Key art by Alphaville.

Midnight Marauder’s thoughtful typography complementing Tony Stella’s painting recalls neon letters: Piccadilly—among the winners of the Letraset International Typeface Competition in 1973—is a neon-tube interpretation of Broadway-style lettering. The actors’ names are set with Tondu (The Northern Block, 2011) and the script typeface is Mistral (Roger Excoffon, 1953). Read more in Screenfonts’ inaugural episode in Adobe Create magazine.

Key art by Akiko Stehrenberger.

The cornstalks are a constant theme in the movie. It’s what drives William Kamkwamba to want to bring water to the village via electricity. I also felt it was a good way to show wind.— Akiko Stehrenberger, email

The limited color palette is gorgeous, with the gold of the cornstalks contrasting beautifully against the richness of the skin tones. The typography uses Netflix brand typeface Netflix Sans, paired with what looks like FF DIN. Read more in Screenfonts’ inaugural episode in Adobe Create magazine.

Key art by Midnight Marauder.

Midnight Marauder tried two very different approaches for Khalik Allah’s loving and lyrical ode to Jamaica: a richly textured collage akin to Peter Beard’s art and the striking, pared-down design using League Spartan that eventually won out. Read more in Screenfonts’ inaugural episode in Adobe Create magazine.

Detail.

Key art by Bond.

Alexon RR’s tiny sharp serifs typographically reference the fish hook in Bond’s teaser sheet, a metaphor for how the widow reels in her unsuspecting victim. Read more in Screenfonts’ inaugural episode in Adobe Create magazine.

Key art by P+A.

Key art by Jay Shaw.

Amplitude’s characters forcefully cut the words in the poster, their rhythm reflecting the sequential photographs tracing the trajectory of a bullet from shot to final impact. Read more about this and other Free Fire posters in the June 2017 episode of ScreenFonts on Type Network News.

Key art by Champ & Pepper.

The key to this poster’s success lies in the interaction between the orange-and-black image, the knocked-out FB Agency, and the white border. Read more in the February 2019 episode of ScreenFonts on Type Network News.

Key art by Vasilis Marmatakis.

Force-justifying single words wasn’t just a thing in nineties deconstructivist design. It may make most typographers cringe, but Vasilis Marmatakis applies it to Village to great effect in the title sequence for The Favourite. Read more in the February 2019 episode of ScreenFonts on Type Network News.

Key art by Midnight Oil.

Key art by Palaceworks, Inc.

Bureau Grot underscores the imaginative collage that illustrates Flynn’s journey from kid cook to disruptor of the culinary world. Read more in the February 2019 episode of ScreenFonts on Type Network News.

Senator Kamala Harris at her campaign launch in Oakland, California, January 27, 2019.

On Martin Luther King Day, former Attorney General of California and junior United States Senator Kamala Harris announced her candidacy for the 2020 US presidential elections. Creative digital agency Wide Eye developed a remarkable campaign and website inspired by Shirley Chisholm’s 1972 presidential bid. Bureau Grot and IvyJournal play a prominent role in the campaign materials, with a little support from Input Mono.

Read the full article on Type Network News.

Wide Eye’s asymmetrical typographic logo for the Kamala Harris: For The People campaign uses Bureau Grot Condensed to great effect.

Biography page on the Kamala Harris: For The People website.

Social media images using Bureau Grot Condensed for slogans and IvyJournal for quotes and testimonials.

Kamala Harris: For The People website.

Branded merchandise in the Kamala Harris: For The People online store.

This birth announcement was designed for the firstborn daughter of FontShop BeNeLux’s Dieter Geeraerts. As he is a music buff and deejay enthusiast the card was made to look like a vinyl single. The baby’s name is one of the countless possibilities using the rich variety of alternate glyphs available in Mark Simonson’s Bookmania; the record label logo (DMK) is inspired by his Changeling Neo Inline.

The supporting typefaces were chosen for their 1960s vibe. News 706 (Bitstream’s digitisation of the text clarendon Aurora by Jackson Burke, 1960) has deliciously chunky serifs, a dynamic italic and a perfect serif size to x-height ratio. News 701 (Bitstream’s version of Ionic No. 5 by Chauncey H. Griffith, 1925) was only selected for the date, for its curly ‘2’s. The stark geometry of Geometric 706 (Bitstream’s digitisation of DIN 30640 Neuzeit Grotesk by Wilhelm Pischner, 1928) offers a nice contrast with the bracketed slab serifs. The wide sans Engravers’ Gothic has lovely numerals, and Mayo one of the most fun sets of icons in digital type.