Typeface and Our Work

July 2, 2012

We were asked by Fontmasters to talk about how typeface is important to our work. We rely on typeface to not only present the titles and credits of our films to our audience, but also to support the tone of the subject matter. As we looked back on our work starting with Journey of the Opportunist (2008), we found our aesthetic pulled us toward a selection of clean, sans serif typefaces. We are aware of the subtle variations in our selection of unadorned typefaces, including Franklin Gothic, Gotham, and Alte Haas Grotesk, and what that may say about the subjects of our films.

Journey of the Opportunist - Franklin Gothic Medium
Journey of the Opportunist – Franklin Gothic Medium

Wonder Object - AUdimat (Bold), Gotham Rounded (Bold)
Wonder Object – AUdimat (Bold), Gotham Rounded (Bold)

Chris Sauter - Alte Haas Grotesk (Bold)
Chris Sauter – Alte Haas Grotesk (Bold)

To Come Home - Gotham Rounded (Bold), Gotham Rounded (Book)
To Come Home – Gotham Rounded (Bold), Gotham Rounded (Book)

Night Photography - Quicksand (Bold)
Night Photography – Quicksand (Bold)

At the Hour of Our Death - Alte Haas Grotesk (Bold)
At the Hour of Our Death – Alte Haas Grotesk (Bold)

Reverse of Volume - Gotham, Gotham Medium
Reverse of Volume – Gotham, Gotham Medium

Salon of Beauty - Gotham Rounded (Bold), Gotham Rounded (Book)
Salon of Beauty – Gotham Rounded (Bold), Gotham Rounded (Book)

The Corn Crib - Helvetica (Bold)
The Corn Crib – Helvetica (Bold)

Mono Show - Komika Axis, FunctionLH (Bold)
Mono Show – Komika Axis, FunctionLH (Bold)

New Installation: Joel Shapiro - Gotham, Gotham Medium
New Installation: Joel Shapiro – Gotham, Gotham Medium

Iron Pour - Miso (Bold)
Iron Pour – Miso (Bold)

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M&A

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