Fonts In Use: Comments

Comment by Florian Hardwig on The Great Gatsby – 2004 Scribner edition

Wed, 22 May 2013 06:50:58 +0000

The artwork is Francis Cugat’s original cover art, as used for the first edition from 1925. The letters on that jacket are not typeset but drawn, as it was usual at that time. You can read more about Cugat’s painting and the design process on smithsonianmag.com.

Image: New York Times Style Magazine, photo by Dhanraj Emanuel

Comment by J. M. K. on The Typographic Monotony of American Retail

Wed, 22 May 2013 02:15:41 +0000

Wow, I can't believe I arrived here so late. But since I'm here...

I think the whole issue as mentioned by several has to do with "familiarity" vs "uniqueness" or "safety" vs "identity."

I think it's a case-by-case situation and we can't really generalize about font usage but it does make me miss spotting a single letter and being able to recognize it.

Today, if we were to greyscale the letters and make something like this with the similar arial/helvetica typefaces, we probably wouldn't be able to tell which brand the letters came from.

I think it's just kinda saddening from an emotional point of view.

Comment by Frode Bo Helland on Fear of Flying (Penguin Classics Deluxe Edition)

Tue, 21 May 2013 22:09:50 +0000

Ok, that zipper thing freaks me out, but what I’m staring at is the thin line between title and name. That is one seriously extragavant motherfucker!

Comment by Florian Hardwig on Reminiscing

Tue, 21 May 2013 16:30:02 +0000

See also this recently posted use: Fear of Flying

Comment by Florian Hardwig on The Third Man Movie Poster

Tue, 21 May 2013 15:05:50 +0000

Good indeed, Stefan! I saw Cassanet before, but it was eluding me.

Daniel, Taüll is certainly in the same ballpark (and equally stunning), but the typeface used here is definitely a modified Fanfare.

Comment by Daniel Sabino on The Third Man Movie Poster

Tue, 21 May 2013 00:21:03 +0000

is it Fanfarre or Taull?

Comment by Stephen Coles on The Third Man Movie Poster

Mon, 20 May 2013 15:57:00 +0000

Cood catches, Stefan! Updating now.

Comment by StefanB on The Third Man Movie Poster

Mon, 20 May 2013 08:29:05 +0000

I guess the other fonts must be Cassannet (Regular and Outline) and Neutra Condensed with Alternates (see G).

Comment by Sye Robertson on Field Trip Website

Mon, 20 May 2013 00:51:09 +0000

It is using webfonts for almost all of the type though, so maybe the lack of special features is the result of limitations with browsers?

Comment by Garrison on The Great Gatsby (2013) Film Promotion

Fri, 17 May 2013 23:35:30 +0000

Luca Ionescu recently posted a bunch of cool pictures and information that document his involvment in the The Great Gatsby promotional project over at Behance.

Sketches and unused drafts of the Gatsby identity are also featured.

A sample of his Deco Pinstripe typeface can be found in his post.

He also mentions that Deva Studios is responsible for the 3D rendering of the identity.

Comment by Tim Brown on Machines for Life Pitchfork Cover Story

Thu, 16 May 2013 10:49:42 +0000

unrealized hierarchy transformations

Say more about that, André.

Comment by André Mora on Machines for Life Pitchfork Cover Story

Tue, 14 May 2013 21:21:43 +0000

I know we’re speaking to fonts here—and these choices look good when the browser is big—but this Pitchfork feature shows off my least favorite aspect of editorial design: gimmickry.

It’s hard to tell whether the site expects you to play with the page as if a game (a choppy experience) or to read the story. For example, a pull-quote slides in as you read the story, begging for attention. In print, pull-quotes serve various roles such as breaking up dense, grey pages or catching the reader’s attention as they flip through a magazine full of stories and ads. Perhaps this one (which shows up around the first story break) is only meant to stop an over-zealous scroller in their tracks. Many websites are trying static pull-quotes now, though unfortunately common is the floated div next its quoted paragraph. But a pixel-coordinated, interactive pull-quote is merely a distraction. It’s an annoying prod to Look over here! Stop reading the story! A typographer who respected the reader’s experience wouldn’t bother with such a disservice.

Lastly, I think that “responsive layout” is too vague a term here (and in general really, as it seems to imply “good” but so often means unrealized hierarchy transformations). In this Daft Punk article, the typography merely shrinks down as the browser gets smaller, eventually becoming unreadable. At that point, who cares which fonts are in use?

Comment by Charles on VPRO Gids #40 (1985)

Tue, 14 May 2013 14:40:33 +0000

cyan, magenta... and cyan again!?

Comment by Rob Meek on Thousands Under Ninety

Tue, 14 May 2013 09:35:24 +0000

Thanks Florian!

The signature is worryingly accurate.

Comment by Christy on The Great Gatsby (2013) Film Promotion

Mon, 13 May 2013 20:38:07 +0000

Does anyone know what typeface is used for the movie credits at the end of the movie?