and asked us to consider something good for Sherlock Holmes. We were sent a script and got very excited about it after realizing the more edgy and fun interpretation of the classic character of Holmes. So Ilya Abulhanov and myself made a couple of ideas (examples 1a & 1b).

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“I was invited to fly out to present them at one of the sets in London and see some of the film, so I had a very strong sense after that of where they wanted to go visually. The brief I was given was to do a live action shoot that involved a lot of newspaper headlines from the late 1800′s, which would give a little history to the early beginnings of Holmes and Watson and lead into the first scene of the film following the last headline on top of a stack of newspapers laid at the doorstep. We also wanted to show part of the printing process of that time period using the linotype machine and wood block type headline compositions.”

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As with Iron Man 2, the team also worked on the VFX scene within the movie. They were repressible for the Hallucination scene, in which Sherlock has a vision of Lord Blackwood ‘s crimes and the methods with with he committed them.

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Ref:  http://www.artofvfx.com/?p=369

Ref:  http://www.watchthetitles.com/designers/Danny_Yount

Ref:  http://www.artofthetitle.com/2010/01/21/sherlock-holmes/