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ScreenFonts: January 2018 | The Leftovers
These posters didn’t make the
, but are still noteworthy for their design and/or typography.
By Bald Condensed
© 2017 Twentieth Century Fox Film Corporation. The steps of the Supreme Court in
evoke lines of newspaper type.
Neue Haas Grotesk
looks terrific in this context, but it doesn’t really match conceptually, since Bodoni served as
The Washington Post
’s headline face in the mid-1970s. Matthew Carter’s
is a great interpretation of Bodoni’s types, and would have worked well here.
Phantom City Creative
rotates the concept slightly by having a stack of folded newspapers stand in for the steps of the Supreme Court. The legendary
headline on August 9, 1974, was set in Century (cf.
© 2016 Myriad Pictures. It’s interesting to see how image treatment can influence one’s perception of a poster. The original photograph of Loïe Fuller dancing, cropped straight, accompanied by the no-nonsense Alternate Gothic (cf.
Benton Sans Compressed
), gives the
a sense of
By tilting the image toward the upper left corner and colorizing the swirling gown,
This Time Tomorrow
transforms the dancer into a celestial being taking flight. While more refined than Alternate Gothic, Quattrocento is a little too static; the gestural feel of a calligraphic serif like
would better mirror the movement in the image.
© 2017 Warner Bros.
Canyon Design Group
doesn’t seem to grasp the concept of physical space. In the immortal words of
: “The more heads, the better.”
© 2017 Netflix.
created one of the smartest and funniest posters I’ve seen in a while. The documentary’s title does double duty in as a giant, brightly lit motel sign with an arrow pointing at the voyeur (who naturally would prefer to remain unseen).
© 2017 Batrax Entertainment. An IMPAwards commenter pointed out that
(with type similar to
ITC Franklin Compressed
) resembles an earlier poster.
Brooklyn Nine Nine
© 2013 Fox. Is
for Fox’s comedy series
a precursor to Kustom Creative’s effort?
© 2017 Cinecoup Media. Tom Hodge, a.k.a.
The Dude Designs
, has built a solid reputation with his unabashed pulp aesthetic.
Hodge’s intricately detailed
seems ripped from the boxes of the straight-to-VHS eighties videos one might find in the bargain bin.
Psiconautas, los niños olvidados
(Birdboy: The Forgotten Children)
© 2015 Gkids. Instead of a tired orange-and-teal combination, contrasting crimson red and jungle green inject drama into this
. The square sans made me think of
The Greatest Showman
© 2017 Twentieth Century Fox Film Corporation.
channels a classic illustration style that originated in the mid-1970s, with
as its most famous proponent.
have a similar vintage look.
© 2017 Samuel Goldwyn Films. The limited color palette of cyan, magenta, yellow, black, and white lends
Champ & Pepper
a sickly air. The elongated sans reminds me of
© 2017 Sony Pictures Worldwide Acquisitions (SPWA). The gorgeous red-and-green complementary color scheme reflects the inverted images in this moody
is an excellent alternative to Gotham.