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ScreenFonts: March 2018 | The Leftovers

These posters didn’t make the cut, but are still noteworthy for their design and/or typography.

BLT Communications’ poster for Annihilation
Annihilation © 2018 Paramount Pictures. BLT Communications cut—quite literally—some corners to create a custom title for Annihilation’s marketing campaign. You can do it, too! Start, for example, with Allium or Apres, get out your (digital) X-ACTO® blade, and make your own.
Poster for The Boy Downstairs
The Boy Downstairs © 2017 FilmRise. Surprisingly sophisticated layout and typesetting. Notice how the compressed sans caps, the script, and the photograph line up with one another. An additional nice touch: the dropped-down “stairs” become a visual metaphor. Interstate Compressed, Benton Sans Extra Compressed, or ITC Franklin Compressed would make viable alternatives to the compressed sans; Jessica Hische’s Tilda would shine in the role of script face here.
Poster for Bomb City
Bomb City © 2017 Gravitas Ventures. The character’s introspective pose contrasts with his extravagant punk attire and the set dressing. His dramatic profile against an overcast sky, combined with the cars sticking out of the ground, make this a stunning one-sheet. The metallic blackletter with a red × and the thoughtfully spaced-out sans caps on the textured black bar are a perfect match, both thematically and aesthetically.
Poster for Hannah
Hannah © 2017 Parade Deck Films. The poster for Hannah achieves an equally captivating and gorgeous result with a minimum of means. The shallow depth of field adds a noticeable intensity to Charlotte Rampling’s portrait. New Atten would be a perfect alternative for the as-yet unidentified sans serif in use here.
Champ & Pepper’s poster for Entanglement
Entanglement © 2017 Dark Star Pictures. Champ & Pepper Inc. go the conceptual route by having a thread from the main protagonist’s sweater embody what the film title spells out. Now compare this poster to the next one.
Poster for Fourplay
Fourplay © 2018 Parade Deck Films. I was struck by how similar the approach of these two posters is, even though Entanglement’s is photographic and Fourplay’s is illustrated. Catching the protagonists under a glass, as if they were spiders or bees, is a cute metaphor for how trapped they are in their relationships.
Xin Yi Lian’s poster for The Monkey King 3
The Monkey King 3 © 2018 Well Go USA Entertainment. The painted posters for the Chinese films Monkey King 3 and Monster Hunt 2 are of a rare elegance and beauty unfamiliar to Western audiences. Xin Yi Lian’s swirling illustration is slightly marred by the metallic type and lettering.
Poster for Monster Hunt 2
Monster Hunt 2 © 2018 Lionsgate. The exquisite brush lettering in this one-sheet injects just the right amount of Far-Eastern calligraphic style into the Latin letterforms.
Poster for Rogers Park
Rogers Park © 2017 AOK Productions, LLC. The superimposed, brightly colored, translucent portraits of the four main characters combine into a striking poster—but 11th Street Lot tricked me into thinking this was a movie about a jazz singer. All type is set in Brandon; see Miles Newlyn’s New Atten or Greg Thompson’s Agenda for a similar flavor.
Poster for America’s Musical Journey
America’s Musical Journey © 2018 MacGillivray Freeman Films. Clever use of a trumpet silhouette as the A’s counter for this music documentary. Giza offers a variety of weights and widths in this quintessentially American wood-type-inspired slab-serif style.