Robert Bringhurst basically tickles your brain, shows you how horribly wrong was what you did last week for a design project in a sentence, give you a decent amount of humour without loosing the content. Thanks for this well considered and written review. The Elements of Style is actually a poor model for advice and guidance of any sort: Strunk takes an important insight that writing should be as considered and economical as possible and appropriate and worries it into dozens of ponderous, crabby, and often questionable commandments. This book in its first edition prompted Zapf to slap a spectacular label on it; had Zapf not dubbed it the bible of type, would it have been as successful? Certainly compared to the plainspoken grace of Minion Pro. I learned so much about type, from the mundane technical details to the influence of language and politics. Wisely, Bringhurst restricts himself primarily to one form: the book.
Sure, it's simply the best book on print typography out there. There is an incredibly rich history and a fascinating set of accepted principles and rules which govern typography, the skillful use of letterforms and typeset matter which is a very important sub-discipline of graphic design. In my opinion, these have more to do with what is left unsaid than what is said. This book is more about the objective factors - though traces of the subjective are impossible to eliminate in the creative world. Maths is an important aspect of the type and layout trade.
Se vuelve en una auténtica obra de referencia que comprende definiciones y sugerencias básicas para cualquier persona que trabaje con tipografías, ya sean diseñadores, editores, impresores, estudiantes, aficionados, etc. Que si bien uno puede no estar de acuerdo en algunas sugerencias, es innegable la calidad y cantidad de investigación que Bringhurst llevó a cabo para sintetizar en este libro, desde connotaciones históricas, métodos de impresión y reproducción, hasta una visión romántica de los caracteres con los que convivimos cada día. A veces puede resultar algo pesado si no se está familiarizado con algunos términos, pero nada que unas cuantas consultas al glosario incluido o un buscador de internet no pueda resolver. This mushy profile is prepared to examine any time you plan. However, in a softcover book, which does not open widely without breaking and flexing the spine , the binding swallows up the left inner edge of the page. The whole is beautifully presented, in terms of book construction and typesetting, but also in terms of literary style - Bringhurst is both a typographer and a poet.
Oh, and the section on type designers and foundries is worth the price of admission alone. But it hasn't convinced me that he can convey this knowledge effectively. There are so many people have been read this book. Que a mí me lo prestaron y al terminarlo decidí comprar una copia para tenerlo en el estudio. Even his consideration of type on the screen, smart as it is, is limited to two pages and five paragraphs. There are some lovely touches - amongst its various attributes, the book is also a design specimen.
Of course, students in any field involving typography should read it — must read it — but not first, and certainly not by itself. Except this is not true; it is in fact completely in keeping, because one of Bringhurst's messages is, I think, learn about your tools where a tool might be a typeface or a page design, as well as a piece of software , use the right ones for the job, and use them well. I read it some time ago it was first published in 1992 and decided to revisit it recently. His fundamental work on typography deals with much more than just the teachings of design; it is a veritable typographical manifesto. We view some of Otl Aicher's typographical theories with criticism.
But for the rest of us, the strong views help create a clarifying lens, a new tool with which we can understand another little corner of the world. Part Tufte design book, part Chicago Manual of Style, part encyclopedia of fonts. None of this will be news to most readers here. There's a certain incongruity in writing about The Elements of Typographic Style, a book about how to design books, using my Alphasmart Neo, which gives me five narrow rows of heavily pixelated characters. His book looked so visually dense that for some time I was tentative to even begin reading it. Needfully, there is a lot a of technical stuff.
Lyrical, intelligent, engaging, puzzling and beautiful. Every word in this online book is packed in easy word to make the readers are easy to read this book. I have hired a designer to come up with a treatment for my textual body. Getting this book is simple and easy. My skin is being stripped off in large patches and replaced with 12 pt cardstock with a four color cover and scuffless matte film lamination. But the fact that Bringhurst came to book design and typography from poetry is evident on every page. Heaps of tips and tricks, and valuable information about typography and design history.
Needfully, there is a lot a of technical stuff. If you talk about scientific work, most professionals like those stickouts and use them to skip through the text. Except this is not true; it is in fact completely in keeping, because one of Bringhurst's messages is, I think, learn about your tools where a tool might be a typeface or a page design, as well as a piece of software , use the right ones for the job, and This review appeared at a blog. Typography is helpful though, as certain aspects are more concrete than one might think, and this is where Bringhurst shines. And yes, the historical interlude is still there.
That seems an unconventional combination to me. But the content was equally good. A good prescriptive guide should at least give the beginner something sound to start with, and doing what Bringhurst suggests will get you most of the way to a useful, usable result. After I languished for a couple of years or so in this state, a helpful co-worker eternal thanks, Jade! As a designer, your job is to communicate. A districarci in merito al senso del testo, ai dialoghi, alle convenzioni scientifiche, alle lingue straniere con caratteri non latini , a non soccombere cioè allo stream of consciousness degli autori? For producing plain text the Neo is the right tool; it is not the right tool for designing a page or driving tent pegs. The information on diacritics, measurements and such is very helpful. Combining the practical, theoretical, and historical, this edition is completely updated, with a thorough revision and updating of the longest chapter.