And the award for Best Typography goes to …

Tuesday January 24th 2012

At 1:30pm today the 84th Academy Award nominations will be announced by Jennifer Lawrence and a largely irrelevant man, live from the home entertainment department of their local Currys. One by one, the lucky films will have their titles displayed on the screens behind Lawrence, in a variety of jazzy colours designed to make them look more exciting than they really are.

In many ways, it’s the Best Typography award that the Oscar ceremony is so sorely lacking. Let’s see what’s in contention …

The Artist is destined to be the big dawg at this year’s Oscars, and this cock-of-the-walk two tiered design knows it. That ‘S’ is literally dripping in swagger.

Well now, this just screams class. If the Academy gave out an award for sheer quantity of serifs, War Horse would have it sewn up.

This ‘geometry on acid’ design for The Girl With The Dragon Tattoo reinforces just how edgy the film really is. It tells the Academy: you’re not just voting for a technically proficient rehash of some fairly underwhelming source material, you’re voting for a film with a recessed centre bar on its upper case ‘E’.

Jaunty, old-fashioned and three-dimensional — you see what they’ve done there.

Woody Allen has been using EF Windsor Light Condensed since 1975 so this is less a title treatment and more a reminder that HEY ACADEMY, THIS IS A WOODY ALLEN FILM. REMEMBER HIM FROM BULLETS OVER BROADWAY?

This simple, striking application of Gotham is the typographic equivalent of your dad sitting you down in front of the voting ballot and reminding you in no uncertain terms that Moneyball is an important, serious movie that deserves a little recognition. See also: Obama.

It’s all wobbly! Like the fractured soul of Alexander Payne’s latest rent-a-midlife-crisis. But there’s a flower too, so chances are The Descendants is a little bit playful and pretty to boot.

Strong, sensible and restrained — everything The Help is not.