The Elements of Typographic Style: Version 4.0

by Robert Bringhurst

Book Overview

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.

• Format: Paperback
• Language: English
• ISBN: 0881792128
• ISBN13: 9780881792126
• Release Date: January 2013
• Publisher: Hartley & Marks Publishers
• Length: 382 Pages
• Weight: 1.25 lbs.
• Dimensions: 0.9" x 5.3" x 9.1"

Customer Reviews

The book to own

If you were allowed only one book on typography, it should be this one. Bringhurst is a poet. He loves language, written language, and all its parts. That love comes through in the text and the visual presentation of every page.Bringhurst advocates a subdued typographic style. This makes good sense in the vast majority of cases, since typography is the servant of the text that it carries. Like any good servant, it should be unobtrusive, well dressed, and competent to handle every task it is given, quietly and promptly. Bringhurst demonstrates nearly everything he says, starting first with this book itself. The book is a beautiful artifact, with an elegant and informative page layout. Body text, side- and foot-notes, references, running titles, and more - they all fit together well on the page. Each kind of information is set off only slightly, but clearly and predictably. The content is well organized: prose in the early chapters, reference material in the later chapters and appendices, and all the intermediates in the middle of the book. Diagrams and tables are minimalist and communicative.The text spans centuries, from ancient Egyptian page layouts to the rationale behind Unicode. Bringhurst is passionate about typography's history, and insists that it inform every modern decision about print and printing. He embraces the new just as much, and is careful to note the strengths and weaknesses of each typographic technology.Bringhurst discusses far too many topics to touch on here. In every case, though, he brings his poet's sense to all of the writing, using witty, descriptive language for even the most mundane of technical issues. The one weakness I saw was in the geometry of page layouts. I like his mathematical rigor and esthetic practicality. Still, I think that the number of different constructions was more a tribute to what can be done than to what serves a real need.This is the best, most complete text I know on book design. As Bringhurst points out, there are lots of other uses for type than books, but he chose books as his subject - I have no problem with that limitation. The only problem I saw, and not really a problem with the book itself, is its subtlety. The nuances (well, most of the nuances) he discusses are important. Beginners, however, may not see the significance of small matters. Once a reader's eye it tuned to the fine detail, however, this book is the most helpful I know.

The why before the how

Good craft teachers are able to teach their students all the skills it takes for their professional life. Great teachers go beyond that: they try to make their students Understand the craft. By telling them about its historical development, by developing their taste instead of just giving good recipes, by showing the inside. In The Elements of Typographic Style, Robert Bringhurst puts the why before the how. His work is a mix of a very elaborate history of typography, a wealth of discussions on all kinds of big and little subjects any typographer wants or forgets to consider - and yes, also practical advice. For instance, Bringhurst first makes clear why with some fonts, it is inappropriate to use bold - and then he goes on showing how to create up to six visually different levels of subheads without using bold once. Even in such cases, Bringhurst stays far away from soothing his readers with quick and dirty advices. As he explained after finishing the book, he wanted nothing more or less than simply to write a book about typography as good as he could - a truly genuine approach in an age where customer orientation is often taken to the extremes. No wonder Bringhurst values timeless typographical virtues higher than the fashions of the day. Some readers may find the result of this approach a bit too academical or lyrical. For them, other excellent books on typography are waiting on the shelf. For me, Bringhurst is a great teacher.

You'll never look at a book the same way again.

I work at a typesetting house where we do annual reports for several major corporations- and gosh, it's amazing to see how much Bringhurst's rules apply (or don't) when the too-trendy-for-words designs come in to us. I bought this book and realized that Bringhurst had put into words what I had vaguely perceived about the drawbacks of putting typographical tools in the hands of people with no training- thus the onslaught of terribly designed self-published books and magazines, poorly kerned commercial signage, and common typographical mistakes ending up in daily newspapers. While some of these are ephemeral, some, like signs, stay around for years, and become part of the visual clutter we have to put up with in our cities. If I have one complaint about the book, it's that the section on'Shaping The Page' is long on theory and math but short on practical examples. I realize he doesn't want to date the book by pointing out real-world examples (as layouts change with art directors) - but instead of mathematical formulas, perhaps a tutorial CD-ROM, with Quark / InDesign templates and examples, would help designers by giving them something 'real' to dissect and experiment with.

I can't remain in my profession without this book.

As a designer, I am always looking to hone my skills. I thought I was adept at setting type until I found this gem. Bringhurst's study of type covers the obvious to the arcane. Beautifully designed, it illustrates type and their families, page geometry, philosophies of design, and typesetting rules. Master Craftsman, Hermann Zapf (you know -- his faces are in your computer) said himself that "he wishes to see this book become the Typographers Bible". This book is a must for the writer, publisher, designer, and editor because it covers a multitude of topics and rules vital and common to each sector. This is the "Manual of Style" for typesetting. It requires us to think more carefully about the setting of words and its impact on writing: "Typography is to literature what musical performance is to composition -- full of endless opportunity for insight OR obtuseness." I recommend this for anyone even remotely interested in the artform of letters. I highly recommend it for writers considering designing their own books.

Should be required reading

This book should be required reading for every graphic designer, book designer, typographer and certainly anyone directly or indirectly responsible for unleashing the current wave of awful typography on an unsuspecting public. Bringhurst covers everything from the basics of type styles to advanced kerning principles to the finer points of page proportions, all in a succint yet engaging way.Bringhurst does an excellent job of laying out a series of rules and guidelines, while making it clear that these are a starting point, a foundation for good type design, not a set of limitations. He is a poet as well as a typographer, and his eloquence pays tribute to the field as no one else has. The book features a good deal on the evolution of typography and includes great side-by-side comparisons of typefaces to illustrate specific points. He also deals extensively with punctuation marks, diacritics and the duty/joy of designing type with languages other than English in mind. I find myself returning again and again to the section on the subtleties of page proportions. He also achieves the nearly impossible balance of singing the praises of the old masters while not being afraid of the best of what's new and experimental.