In Moonrise Kingdom you’ll undoubtedly note a defining feature of the film is Wes Anderson’s departure from futura in the credit and title sequences to an original typeface created specifically for the film by San Francisco’s Jessica Hische.
Taken from DesignEnvy:
Jessica was contacted directly by the movie’s production team, one of the co-producers on the movie, Molly Cooper. They originally hired Jessica to do a test based on Edwardian Script, but they ended up changing directions and aimed for something closer to some lettering from a Claude Chabrol film that was more condensed and with a hand-hewn feeling.
“They hired me to letter the titles in the front of the movie and create a typeface for the end credits, but I ended up making two fonts (two weights of the same typeface) and laying out the opening credits. This meant that they had a display weight that they could use on other promotional materials instead of trying to find something that matched or using the text weight too large.
I can happily release it as a commercial typeface a year after the movie’s release, which should give me some time to add in even more fun features than are already there. Both the display and text weight have some subtle contextual alternates to make endings feel nicer and I hope to create some swashier caps and perhaps even another weight of the typeface. I’m mostly excited because there aren’t a lot of scripts drawn to optical sizes out on the market, and I think they’ll really come in very handy for certain industries.
Overall the process was a total dream and Wes is incredibly involved in every aspect of production. When we were in the thick of it, he was sending me doodles through email about how the lowercase r should look, etc. He has a really good eye for typography and is definitely as much of a perfectionist as you’d hope him to be.”