Visual identity and bumper for the first edition of the film festival Farol, held at CineSesc under the theme of “O cinema entre a memória e agora” (“Cinema between memory and the present”).

The exhibition’s visual identity was inspired by the colors of nautical signaling and developed through a combination of analog and digital techniques, seeking to connect with the exhibition’s subtitle by creating dialogs/articulations with the graphic memory of tickets and admissions from street cinemas. We started from the circle as a point of light, which appears in fragments, sometimes revealing, sometimes concealing, sometimes multiplying itself. The graphic system was composed using the Jean-Luc typeface, developed by Atelier Carvalho-Bernau in 2010, inspired by the opening title sequences of the films Made in U.S.A. and 2 ou 3 choses que je sais d’elle, by Jean-Luc Godard.

YOU DID THIS is a film festival celebrating cinematic diversity and audience participation. Simple: seven days, seven genres, and you decide what’s playing!

Each day spotlights a different genre – comedy, crime, coming of age, dystopian, romance, summertime, and WTF – bringing both beloved classics and unexpected gems back to the big screen through community voting. Organized by The Ones We Love, the festival expanded the platform’s on-demand cinema concept into a week-long, collective celebration of film.

Designing YOU DID THIS meant working within The Ones We Love’s established visual language – same typography, same cinematic structure. FT Calhern, with its unmistakable echo of vintage movie marquees, was already central to that system. The challenge across identity, animations, social templates, website and print materials was not to reinvent it, but to push it further – giving the festival its own bold, distinctive personality while speaking the same visual dialect.

The movie stills and videos were provided by The Ones We Love.

Cineforum Rivista celebrates its first 65 years of editorial activity with Cineframed – The Exhibition, unfolding across two venues: the first at Roma Smistamento, the second at Frab’s Magazines & More.

Cineframed features a gallery of 16 framed works: a selection of the most iconic covers from the Serie Collezione (1961–2020), curated to trace the magazine’s graphic evolution, its changing formats, and the shifting tastes and aesthetic sensibilities of different eras. At the same time, the exhibition offers an invitation to revisit the history of cinema through a sequence of images destined to remain forever part of our collective viewing imagination.

ABC Oracle is one of the typefaces selected for all of the magazine’s texts, as well as for the poster-manifesto and the gallery handout for both exhibitions.

Bergamo Film Meeting (BFM) is one of the most established and recognisable fixtures on the Italian festival circuit. For 44 years, every March, it has brought thousands of filmgoers to Bergamo for nine days of screenings, more than 160 films, and a programme that brings together archives, new visions, talks and critical discussion. The festival’s 44th edition moves between two very different cinematic worlds – Abbas Kiarostami and Louis de Funès – reaffirming BFM as a space where eras, languages and ways of seeing cinema continue to coexist.

For the past ten years, I have worked with Studio Suq on the festival’s identity. The brief has always been very clear: cinema must remain at the centre. The project develops on two levels: on the one hand, the image itself; on the other, lettering, conceived as a parallel visual layer made up only of colour and text, capable of extending across all the materials the festival requires.

For the identity of BFM44, I began focusing on what introduced the films: title sequences, posters, lettering, the way typography entered the scene before the narrative. Watching Louis de Funès’ films, what stood out was an extraordinary graphic vitality: heterogeneous typefaces, bright colours, animated lettering, titles conceived as true visual spectacles.

The main spark came from L’aile ou la cuisse (1976). What interested me was the visual energy of its opening sequence: a small choreography of objects, artificial colours, rhythm, theatricality and exuberant typography. The idea was to turn that vocabulary into a visual identity for the festival.

The system is not built around a single fixed mark, but around three different letterings of the BFM acronym, each developed from different title-sequence references. Movement also becomes part of the project.n Holding the system together is a more neutral, a grotesque typeface with a playful personality: Fig Grotesk by TienMin Liao. Its role is to create contrast with the main lettering and give the communication a structure that is clear, contemporary and legible.

There is also a very specific nostalgia embedded in the project for the cinema of the 1960s and 1970s: the saturated colours, so unlike those we are used to today, and the performative dynamism of Louis de Funès. Rather than simply representing the festival, the project attempts to set it in motion: the titles roll, the auditorium darkens, and Bergamo Film Meeting is about to begin.

The Ones We Love is a unique on-demand cinema platform that brings beloved films back to the big screen. Through community-driven voting, users can play an active role in curating their local cinema lineup. Since its launch in June 2022, it has hosted over 700 screenings – often attracting larger audiences than traditional showings.

Our design draws directly from cinema’s visual language – starting with FT Calhern, a typeface that echoes old movie marquees and title sequences. From there, the palette builds outward: the signature yellow of classic black-and-white film credits expanding into the rich saturation of Technicolor. Familiar codes, made new. Our work included developing a custom voting system, an intuitive website, and social media templates to enhance user interaction and expand the platform’s reach.

On-demand entertainment is no longer limited to streaming – it now extends to the cinema

The movie stills and videos were provided by The Ones We Love.

This book written by Maurice Darmon and published by the Bordeaux-based publisher 202 éditions is about the films made by Anne-Marie Miéville between 1976 et 2002. It is the first monograph devoted solely to her own work. As Jean-Luc Godard’s partner since the 1970s, her collaborative work with the filmmaker has been more widely distributed and recognized. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Punto (by Arne Freytag, Fontador).

For the 61st Chicago International Film Festival, the visual identity was meticulously anchored in the enduring precision of the Swiss International Style. Embracing the powerful simplicity of Neue Helvetica, a stark black and white palette, and structural efficiency, the core design provided a refined, minimalist stage.

Our ambition, however, was to celebrate the vast, vibrant world of film genres. This was achieved through a compelling typographic dialogue: carefully selected display typefaces, each echoing distinct film tropes and design tendencies, were introduced as dynamic accents.

These genre-specific types acted as exuberant bursts, dramatically contrasting the austere Neue Helvetica. They symbolize the immersive narratives of cinema ‘breaking through’ the festival’s foundational elegance, creating a design that is both disciplined and thrillingly expressive—a true homage and love letter to the design language of film.

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.

Hitos del cine venezolano is an editorial and exhibition project by journalist and researcher Gil Molina. It is an unprecedented work within its genre, both in Venezuela and across Latin America, tracing 125 years of history through its most significant milestones.

Following four years of rigorous research – supported by filmmakers, critics, the CNAC, La Cinemateca Nacional, and La Hemeroteca Nacional, as well as the endorsement of 47 international film festivals such as Cannes, Venice, and Berlin – the project culminates in the book and exhibition titled Hitos del cine venezolano: 87 películas / 87 carteles. In this showcase, the graphic pieces have been reinterpreted by designers Ricardo Báez and Juan Mercerón.

The newly redesigned website of director Martin Romanella is a finely tuned stage for his cinematic vision—a digital space where typography, like his filmmaking, strikes a balance between precision and expressive flair. This relaunch features two Skriftkompani typefaces: Store Norske Ja Mono and Store Norske Jazz, underscoring Romanella’s commitment to storytelling through form and function.

The website features the Light cut of Store Norske Ja Mono and the Medium cut of Store Norske Jazz, an unusual and interesting pairing that immediately draws attention. Ja Mono brings clarity and order, reflecting Romanella’s disciplined approach, while Jazz adds warmth and improvisational energy, echoing the emotional range in his work.

The L.A. Review of the Moving Image documents the shifting landscape of film culture in Los Angeles. Over the past decade, the city’s creative life has expanded beyond its traditional centers, moving away from Hollywood premieres and studio theaters into a constellation of smaller, experimental spaces. Today, moving images circulate through artist-run cinemas, living room screenings, rooftops, cemeteries, guerrilla file shares, Twitch streams, and group chats. This dispersed yet coherent network reflects a culture where watching, rewatching, editing, and remixing have become collective rituals.

The Review approaches the moving image not simply as content, but as encounter; asking where films are shown, how they are shared, and how they reshape communities and publics. It positions itself within this fragmented geography as both observer and participant, chronicling the ways moving images continue to organize memory, desire, and cultural identity in Los Angeles.

The newspaper and the marketing materials use Ceraph, a flaring semi-serif designed by Emma Piercy available at Sharp Type. Ceraph’s distinctive blend of sharpness and warmth mirrors the project’s contemporary and experimental spirit. Its versatility makes it well-suited for both editorial contexts and promotional materials, giving the Review a consistent yet characterful typographic voice. [edit: Additional fonts include Sometimes Times and ABC Favorit Mono, see comments.]

The project was led by art director Ellie Sunlight Moon, with editorial direction by Anthony Tran. Contributions were made by Mariah Flores, and publishing guidance was provided by Rachel Rosenfelt.

Fermented. Propaganda to Authenticity: Korea’s Evolution in Cinema was made as a student project at ArtCenter College of Design.

Korea has made various historical developments in a short period. Accordingly, the film industry has grown through multiple periods. We followed the contents of developed countries mainly at first. We would now be known to the world based on Korea's culture. This process is contained in a book using overlapping and bitmap effects.

The Metropol used to be a cinema on Malzplan in Eisenberg, Thuringia. Established in 1913, it operated until 1952, when it was superseded by the Karl-Marx-Lichtspiele on Schützenplatz. In 2018, the building was renovated and converted into five apartments. Around that time, a new painted sign was added to the façade. It’s based on a typeface that apparently was chosen to refer to the beginnings of the cinema in the early twentieth century.

The origins of the the typeface are unknown. Stylistically, it can be classified as Art Nouveau. The first known sighting is in a 1970 catalog by Californian phototype provider Lettergraphics, under the name Chianti. It’s not clear whether it was based on an older typeface or alphabet, or whether it was an original creation. Four years later, it appeared in a specimen book by Berthold Fototype, now named Freddy, and credited to Facsimile Fonts, another Californian company. In 1978, Castcraft in Chicago showed the bottom-heavy design as Talos (“similar to Chianti”).

The version that was used as the basis for the sign in Eisenberg likely is one of the many digital interpretations, which include Pantagruel (Scriptorium, 1993), Cordeballet (Alexandra Leopoldovna Gophmann, 2006), and Display Art One (Gerald Gallo, 2009).

The photo was taken by Monsieur Adrien in September 2024.

Poster for Queer Cinema Club Montreal’s screening of Pink Flamingos (1972) at Cinéma du Parc.

Once reviewed by Variety as “one of the most stupid, vile, and disgusting films ever made” shortly after its release, Pink Flamingos is a cult and countercultural work of black humour directed by John Waters (anointed the “Pope of Trash” by William S. Burroughs in 1986) and the legendary drag queen Divine as Babs Johnson, “the filthiest person alive”.

The title “Pink Flamingos” is set in a tightly kerned Grocers Script, while all other text is in various styles of the Futura family (Book, Medium, Bold Oblique, and Extra Bold Condensed).

The Film Festival Cologne mainly uses two typefaces. The first is GT Cinetype, whose use was explained by the lead designer of the project, Holger Risse, in an email on May 9, 2025 (translated from the German:

We use GT Cintetype and GT Alpina for text. It’s a perfect fit for a film festival because the Swiss company Cinetype specialized in subtitling film reels. GT Cinetype is based on an engineer’s design for such a machine. A laser applied the text directly onto the film by removing the ink layer.

The second typeface is GT Alpina, designed by Reto Moser and released in 2020. The type foundry Grilli Type describes it as follows:

GT Alpina proudly calls itself a workhorse serif, but delights in playing with the very meaning of that concept. It reaches into the grab bag of typographic history to resurrect shapes some may falsely see as too expressive, resulting in a meticulous family melding these distinct shapes with a pragmatic execution.

Designed by Joanna Jopkiewicz and published by Wydawnictwo Warstwy, this book uses the typefaces RL Grot and Cardea to support its thoughtful and cinematic narrative.
Te wszystkie Raje, Zrywy i Jutrzenki. O małych kinach na Dolnym Śląsku (“All Those Paradises, Uprisings, and Dawns. About Small Cinemas in Lower Silesia”) was released exactly 130 years after the first paid film screening using the Lumière brothers’ cinematograph. Created out of a deep affection for cinema, this publication by Lech Moliński and Jerzy Wypych explores the intertwined histories of film, region, and the shared experience of watching movies.

Lech Moliński’s twelve essays document the cultural role and unique atmosphere of small-town cinemas in Lower Silesia, places like Bystrzyca, Dzierżoniów, Lubomierz, and Złotoryja. The texts combine historical research with personal reflections on the enduring magic of local cinema spaces. Complementing the writing is Jerzy Wypych’s photographic essay, which forms an independent visual narrative. His photographs, taken entirely in and around the cinemas visited during the making of the book, seek to reinterpret rather than simply illustrate the stories told, capturing the fleeting, multisensory nature of the cinematic experience.

This is an important book for lovers of film, regional history, and the emotional and architectural legacy of cinema halls, those that are gone, those that remain, and those still to come.

Built in 1947 during the Portuguese dictatorship and closed in 2001, after many historical events and failed atempts to rebuild it, cinema Batalha reopened in 2022, after a renovation project by two local architects, bringing back its charm to the city of Porto. It now offers a range of subliminal, auteur or underground movies, cultural experiences and even artistic workshops.

The new visual identity was created by local design studio Macedo Cannatà, managed by Maria João Macedo and Dário Cannatà. The new visual identity uses a minimal yet playful style of typography, using Theinhardt Standard and Semi Condensed for the logo and multiple applications. The type family by Swiss foundry Optimo references the work of Berthold and Neue Graphik, adding a clean and modernist aspect to Batalha.

A student in Typomania School’s book design course, Julia Dvoryaninova decided to create a guidebook that introduces the reader to the main locations and characters of the film about Amélie Poulain, citing reviews and comments by its authors. The book’s typography is executed with the help of Kazimir by CSTM Fonts and PT Sans.

GODARD AVERTY. Petit et grand écran is a pretty book authored and designed by Paule Palacios-Dalens for the small French publisher Les éditions de l’œil. In this new essay the author reveals unexpected relationships of influence between these two creators who never formally met though they walked the same époque and scenaes.

From the publisher’s website:

As inventors constantly on the alert, the two men followed each other at a distance. Children of the letter and the book in the century of the image, they have in common the qualities of the printed word in their relationship to history and memory, and the permeability of media that is the norm today.

The book makes use of Borges (by Loche, PampaType) for the main texts, Borges Título Blanca for the headings, and Berthold’s Akzidenz-Grotesk (1896) for the pagination, footnotes, headings, and the like.

Grupa Projektor opted to use the RL Grot typeface for creating the identity for the exhibition titled Te wszystkie raje, komety i polonie (“All These Paradises, Comets and Polonais”), which took place at the Foto-gen gallery in Wrocław, Poland.

The exhibition refers to “the 20th century belonging to film – both in terms of artistic exploration and as the most popular form of mass entertainment. For most of that century, film was inextricably linked to the cinema hall. In order to experience the power of moving images, viewers had to leave their homes and go to a specially adapted screening space.”