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December 20, 2018

ScreenFonts: December 2018 | The Leftovers

These posters didn’t make the cut, but are still noteworthy for their design and/or typography.

by Bald Condensed

LA’s theatrical one-sheet for Susanne Bartsch: On Top — Susanne Bartsch: On Top © 2018 The Orchard. LA avoided the question of how to portray an ever-changing, outrageous fashion chameleon by transforming her into a naked mannequin, with a wide sans serif impeccably anchored to her cheekbone. See Benton Sans Wide Bold or Dinamit for viable alternatives.

Theatrical one-sheet for The Public Image Is Rotten — The Public Image Is Rotten © 2018 Abramorama. Johnny Rotten peeks mischievously over the bottom edge of Noah Witlin’s striking poster, the magenta streaks in his hair shimmering against the cyan background. Scout Condensed would be a surprising alternative for the straight-sided sans used here.

Andrew Bannister’s theatrical one-sheet for I Am Not a Witch — I Am Not a Witch © 2018 Film Movement. Andrew Bannister’s colorful, richly textured, eclectic style is instantly recognizable. For a great new take on the geometric sans-serif genre, have a look at New Hero.

Theatrical one-sheet for Strange Nature — Strange Nature © 2018 ITN Distribution. Christopher Shy’s gorgeous painted art is based on God of Change, a porcelain sculpture by Kate MacDowell. The typeface is a slightly customized Goudy Oldstyle.

The Refinery’s theatrical one-sheet for Colette — Colette © 2018 Bleecker Street. The Refinery adopted an unusual color palette consisting of a variety of reds, throwing in an unexpected electric green for Colette’s signature.

Theatrical one-sheet for Colette — The single connecting cross stroke for the double t in Colette’s signature in The Refinery’s one-sheet is lost in this alternate poster. Customizing such details is worth your while when using a script typeface.

Regional Dutch-language one-sheet for Colette — This charming regional Dutch-language one-sheet mimics the advertising posters from the art nouveau period.

Theatrical one-sheet for Mandy — Mandy © 2018 RLJE Films. Macbeth gives this hazy, threatening orgy of bloodred and purple the appropriate pulp/gothic look.

Theatrical one-sheet for Nelly — Nelly © 2018 Cinema Libre Studio. Given the scandalous nature of the movie, Alexandre Renzo’s Canadian domestic poster is surprisingly restrained, soft-focusing on author Nelly Arcan’s search for a pseudonym as she voluntarily embarks on a career as an escort.

Theatrical one-sheet for Nelly — All subtlety flies out of the window in Ivy Kim’s international one-sheet, with its awkward script and sensationalist tagline. Look for the beauty of copperplate scripts in Retype’s Medusa, and Occupant Fonts’ Biscotti and Novia.

International theatrical one-sheet for L’apparition (The Apparition). — L’apparition (The Apparition) © 2018 Music Box Films. Since its release in 2014, I have wondered how long it would take for Trajan Sans to show up in a movie poster, given the ubiquity of the original Trajan in film promotion. Now we know. It’s funny that Richard Lipton not only has an expanded interpretation of the Trajan capitals with Canto (which includes a full lowercase complement and different finishes), but also released an elegant flared serif that rivals Trajan Sans: Collier.

authentik creative, inc.’s theatrical one-sheet for Armed — Armed © 2018 GVN Releasing. Literally mind-blowing—sorry, couldn’t help myself—key art by authentik creative, inc. featuring Agency Extended, the go-to face for action thrillers.

Bond’s main theatrical one-sheet for Slice — Slice © 2018 A24. There’s something slightly off about Bond’s theatrical one-sheet. Maybe an illustrated or painted version of this composition would have worked better. The angular film title made me think of the recently revived Occupant Gothic.

Bond’s alternate poster for Slice — Bond’s alternate poster is pretty clever: the stack of pizza boxes incorporates all of the elements necessary to understand what this film is about (see the topping options at the bottom).

Bond’s Little Caesar’s Pizza spoof poster for Slice — Bond also had fun spoofing the logos of well-known pizza chains. Their gruesome take on Little Caesars shows its beheaded mascot.

Bond’s Domino’s spoof poster for Slice — This is Domino’s Pizza, bleeding from the holes in the domino logo.

Bond’s Pizza Hut spoof poster for Slice — Here, it looks like a werewolf has slashed Pizza Hut’s roof.