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).)
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Top reviews from the United States
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Reviewed in the United States on May 28, 2018
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).)
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Marred by combination of type and paper
By Simon St.Laurent on May 28, 2018
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.By Simon St.Laurent on May 28, 2018
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).)
Images in this review
Reviewed in the United States on October 18, 2019
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Reviewed in the United States on April 3, 2019
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Reviewed in the United States on August 22, 2018
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They call it "Elements" for a good reason.
By Vijay Rathinasamy on August 22, 2018
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!
By Vijay Rathinasamy on August 22, 2018
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Reviewed in the United States on April 25, 2016
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Top reviews from other countries
Mr CPG Lamming
Straight to the top of the pile as one of my all time favourite books.
Reviewed in the United Kingdom on July 6, 2015Verified Purchase
Howdy
If you're interested in the finer points of type and typography you'll end up with ...
Reviewed in the United Kingdom on January 20, 2018Verified Purchase
Fernando De Freitas
Superb
Reviewed in the United Kingdom on December 20, 2016Verified Purchase
L. J. W. Cych
Arrived a little late but absolutely beautiful
Reviewed in the United Kingdom on March 9, 2021Verified Purchase
Raisel
Review of Seller
Reviewed in the United Kingdom on October 28, 2020Verified Purchase
