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The Elements of Typographic Style: Version 4.0: 20th Anniversary Edition (英语) 平装 – 2013年1月15日

Robert Bringhurst (作者)

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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.

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基本信息

出版社: Hartley and Marks Publishers; Fourth (2013年1月15日)
平装: 382页
语种： 英语
ISBN: 9780881792126
条形码: 9780881792126
商品尺寸: 14 x 2.5 x 23.5 cm
商品重量: 522 g
品牌: Hartley and Marks Publishers
ASIN: 0881792128
用户评分: 3 条商品评论
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- 第14位 - Arts & Photography Study & Teaching（艺术研究与教学）
- 第2640位 - Reference（参考书）

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"A classic in the field." — Library Journal

作者简介

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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Simon St.Laurent

Marred by combination of type and paper

2018年5月29日 - 已在美国亚马逊上发表

版本: 平装已确认购买

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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David Irving

I liked Elements enough that when I noticed the forthcoming title

2016年4月26日 - 已在美国亚马逊上发表

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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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M.S.

Buy the hardback version

2012年5月9日 - 已在美国亚马逊上发表

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So much has been said about this excellent book, but I wanted to comment on the difference between the hardback and paperback versions. As some other reviewers have noted, this is a narrow book with a slim inner margin. With the paperback version, you can't lay the book open without cracking the binding. I think it was obvious the design was made with the hardback version in mind; the paperback seems an afterthought. The hardback also has a ribbon for bookmarking your page, which is very handy in a book like this. This is the sort of book you'll use as a reference for years, and it only costs a few dollars more for a much sturdier version.

Don't buy this book if you don't like to read. It isn't a quick guide that will cram the basics of typography into your skull before tomorrow's midterm exam. This is the sort of book you curl up with when you have a long rainy afternoon to yourself. It is long-winded, goes off on tangents, and the author, while immensely knowledgeable, is set in opinions that will not be shared by everyone. An opinionated typographer (and aren't we all?) will read some passages in twitchy annoyance, wishing one could call up that Mr. Bringhurst and tell him a thing or two. But whether you agree or disagree, you will be thinking of your reasons, evaluating your conceptions and becoming better for it. Reading this book is like having a deep conversation with your favorite friend who is keen to discuss the nuances of typography with you hour after hour. Except probably your friends are like mine and wouldn't recognize a ligature if it bit them on the serif, which is why this book inspires so much devotion. It's personal, poetic, and speaks to your heart - if your heart happens to be full of glyphs.

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Vijay Rathinasamy

They call it "Elements" for a good reason.

2018年8月23日 - 已在美国亚马逊上发表

版本: 平装已确认购买

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!