Title cards The title cards of a silent film play an essential role in establishing its overall tone and aesthetic. However, creating visually and thematically consistent title cards for The Death of Dracula presented a unique challenge: the film's production spanned over six years, with each chapter being helmed by different teams and directors, each employing their own distinct title card styles. Because of this, initially there was no unified visual approach to these sequences. To achieve a cohesive aesthetic for the final film, we employed an approach that combined traditional hand-drawn backgrounds with digital text and layered analogue footage. The foundation of our title screens was a series of hand-drawn borders and illustrations, in order to provide a sense of authenticity and tangibility to the cards. By using hand-drawn elements, we aimed to create a more personal and artisanal feel for the title sequence. Digital typography was employed for the film's title and credits, in order to have greater flexibility and control over the appearance of the text. This ensured that the text was both legible and visually appealing, making it easier to adjust throughout the post-production process, and more importantly, it allowed us to unify the different styles of the original title screens into a cohesive whole. This approach also made adapting the film for different languages significantly more cost-efficient. Furthermore, we wanted the title cards to blend in seamlessly with the analogue aesthetic of the film. To achieve this, we employed the same post-production techniques we used to integrate the digital footage with analogue film stock. First, we carefully colour-graded the digital elements of the title cards to match the unique look and feel of the analogue footage, after which we layered the analogue textures Fig. 12. Title screen with overlaid 16mm film stock. The we previously captured over the hand-drawn edges of the hand drawn, the background and the text are slightly blurred. backgrounds and digital text. 97