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About the Author
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. His book, The Black Canoe, a study of Bill Reid’s sculpture, is a classic of Native American art history and his book The Elements of Typographic Style is considered the “bible” for typographers the world over. In Canada, Bringhurst is best known for his groundbreaking study of Native Canadian oral literature, A Story As Sharp as a Knife: The Classical Haida Mythtellers and Their World (1999), a work that startled many readers and sparked intense academic and public debate. Two volumes of translation from classical Haida complete the trilogy: Nine Visits to the Mythworld and Being In Being. In 2004, the trilogy earned Bringhurst the Edward Sapir Prize, awarded by the Society for Linguistic Anthropology. Among his more recent books of poetry is Ursa Major (2003), a multilingual work in which characters tell simultaneous stories in English, Latin, Greek, and Cree.Born in Los Angeles in 1946, Robert Bringhurst was brought to Canada at the age of five, raised largely in Alberta, and has lived and worked in British Columbia since 1973. He currently lives near Heriot Bay on Quadra Island.
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Product details
Hardcover: 352 pages
Publisher: Hartley and Marks Publishers; Fourth edition (January 15, 2013)
Language: English
ISBN-10: 088179211X
ISBN-13: 978-0881792119
Product Dimensions:
5.5 x 1 x 9.5 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
4.6 out of 5 stars
204 customer reviews
Amazon Best Sellers Rank:
#587,549 in Books (See Top 100 in Books)
10/12 Minion on laid paper that is more transparent than it should be was not a great choice. 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 195) 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." His example is about proportions, but transparency and style ask similar questions. 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 4.2 (2016).)
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.Bringhurst's approach is highly technical but also esoteric—he may comment on the tiniest details of a descender for a specific font based on mathematical proportion, then launch into a completely subjective analysis of said descender's emotional impact on readers. 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. For instance, The font section, with images and detailed descriptions of dozens of oft-used (and some not-so-oft-used) fonts, is a tremendous reference when one is 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 five 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.
Some years ago, when PageMaker was the gold standard of computer page layout, I knew something about typography. Or I thought I did. When, in preparation for putting my own writings out in book form, I revisited typefaces and all related matters, I realized I had known little and now knew less. But after reading this book, I am, if not fully informed, much better informed, and ready to give the world my golden thoughts in the form of paper and ink!This book concisely, but completely, covers all relevant topics. The writing is superb. The illustrations are cogent, helpful, and extremely well done. No attempt is made to claim that aesthetic choices are relative. Specific guidelines and rules are provided, along with crisp statements of their rationales. Examples of all key typefaces are provided, precisely and helpfully organized. International symbols and characters are covered. I cannot think of any relevant topic that is not completely covered.You don’t need to read this book cover-to-cover, though I did. You can easily get from it some narrow bit of information critical to your needs. Or you can use it to generally educate yourself. Or, like me, you can get a grasp of options and choices you need to make if you want to present your writings the best way possible. Unless you are a total philistine, you can’t go wrong buying this book.
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 Palatino, 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 the Book Club of California. I liked Elements enough that when I noticed the forthcoming title, I looked to buy it. Robert Bringhurst 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.
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About the Author
Inspiring Christian journals for free-style journaling. Christian-themed diary/notebooks, travel journals, prayer journals, Bible study journals and memoir journals.
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Product details
Series: Israel Series (Book 3)
Paperback: 150 pages
Publisher: CreateSpace Independent Publishing Platform (February 19, 2017)
Language: English
ISBN-10: 1543205178
ISBN-13: 978-1543205176
Product Dimensions:
6 x 0.3 x 9 inches
Shipping Weight: 9.9 ounces (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
1 customer review
Amazon Best Sellers Rank:
#1,394,299 in Books (See Top 100 in Books)
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About the Author
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DVD-ROM
Publisher: TeachUcomp Inc. (February 14, 2019)
Language: English
ISBN-10: 1941854451
ISBN-13: 978-1941854457
Package Dimensions:
6.8 x 2.6 x 0.3 inches
Shipping Weight: 1.4 ounces (View shipping rates and policies)
Average Customer Review:
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Amazon Best Sellers Rank:
#160,912 in Books (See Top 100 in Books)
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