version3.o. Robert Bringhurst by Robert Bringhurst. Version ‘ 5 4 3 2 1 . The essential elements of style have more to do with the . r)Ced narural1 fuit ratio idit enim . into banality:’ Typographic style, in this large and intelligent sense. The Elements of Typographic Style has ratings and reviews. Jacob said: I am in the process of transforming myself into a book. In order to do t. Bringhurst R. the Elements of Typographic Style – Ebook download as PDF File . pdf) or read book online.

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Robert Bringhurst is a poet, typographer, linguist, critic, designer, translator, teacher, and cultural historian. He has published more than thirty books, eighteen of them books of poetry. The Classical Haida Mythtellers and Bringhhurst Worlda work that startled many readers and sparked intense academic and public debate.

Two volumes of translation from classical Haida complete the trilogy: Among his more recent books of poetry is Ursa Majora multilingual work in which characters tell simultaneous stories in English, Latin, Greek, and Cree. Born in Los Angeles inRobert Bringhurst was brought to Canada at the age styel five, raised largely in Alberta, and has lived and worked in British Columbia since He currently lives near Heriot Bay on Quadra Island.

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Renowned typographer and poet Robert Bringhurst brings clarity to the art of typography with this masterful style guide. Combining the practical, theoretical, and historical, this edition is completely updated, with a thorough revision and updating of the longest chapter, “Prowling the Specimen Books,” and many other small but important updates based on things that are continually changing in the field.

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Thinking with Type, 2nd revised and expanded edition: Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. Grid systems in graphic design: A visual communication manual for graphic designers, typographers and three dimensional designers German and English Edition.

Typogrpahic Graphic Design Layout Workshop. A Book About Fonts. Review “A classic in the field. I’d like to read this book on Kindle Don’t have a Kindle? Share your thoughts with other customers. Write a customer review. See all customer images. Read reviews that mention typographic style elements of typographic robert bringhurst graphic design graphic designer strunk and white serious designers book on typography beautifully written worth the price different fonts reading this book hard to read sorts and characters acutes from graves adjacent to this lexicon anthony trendl apertures dot apostrophes adjacent brought us a thrifty.

Showing of reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. This is the first book in a long while to make me go hunting for reading glasses.

The transparency of the paper, the watermark lines, and the general layout combine to create strange variations in contrast that make reading difficult. Bringhurst says on page that “The type cannot be chosen without coming to some decision about the kind of paper it will be printed on, and cannot look right in the end if that decision is later betrayed. Perhaps he was betrayed in this printing? The book is mostly great, despite a strange lack of history around spaces and punctuation, and occasional hectoring, but an unreadable typography book is a sad thing.


I have version 4. Probably the best book on typography and layout ever written. Although highly technical in places, this book’s rich content offers material that will be valued by professionals and laypeople alike. The discussion of fonts and spacing is extensive, but the book also offers in-depth analyses of the formatting issues central to the creation of nearly every book.

Provided, of course, that readers take time to absorb what Bringhurst offers and skip those parts that don’t work for them which should generally be the case for any book but is especially pertinent for this title. For instance, Bringhurst goes into exhausting detail about perfect proportion, thirds, sixths, and ninths, as well as harmonics, all of which may be Greek or choose other suitable language to many readers, while also offering diagrams and illustrations showing the “smoothness” or “disorder” of various layouts.

The latter elements should connect with readers emotionally even if the geometric discussion comes up short. Because of this style, many readers may find portions of the text dull or overly abstract; the good news is that, also owing to this nonlinear style, you can just skip forward until you find something interesting, without any loss of continuity.

The Elements of Typographic Style by Robert Bringhurst

For instance, The font section, with images and detailed descriptions of dozens of oft-used and bringhurrst not-so-oft-used fonts, is a tremendous reference when one typogarphic searching for a font for a specific purpose such as page-count reduction or extensive glyphs.

Bringhurst is a genius, and in spots he conveys information about layout and formatting that at first appears paradoxical or at odds with conventional thinking. In other places, as noted by another reviewer, he appears to suffer from the typical inability of geniuses to convey content to a broader audience.

Despite that flaw, I considered much of that content to be a bonus because of its mere presence in the book, and for that reason I gave it bringhusrt stars. Nothing else out there comes even close. And yes, the book itself is laid out perfectly. All in all, what this book lacks in readability it makes up for with the extensiveness of its content, providing information that can be used both by professionals and by those with no preexisting knowledge of typography. This is a book that really helped pique my interest in typography back when the first edition was published.

I was actually looking to buy Bringhurst’s forthcoming book about Gringhurst, but did not find it on the Amazon site. This was a first for me. Not finding anything on Amazon. I was able to order the Bringhurst book directly from bringuhrst Book Club of California.

I liked Elements enough that when I noticed the forthcoming title, I looked to buy it. Robert Elsments is also a published poet, by the way. I find that writers with strong backgrounds in poetry tend to write well and seem to love words and type as much as I do. I bought this 20th anniversary edition to back up my wearing out early edition. So much has been said about this excellent book, but I wanted to comment on the difference between the hardback and bringhurrst versions.


As typogdaphic other reviewers have noted, this is a narrow book with a slim inner margin. With the paperback version, you can’t lay the book open without cracking the binding. I think it was obvious the design was made with the hardback version in mind; the paperback seems an afterthought.

The hardback also has a ribbon for bookmarking your page, which is very handy in a book like this. This is the sort of book you’ll use as a reference g years, and it only costs a few dollars more for a much sturdier version.

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Don’t buy this book if you don’t like to read. It isn’t a quick guide that will cram the basics of typography into your skull before tomorrow’s midterm exam. This is the sort of book you curl up with when you have a long rainy afternoon to yourself.

It is long-winded, goes off on tangents, and the author, while immensely knowledgeable, is set in opinions that will not be shared by everyone. An opinionated typographer and aren’t we all?

Bringhurst and tell him a thing or two. But whether you agree or disagree, you will be thinking of your reasons, evaluating your conceptions and becoming better for it. Reading this book is like having a deep conversation with your favorite friend who is keen to discuss the nuances of typography with you hour after hour.

Except probably your friends are like mine and wouldn’t recognize a ligature if it bit them on the serif, which is why this book inspires so much devotion. It’s personal, poetic, and speaks to your heart – if your heart happens to be full of glyphs.

This book is really informative for those getting into the typographic business, demonstrating good ettiquette in the myriad niceties involved even in the matter of page size and layout. There’s also a handy index for extended characters for type designers, especially the Cyrillic italics which can be obtuse for those used to Latin regularity. The only downside is that it’s a bit dated in the face of new font technology. Otherwise, definitely a must-have for graphic designers!

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