For his poster design for Hitchcock’s Vertigo in 1958, Bass used hand-cut typography which evokes German expressionist films of the 1920s.
#LUBALIN FONT MOVIE#
Saul Bass is possibly the best-known graphic designer of his era and for 1950s and ’60’s Hollywood he created movie posters which are as recognisable as the sign itself. For Once Upon a Time in Hollywood, although the typesetting of the iconic sign deviates from reality as much as other parts of the film, the poster conjures up the spirit of Hollywood. In Pulp Fiction, the title’s Aachen Bold typeface is as hardboiled as the film itself. More recently, typography in Quentin Tarantino’s film posters perfectly reflects the atmosphere and character of his movies. Once Upon a Time in Hollywood by BLT and Steve Chorney. From left: Pulp Fiction by Indika Entertainment Advertising. Few things inspire me as much as seeing movie poster typography which either evokes the atmosphere of a film and adds to the telling of its story. I’m someone who loves cinema as much as I admire typography. Typography can eloquently articulate an idea and colourfully communicate a message in ways which are as powerful as any illustration or photograph. While good use of type helps people to read, great typography can do so much more. How can we combine elements to develop powerful headers and calls to action? How do we use pre-formatted HTML text, and the text element in SVG for precise control over type? How can we optimise SVGs and make SVG text accessible? In this article, we’ll explore just that.
In this eighth issue of Inspired Design Decisions, Andy Clarke will explain how learning about American graphic designer and typographer Herb Lubalin has transformed his approach to typography on the web.
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