100 of 104 people found the following review helpful:
5.0 out of 5 stars
I can't remain in my profession without this book., June 8, 2000
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.
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49 of 51 people found the following review helpful:
5.0 out of 5 stars
Should be required reading, December 8, 1999
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.
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32 of 33 people found the following review helpful:
5.0 out of 5 stars
The book to own, May 31, 2004
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.
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