/ News / July 19, 2018 ScreenFonts: July 2018 | The Leftovers These posters didn’t make the cut, but are still noteworthy for their design and/or typography. by Bald Condensed RBG © 2018 Magnolia Pictures. Gravillis, Inc.’s minimalist design combines Ruth Bader Ginsberg’s instantly recognizable lace collar with Poster Bodoni. Kazimir captures the same spirit and would be a fresh alternative here; Escrow Banner Black and Miller Banner Black have much finer hairlines. This illustrated portrait of RBG foregoes details and distills the indomitable Supreme Justice to her essence. Anon © 2018 Netflix. The white frames represent different viewports and empty placeholders, a reference to a serial assassin who has been deleted from all visual records. The glitches in this image, reminiscent of broadcast interference or digital artefacts, create a stylish texture that also disrupts the narrow sans used in the title. Salvo Sans Extra Condensed has similar proportions and also a lower crossbar on the A. Dark Crimes © 2018 Saban Films. The white slash cutting through Interstate and Jim Carrey’s weathered skin and grizzled beard reminded me of the contrails of the two planes cutting into Arnold Schwarzenegger’s portrait in LA’s one-sheet for Aftermath. Aftermath © 2017 Lionsgate Premiere. Carter & June © 2018 Freestyle Digital Media. I love the explosion of colors in this actor stack and the gradient in the film title, set in Phosphor. CJ Dunn reimagined another Jakob Erbar design as Dunbar; David Berlow’s Berlin Sans works well as the supporting typeface here. Always at The Carlyle © 2018 Good Deed Entertainment. authentik creative, inc. recreated the iconic art-deco architecture of The Carlyle using Tobias Frere-Jones’ equally iconic Gotham—the typographic personification of New York City. Proxima Nova would make a viable alternative here. Filmworker © 2018 Kino Lorber. Adrian Curry integrated the O from the famous A Clockwork Orange logo in this title set in Futura Extra Bold, the typeface fetishized by Stanley Kubrick. Miles Newlyn’s New Hero, a contemporary interpretation of the geometric sans-serif model, would have worked well here, too. Book Club © 2018 Paramount Pictures. Let’s put aside, for the moment, the Photoshop hack job and the cheap use of Bodoni. If this film is called Book Club, then where in the world are the books? Matthew Carter’s Stilson is a splendid take on Bodoni’s faces. The Escape © 2018 IFC Films. Territory Studio cleverly slices and duplicates the image of Gemma Arterton as a metaphor for leaving her life and family behind and starting over in another city, another country, another continent. Damien Display’s serifs are just as sharp, but bigger. The French poster takes a more conventional route, with a plain headshot and the classic curves of a transitional face similar to Big Moore.