Clint. The Man and the Movies by Shawn Levy with cover design and dust jacket by Owen Corrigan, using the Supermassive typeface by Frere-Jones Type.

As Shawn Levy reveals in this masterful biography – the most com­plete portrait yet of Eastwood – the reality is richer, knottier, and more absorbing. Clint. The Man and the Movies is a saga of cunning, determi­nation, and conquest, a story about a man ascending to the Hollywood pantheon while keeping one foot firmly planted outside its door.

Miss May Does Not Exist, by Carrie Courogen, with cover design by Danielle Christopher, photograph by Bill Ray from The Life Picture Collection, and typeface Nobel by Frere-Jones Type.

The book is the riveting biography of comedian, director, actor and writer Elaine May, one of America’s greatest comic geniuses. May began her career as one-half of the legendary comedy team known as Nichols and May, the duo that revolutionized the comedy sketch. Published by St. Martin’s Press in 2024.

Industry Standard's Experience Residency is a nine-month paid program designed for early to mid-career professionals in post-production. The program focuses on hands-on experience, career development, and mentorship within the entertainment industry. Participants are placed in leading Host Studios such as RadicalMedia, Campfire Studios, and Union Editorial, working on projects across film, television, branded content, and gaming. Their website was designed and developed by Portland-based design studio Central Office.

The role of the Mori typeface – used throughout the Industry Standard website in a single weight – is to create a visual balance between professionalism and creativity. As a bold, geometric sans-serif font, Mori ensures readability and structural clarity, which is crucial for effectively communicating key information. At the same time, playful elements like the distinctive, quirky design of the letter G inject subtle personality into the overall design. This nuanced approach helps the website project both authority and approachability, aligning with the site's goal of nurturing creativity and innovation within the media industry. By using Mori, the brand is able to visually convey its identity as modern, inclusive, and forward-thinking.

Macdonald and Jane’s, 1973

I’m in love with the tight spacing of this title – and the fact that the ‘tu’ pair didn’t have to be customized for this setting: the matching angled terminals are built right into Dynamo. Originally released as a metal typeface in 1930, Karl Sommer’s semi-slab design was revived by Letraset in the early 1970s.

Stunt was published in 1973 by Macdonald and Jane’s, London. The first American edition followed in 1974 by Doubleday, with the same jacket design by Graham Marshall. From the back:

Cowboys, rodeo riders; lifeguards, lumberjacks; acobats, airmen; barnstormers, contortionists – from the ranks of these grew Hollywood’s strange yet elite community of stunt men and women. From the violent slapstick of the Keystone Kops, through the gags of Buster Keaton and the athletic leaps of Douglas Fairbanks Snr, to the sophisticated thrills of Bullitt and The French Connection, stunts and stunt men have had a unique – and hitherto well-camouflaged – place in the history of Hollywood.

“Frontispiece picture shows Ben Johnson in a superb backward horse fall on Mighty Joe Young (1949)”. The title page is set in Adrian Frutiger’s Apollo. The imprint is in Times New Roman.

Doubleday, 1974

The novelisation of Quentin Tarantino’s 2019 movie, written by the director himself – his first novel. According to Tarantino, the novel is “a complete rethinking of the entire story”, and departs from the film by adding new and re-ordered sequences, more detail and extra backstory to many of the characters.

The cover design is a departure from the original movie branding which had used the iconic Hollywood sign in its title. Here the font use and cream colour evoke a vintage, period design, fitting of the story's setting of 1969.

The title typeface is (fittingly) Americana Bold which is horizontally scaled to 72% and tightly kerned. Veronese is used for the smaller text.

From IMDb:

1930’s Hollywood is reevaluated through the eyes of scathing social critic and alcoholic screenwriter Herman J. Mankiewicz as he races to finish the screenplay of Citizen Kane (1941).

David Fincher and Neil Kellerhouse continue their working relationship that in the past saw designs for The Social Network, Gone Girl, and Mindhunter. The main poster is based around a painting by Anna Park. Kellerhouse chose Pacioli for a great degree of Mank’s promotional campaign. The most unexpected use I saw was in the title design for the film, where Pacioli gets a 3-D rendering. The Mank wordmark is probably custom lettering. Reporter is vaguely related.

The approval card is set in caps from Kabel (1927).

The script used in the teaser is Mr Stalwart. This font is based on one of the script alphabets created in the 1930s by Brooklyn-based calligrapher Charles Percy Bluemlein.

For the first issue of 2019, W magazine decided to make it special with a retrospective of the previous year’s best performances. For this occasion, the magazine was published with seven different covers, all of them showing individuals who made this year exceptional, for the originality of the movies they were starring in, or in terms of sexual and racial diversity in the film industry. The Hollywood stars are portrayed by photographer Tim Walker.

This month’s choice for the cover type was a combination of Minotaur and Minotaur Sans by Production Type. Minotaur is used in tighly spaced letters from its Light weight, which gives a delicate impression of elegance, fitted to the many soft scenes of complicity shown in the photographs. The fragmentation of Minotaur’s curves hints at a Hollywood made of many different facets, heading towards a world that’s more diverse. Minotaur Sans provides a basis for the title: The eye-catching setting in tracked out lowercase letters takes the reader to a fantasy world, announcing already the main portfolio of the magazine, where Tim Walker staged the film stars in an eccentric universe with giant eggs and life-sized dolls. Minotaur Sans is additionally used for highlighting information, subtly emerging from the text block that’s otherwise set in Minotaur. The alternation of the two fonts are like two musical notes answering to each other in harmony.

Weiß-Kursiv with some of its swash caps, but without the fancy ch ligature. The descending R and the top left terminal of y don’t match the showing on the index card by the Bauer foundry. This might be a hint that this is lettering based on the typeface. The weirdly narrow e and the short question mark stay true to the original, though.

Budd Schulberg’s novel What Makes Sammy Run? was first published by Random House in 1941. This is the cover of the Bantam Books edition from 1946.

Jewelry of the Golden Age of Hollywood, conceived and produced at the HSE Art and Design School Moscow, is a visual research that considers costume design as an important element in the work on the film. Through the prism of cinematography, the author explores how jewelry was demonstrated in those times, how it is related to the character personality and helps to reveal it in the film, and why the jewelry as just a small detail of the costume is so important for the whole image of the character. The book also gives an idea of the vintage jewelry, showing the aesthetics of this period.

The book is an album of characters from the movies of the Golden Age of Hollywood. The characters were divided into eight sections based on their roles in the films. For each character, there is a questionnaire in the book that provides information about the character, which actor or actress plays the character and in which movie. The visual material of the study is photographs of the character's jewelry and photographs or film frames of the character wearing presented jewelry.

The fonts that were used in the book are Kazimir and Kazimir Text, conveying the atmosphere of glamour, corresponding to the shown era.

License: All Rights Reserved.

License: All Rights Reserved.

“A major element of the redesign of The Hollywood Reporter was in choosing new, versatile, contemporary typefaces with classic lines. These typefaces can handle all the various typographic needs of the magazine with clarity and dignity, making every page easy to read and navigate. We considered many typefaces and settled with beautiful, sturdy eminently readable faces designed by Cyrus Highsmith including Antenna, Prensa and Quiosco.” — James Reyman, Creative Director

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.