More specifically, directly influenced by the type seen in Maurice Binder's title sequence for Ken Russell's 1967 follow up to The IPCRESS File series, Billion Dollar Brain. But expanded, and plays with which side of the letter gets the weight/stress.

A throwback to the futurism of the 1960s, 70s, and early 80s, when technology was dystopic fiction and not dystopic reality.

New font on @futurefonts today, Simulacra: https://www.futurefonts.com/benjamin-tuttle/simulacra

Adding 4 Lighter weights to all 3 slanted styles of Racquet tomorrow on Future Fonts in the form of version 0.2. If, I don't know, you want to purchase a license at a discounted price, now would be the time to do it. Or whatever.

Mostly taking the piss in regards to humanism, [sacred] geometry, magick, capitalism, esotericism, etc.

New font on @futurefonts today: Goetia, read more: https://www.futurefonts.com/benjamin-tuttle/goetia

(Pre-)releasing a typeface on @futurefonts today. It's called Racquet: https://www.futurefonts.com/benjamin-tuttle/racquet

Anybody have a copy of this? Or even better yet, a digitization? If not, anybody in Melbourne wanna do us all a favor? https://www.acmi.net.au/works/98620--the-liberated-letter/

Beyond my contributions, and therefore my bias, it's a truly fantastic film, and I am beyond lucky to have been able to be involved. If you're in NY or LA, I would highly recommend checking it out. Hopefully it will make it to the rest of the US and parts of Europe in the next month or so.

Don't just take my word for it, it's been getting some shine in the press as well: https://www.newyorker.com/magazine/2024/09/23/a-different-man-movie-review-the-substance

I worked on a suite of custom typeface revivals (some strict, some loose) to give the film a unique typography. For the main display type, I created a face inspired by Bauer’s Corvinus. For supporting and smaller text, I attempted a rather faithful digital revival of another Bauer face, Venus. A typeface that has gotten a bit of love over the last few years (decades?), but I never liked how far other interpretations went in “fixing” it. I wanted to keep its eccentricities intact for the film.

It's come to my attention that @nicksherman didn't know that I did the film titles for Aaron Schimberg's new film A DIFFERENT MAN (premiering this weekend in NYC and LA).

So here is a cross post from that other social network showing off some of the work:

1. FINAL MARKS: THE ART OF THE CARVED LETTER, with virtual filmmaker Q&A on June 15th.
https://vimeo.com/817746538

Excited to start sharing some of the stuff I've been working on for the past few months. Coming this June to the Spectacle, a microcinema in Brooklyn: COUNTER ACTS: TYPE & LETTERING ON FILM & VIDEO. A series including 7 films over 3 programs. Here are some trailers I put together:

Does anyone know of any books or historical resources that have an illustration, diagram, or even a photo of a single punch featuring the letter A/a? I have collected a large amount of similar images of other type technologies though time that all feature an A, but every punch I find is an M, H, or something else. Hoping to keep things consistent... (cc @typeoff @onpaperwings @nicksherman @letterformarchive @lubalincenter )

Whats the backstory here?
https://www.youtube.com/watch?v=0GDHGHZx-Xk