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ScreenFonts: November 2017 | The Leftovers

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

Poster for All I See Is You
All I See Is You © 2016 Mars Distribution. Using watercolor effects, The Refinery artfully expresses the concept of being not just literally blind, but also figuratively blind to one’s situation.
Poster for For Colored Girls
For Colored Girls © 2010 Lionsgate. The poster for All I See Is You immediately reminded me of Marion Bolognesi’s stupendous watercolor artwork on Ignition/LA’s theatrical one-sheet promoting For Colored Girls.
Poster for 32 Pills: My Sister’s Suicide
32 Pills: My Sister’s Suicide © 2017 Home Box Office (HBO). A very difficult topic treated with empathy and grace. Translucent Neue Haas Grotesk and Gotham overlay the photograph, acting as a metaphor for life’s fragility and the loneliness of suicide.
Poster for Mr. Roosevelt
Mr. Roosevelt © 2017 Paladin. The quirkiness of the main character is beautifully expressed in the riotously endearing letterforms, which would not look out of place in David Jonathan RossFont of the Month Club.
Poster for Better Watch Out
Better Watch Out © 2017 Well Go USA Entertainment. The bloodied Christmas sweater in The Refinery’s teaser is pretty funny, but I always wonder why more skillfully shaped letters can’t appear in knitwear. Why not use a modular face like Bitcount?
Poster for Suburbicon
Suburbicon © 2017 Paramount Pictures. Tightly tracked Neue Haas Grotesk reinforces the striking minimal look of BLT Communications’s theatrical one-sheet.
Poster for Jigsaw
Jigsaw © 2017 Lionsgate. No need for gory excess: a creepy pig’s mask peering through dirty glass in LA’s teaser chills to the bone. Another Neue Haas Grotesk sighting; Navigo, Forma DJR, Titling Gothic FB, Salvo Sans, and Scout evoke a similar atmosphere.
Poster for It
It © 2017 New Line Cinema. Surprisingly, Canyon Design Group chose Linotype Didot, a staple in romcom posters, for their horror movie teaser. Other high-contrast Didones make up the largest optical sizes of families like Font Bureau’s Benton Modern and Escrow, GarageFontsFreight, and Carter & Cone’s Miller and Stilson.
Poster for Brimstone & Glory
Brimstone & Glory © 2017 Oscilloscope Laboratories. This poster’s colorful exuberance beautifully captures the atmosphere of Mexico’s National Pyrotechnic Festival (Feria Nacional de la Pirotecnia) in Tultepec. The faceted skyline shapes of Tal Leming’s United Sans Condensed are nicely integrated into the dynamic structure.
Poster for Killing Gunther
Killing Gunther © 2017 Bliss Media. Speaking of exuberance, Paul Shipper illustrated a no-holds-barred vintage-looking one-sheet for Gravillis Inc. The artwork perfectly captures the action comedy’s chaotic violence.
Poster for Killing Gunther
Gravillis Inc. seems to have had a lot of fun creating a series of character posters featuring Gunther’s opponents.
Poster for Killing Gunther
The posters are made to look like they were defaced by the titular character, who sounds like a petulant five-year-old.
Poster for Killing Gunther
Poster for Killing Gunther
Poster for Killing Gunther
Poster for Killing Gunther
Poster for Killing Gunther
Poster for Mansfield 66/67
Mansfield 66/67 © 2017 Gunpowder & Sky. The Robot Eye’s retro flat colors and hand lettering reference poster design from the 1960s.