Apart from the hairline diacritics, the ‘S’ glyph appears to be a custom addition, too. It resembles the ‘S’ in Aldo Novarese’s Stop (1971) or Motter Tektura (1975).
On second look, there are more tiny deviations from Marvin’s letterforms, and inconsistencies between duplicate glyphs, see especially the counters in ‘M’, ‘N’ and ‘E’. It was probably easier and quicker for a trained graphic artist like Vaca to simply draw the required letterforms loosely following a model (including the option to introduce new forms like ‘S’) than to tinker with dry-transfer type or other mechanical reproductions of prefabricated letters. I’ve added the tag “lettering derived from typeface”.
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Apart from the hairline diacritics, the ‘S’ glyph appears to be a custom addition, too. It resembles the ‘S’ in Aldo Novarese’s Stop (1971) or Motter Tektura (1975).
On second look, there are more tiny deviations from Marvin’s letterforms, and inconsistencies between duplicate glyphs, see especially the counters in ‘M’, ‘N’ and ‘E’. It was probably easier and quicker for a trained graphic artist like Vaca to simply draw the required letterforms loosely following a model (including the option to introduce new forms like ‘S’) than to tinker with dry-transfer type or other mechanical reproductions of prefabricated letters. I’ve added the tag “lettering derived from typeface”.