I found this Vox by Design video all about the Trajan typeface, and how it was one of the go-to types for movie posters in the 90’s and why it’s not used that often anymore, extremely interesting.
How One Typeface Took Over Movie Posters
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Meet the Font Detectives Who Ferret Out Fakery
Glenn Fleishman, writing for Wired:
What does international political corruption have to do with type design? Normally, nothing—but that’s little consolation for the former prime minister of Pakistan. When Nawaz Sharif and his family came under scrutiny earlier this year thanks to revelations in the Panama Papers, the smoking gun in the case was a font. The prime minister’s daughter, Maryam Sharif, provided an exculpatory document that had been typeset in Calibri—a Microsoft font that was only released for general distribution nearly a year after the document had allegedly been signed and dated.
A “Fontgate” raged.
How to Spot the Difference Between Arial and Helvetica
The “a” in Helvetica has a tail; Arial does not. Also, the bowl of the “a” flows into the stem like a backwards “s”; the bowl of Arial’s “a” simply intersects the stem with a slight curve. (Interestingly, the Grotesque “a” has a tail, just like Helvetica. The bolder weights of Helvetica have no tails, an inconsistency that bothers some people. Maybe it bothered Monotype, too.) Arial’s “a” has always seemed a little badly drawn to me, but maybe it’s just me.
The Typography of ‘Stranger Things’
Sarah Gless, writing about the typography of Stranger Things:
The opening to Stranger Things is pure, unadulterated typographic porn. With television shows opting for more elaborate title sequences (think GOT and True Detective), the opening of Stranger Things is refreshingly simple. It trims the fat and shows only what is necessary to set the mood. More importantly, it proves a lesson I’ve learned time and time again as a designer: you can do a lot with type.