Typographically, he uses Futura (and altered versions of Futura) as his house font
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Unlike the ubiquitous and easily adaptable Helvetica, Futura can often be challenging to use. It was one of the first sans-serif fonts developed, and it was a radical departure from typography’s past. Developed by Paul Renner in 1928, Futura was a study in geometry. The characters are based on perfectly proportioned squares, triangles and circles, and the stroke is almost perfectly even throughout. These geometric shapes, however, coupled with exaggerated ascenders and descenders often create awkward spaces and can be problematic from a readability standpoint. As a display typeface, though, Futura evokes the modern and often goofy spirit of the ’60s. It seems the perfect companion to the endearing characters in Anderson’s films who take themselves a tad too seriously. The idiosyncrasies that the typeface makes when the nearly perfect characters combine to form words and sentences somehow matches that of the characters and experience of a Wes Anderson film. Simultaneously perfect and imperfect. (via reactions/MSLK)
Futura is one of my dearest sans-serif fonts as well. How lovely.
Here are some examples in The Royal Tenenbaums
