Fonts Tagged Articles at Cinematical
New Orleanians: Does the 'Sherlock Holmes' Font Look Familiar?
Filed under: Posters »
Okay, maybe I'm crazy. Some people have suggested that, throughout my life. But I had a very strange moment earlier today, looking at the character posters for the upcoming Sherlock Holmes movie as I left a theater. Maybe you've seen these posters -- I've cropped one in the image on the right. Before my inner Robert Downey Jr. fan could coo "oooh" at the image of the actor, my inner New Orleanian spoke up and said, "Holmes? As in D.H. Holmes?"If you grew up in the New Orleans area and are a certain age, you may understand. D.H. Holmes was a popular department store when I was young -- in fact, it was a small chain that had stores in a number of Southern cities. The most famous D.H. Holmes was on Canal Street, where Ignatius Reilly waited under the Holmes clock in the novel A Confederacy of Dunces. Dillard's bought the department-store chain awhile ago, and the store on Canal is now a swanky hotel (they kept the clock, though).
SXSW Review: Helvetica
Filed under: Documentary », Independent », SXSW », Theatrical Reviews », Festival Reports »
The line-up for Helvetica at South by Southwest this year became its own joke. It's a documentary about a font; what better place for its debut than an audience of computer nerds (for SXSW Interactive) who dig visual design and film nerds (for SXSW Film) needing a break from torrents of either earnestness or blood? But you don't have to be a nerd to like Helvetica -- well, scratch that; you do, a little bit, but you are, so it's okay. And frankly, by the standards of film-festival documentary (which can often be wrenchingly grim or navel-gazingly narcissistic), Helvetica's the feel-good, high-concept movie of the year.
Written and directed by Gary Hustwit, Helvetica seems like a pretty narrow-focus idea; but, then again, you could also argue that one of the best things documentary film can do is go from the micro to the macro -- looking at one story to see where it connects with all stories. And with Helvetica, thanks to Hustwit's clean lines of narrative and intellectually playful style, we get a great look at the universality of Helvetica as a typeface and how, after it was unveiled in 1957 and hailed as a miracle of modernism, it became the unofficial font of official activities. Hustwit's camera noses through a variety of urban landscapes and shows you just how omnipresent Helvetica is -- traffic signs, logos, official notices, storefronts.
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