“How do I define the line spacing in my text?” Well, the first response would typically aim at your choice of type and the size it is used in. However, the space between the words is not to be underestimated and ultimately the width of your column is an eminent factor. You easily end up with four parameters that are all inseparably interlinked with one another, a concept that has been called the “magic square of typography.” Let’s take a look at the formula of the page and we’ll notice that this concept can easily be extended to a pentagon or hexagon and beyond.

When doing a brand refresh or establishing an identity from scratch, type is one of the strong threads that runs through all of it, uniting each product and campaign through every season. Versatile and recognizable fonts, when used well, will handle the heavy lifting.

Our monthly review of movie poster typography looks at the posters for A Bigger Splash, Money Monster, The Curse of Sleeping Beauty, The Lobster, High-Rise, What we Become, Nice Guys, The Angry Birds Movie, Chevalier, and How to Plan an Orgy in a Small Town.

Today we take a look at Dan Reynolds’s Malabar paired with Martin Lexelius’s Borgstrand. Malabar is a stunning Renaissance Roman, brought up in the Dutch tradition and made to fill today’s specific needs. Borgstrand is an engineer’s answer to the question “What might a set of sturdy letters look like?”

The standard QWERTY keyboard, like its predecessor the typewriter, has a single key for opening and closing both single and double quotes (and for the apostrophe which is the same as a closed single quotation mark). From this we get ‘straight quotes,’ or ‘dumb quotes’ which at arm’s length and squinting, might pass for proper apostrophes and typographic quotation marks, or as I call them here, curly quotes.