What Is Typography? A Deep Dive Into All Terms And Rules

Typography can invoke a feeling, remind you of a certain brand, or create an atmosphere. In branding, think about the boldness of the FedEx logo (with a sneaky hidden arrow!) or the classic blackletter style of The New York Times’ masthead. For editorial typesetting, think about the layout of your favourite magazine. And on your phone, think about how different fonts are used across different apps.

But when typography its bad, it can be jarring and distracting, even unreadable. Think about the last time you were confused by messy type in an app, were misled by unclear signage or struggled to understand an illegible pamphlet or packaging product.

When you think about it, the art and science of typography is the basis of all communication such as logos, ad copy, headlines in magazines, and newspapers or chapter headings in a book.

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"لن ننسى أول مرة رأينا فيها المومياء"... شادي عبد السلام وسحر السينما

السحر المغلف بالغموض سيصاحبنا في رحلة بصرية إلى القاهرة، تزامناً مع الذكرى الـ 34 لرحيل ساحر السينما العربية، شادي عبد السلام، في أكتوبر 1986م، السحر الذي يتوهج وسط أهازيج وأفكار وفنون المخرج السينمائي العبقري، من خلال صورته السينمائية الاستثنائية التي وضعته في نقطة وسط بين السينمائي والفنان التشكيلي، وصاحب الفيلم الوحيد الذي لن يُنسى أبداً من ذاكرة السينما العربية. "صانع المومياء" الذي كان رغم قلة إنتاجه من حيث الكم، ناجحاً تماماً من حيث الكيف في صياغة مشروع واضح المعالم على المستوى الفكري والفلسفي، نقله لنا بصورته المعبرة عن عبقريته السينمائية، وعلى المستوى التقني، نجح في أن ينقل لنا جمالياته الغامضة بلمسات الفنان التشكيلي الساكنة في روحه، الصعيدي الذي خطفت الإسكندرية قلبه وسنوات طفولته وصباه.

The Godfather: how the Mafia blockbuster became a political handbook

Mario Puzo’s The Godfather now functions the way fairytales or Bible stories do. It’s become a fundamental narrative deeply embedded in the collective psyche, regularly adapted and reworked for radically different settings. Stripped to its essentials, this is a story of unwanted succession, of an heir to the throne who yearns to escape his destiny. “What Michael wanted was out, out of all this, to lead his own life,” Puzo writes. Watch the first season of The Crown and you soon realise that it is The Godfather narrative that is unfolding before you, with a young Elizabeth cast as the reluctant heir who, like Michael Corleone, “couldn’t cut loose from the family until the crisis was over”. Michael, son of mafia boss Don Corleone, is the archetypal prince who cannot be free, and is eventually transformed and hardened by his duty.

Alaa Saad

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