Typographically, he’s been very consistently an all-caps-Futura man. While he outlined it for The Life Aquatic, Bollywood half-opened something not-quite-Futura for The Darjeeling Limited and emboldened and threw it on a curve for Fantastic Mr. Fox, he’s established an iconic typographic style that is very recognizable. That said, I’m not at all sad that he hired the fabulous Jessica Hische to make a custom script for this one! It fits in with his aesthetic perfectly, and grants the coming of age story a wistfulness that the cold caps of Futura wouldn’t.
*Note that all-caps Futura does make an appearance at least thrice in the trailer, notably on the awesome mimeographed-handwriting-practice-paper letterhead.
Yes that’s right. Ikea just switched from their bold, iconic use of Futura to Verdana, and their stated reasoning reflects a very poor thought process. They want to use the same type for all countries, including Asian ones, and Verdana has Asian character sets. And yet: there’s tons of modern monoweight Asian character sets that would match Futura perfectly well. They want to match the web to print. Yes, that does get a bit tricky, but other companies have found workarounds, and besides haven’t these people read “Harrison Bergeron“? Handicapping your display signage by putting it in a web text face just so that everything can match, for shame! So Futura doesn’t have Asian characters: Verdana doesn’t have effin display weights, it’s made for onscreen legibility! Use it large (as Ikea is bound to do) and it looks plain goofy instead of awesome like big Futura. Will every piece of furniture be available only in websafe colors?
There’s a lot of outcry and discussion on this (see designer discussion on typophile, mostly nondesigner discussion on metafilter, a good visual post on idsgn, the online petition, sets on flickr, etc.) and our hope is they quickly reverse their decision. The CIO claims that their identity is not wrapped up in Futura, but we disagree. See this 1965 catalog for what we mean.