These posters didn’t make
the cut , but are still noteworthy for their design and/or typography.
20th Century Women © A24. A lovely lens flare brings a melancholy, sun-drenched atmosphere to this theatrical one-sheet and looks beautiful in the typography. Benton Sans is an improved and expanded digitization of Morris Fuller Benton’s News Gothic; Font Bureau based the updated design on Benton’s original drawings at the Smithsonian.
Arsenal © 2017 Lionsgate Premiere. Slanted Colossalis forcefully underscores Kustom Creative ’s illustrated poster . The round inner shapes inside the angular letterforms create an interesting tension in Aldo Novarese’s slab serif. Matthew Carter ’s Roster explores the opposite effect: square corners inside round shapes.
100 Streets © 2016 Samuel Goldwyn Films. The poster for I Am Michael (see the main ScreenFonts article for February ) isn’t the only movie collateral to use a vertical division as a graphic device this month. In this poster , the line symbolizes Idris Elba and Gemma Arterton’s marriage under pressure. The typeface is Günter Gerhard Lange’s 1982 Imago.
Trespass Against Us © 2016 A24. LA ’s striking theatrical one-sheet uses the dividing line as a metaphor for Michael Fassbender’s efforts to break with the criminal ways of his outlaw family. The design features powerful monochrome, high-contrast photography; a simplified Mondrianesque composition; and Neue Helvetica Extended. (The extended widths of Rhode , Bureau Grot , Benton Sans , and Titling Gothic are excellent Helvetica Extended alternatives.)
The Axe Murders of Villisca © 2016 IFC Films. Great use of the painted axe silhouette as visual motif and matching brush lettering in InSync PLUS ’ poster .
My Father Die © 2016 Knightmarcher Films. Perfect artwork with a dirty airbrush effect for this nasty rednecksploitation revenge romp features Neil Bold (digitized as Mobley Sans by Alejandro Paul for Sudtipos).
Attack of The Lederhosen Zombies © 2017 Level 33 Entertainment. This is so over-the-top I burst out laughing. Shoddy photo compositing, but what an exhilarating explosion of viscerality and bad taste! Cool pulp-fiction-style typography.
Massacre on Aisle 12 © 2016 Indican Pictures. Not as extravagant as the poster for Attack of the Lederhosen Zombies , but still insane(ly bad). It’s funny how the Photoshop jockey eventually just gave up on any pretense at realism.
Split © 2016 Universal Pictures. In contrast to the main theatrical one-sheet, LA ’s illustrated poster featuring photography by Frank Ockenfels does a much better job at depicting the inner turmoil created by personalities in conflict. James McAvoy’s shadow is split up, with the dangerous twenty-fourth personality looming menacingly over three of the others.
Split © 2016 Universal Pictures. The other illustrated poster by LA looks a bit too cartoonish for the horrific subject matter.
Bald Condensed, né Yves Peters, is a Belgian-based rock drummer known for his astute observations on the impact of letterforms in the contemporary culture-sphere. A prolific writer on typography, he has a singular knack for identifying the most obscure typefaces known to man.