Several type designers and typographers insist, that the shapes enclosed in the letters and around them should not be underestimated, and in fact, they are the most significant aspect of a typeface. Since we read contrast, it is important to know about this relationship, when it comes to designing a page of text—be it digital or print. Knowing that the letters and surrounding shapes can take on any color, we still refer to them as ‘black’ and ‘white’ in discussions. This essay is a collection of observations.

Sure there are lots of things you can do to improve yourself as a typographer, like reading books and becoming a generally more observant person. And there’s no getting around that. You’ll eventually have to do it and it’ll take time. “But what can I learn right now?,” you ask.

The same consistent typographic threads binding print, web, and email campaigns now extend to native apps. FontShop announces App Fonts from more foundries, including TypeTogether, exljbris, and Dalton Maag.

Our monthly review of movie poster typography looks at the posters for Therapy for a Vampire, Me Before You, Our Kind of Traitor, The Neon Demon, Wiener-Dog, Shelley, Carnage Park, Ghostbusters, Captain Fantastic, and Under The Sun.

Typefaces that fall into the category of geometric sans are by definition deceptively simple in appearance. But as any young designer who’s tried to construct one with a ruler and compass (or its digital equivalent) knows, it’s not so easy. Here’s a rundown of a few families that get it right.