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Este livro de enorme sucesso, traduzido para línguas como russo e grego, foi o primeiro livro sobre tipografia publicado por esta editora. Escrita e projetada pelo tipógrafo, ensaísta e poeta norte-americano Robert Bringhurst, a obra reúne e discute em profundidade os conhecimentos que a história da tipografia ocidental transformou em tradição ao longo dos últimos 600 anosEste livro de enorme sucesso, traduzido para línguas como russo e grego, foi o primeiro livro sobre tipografia publicado por esta editora. Escrita e projetada pelo tipógrafo, ensaísta e poeta norte-americano Robert Bringhurst, a obra reúne e discute em profundidade os conhecimentos que a história da tipografia ocidental transformou em tradição ao longo dos últimos 600 anos, respaldado por uma linguagem deliciosamente acessível, que a tornou uma unanimidade entre os designers gráficos do mundo inteiro. O título é inspirado em conceitos do filósofo Walter Benjamin. "O estilo literário é o poder de mover-se livremente pelo comprimento e pela largura do pensamento linguístico sem deslizar para a banalidade. Estilo tipográfico, neste sentido amplo da palavra, não significa nenhum estilo em particular, 'meu estilo, 'seu estilo', 'neoclássico' ou 'barroco', mas o poder de mover-se livremente por todo o domínio da tipografia e de agir a cada passo de maneira graciosa e vital, sem ser banal", afirma Bringhurst. É essa pretensão, de dar ao leitor as informações necessárias para alcançar essa liberdade instrumental e, sobretudo intelectual, o que diferencia o livro de Bringhurst dos manuais práticos, dos compêndios históricos e dos volumes introdutórios sobre o assunto. O livro contém glossário inglês-português, de caracteres, de termos tipográficos, de designers de tipos, de fundições tipográficas, e catálogos de fontes com e sem serifa....

Title : Elementos do Estilo Tipográfico
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ISBN : 9788575033937
Format Type : Paperback
Number of Pages : 428 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Elementos do Estilo Tipográfico Reviews

  • Jacob
    2018-10-21 10:38

    I am in the process of transforming myself into a book. In order to do that, I am having my spine surgically removed and removed and replaced with a smyth sewn binding. 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. I have hired a designer to come up with a treatment for my textual body. I can't take it anymore. Someone please take me off of the shelf and put me in your lap. I know it doesn't really matter. I know a book can easily burn or mold or be eaten by silver fish or fall apart because the paper is not archival and I don't care. I am becoming a book.

  • Ken-ichi
    2018-09-23 06:34

    Yes, I seriously read a typographic style manual, but believe me, it was worth it. Not only is this a detailed, informative, and surpassingly witty survey of typography, but it's simply a beautiful book to hold and to read. It's a bit like taking an introductory lesson from a friendly architecture professor, learning about intricacies and critical minutia you had never before considered, and slowly realizing your teacher designed the room, the building, perhaps even the chair you're sitting in, and that the entirety of your surroundings is an expression of the lesson itself. I feel similarly about Tufte's books, except there the classroom is a church, and the professor is a jerk.I picked this up as a sort of sideways approach to improving my web design (planning on moving on to The Elements of Typographic Style Applied to the Web next). I hope I absorbed a little (because there's a lot to know), but I think the main thing I've learned is a finer appreciation for the discipline. Invisibility is the mark of almost all good design, but good typography is hard to see even when you're looking right at it. Words are hard not to read, but at least now I know to at least try and take a closer look.Did I mention this book is hilarious? There's this one note on setting ragged text, in which Bringhurst cautions against giving software free reign over "an honest rag." "Unless the measure is excruciatingly narrow," he writes, "you may prefer the greater variations of a hard rag. This means fixed word spaces, no minimum line, no letterspacing, and no hyphenation beyond what is inherent in the text. In a hard rag, hyphenated linebreaks may occur in words like self-consciousness, which are hyphenated anyway, but they cannot occur without manual intervention in words like hyphenation or pseudosophistication, which aren't." The note, of course, is set with a hard rag. I mean, how many ironic involutions can you fit in a paragraph? I guess paragraphs about paragraphs provide extraordinary opportunities.I'm finding myself increasingly fascinated with (and amused by) expertise in all its forms, and this book is a prime example. Parts of it are akin to reading wine labels that speak of odors and flavors you could never even imagine, let alone recognize in a glass of wine. The specimen section is particularly wine label-like, where Bringhurst analyzes an assortment of notable typefaces. He describes Quadraat as "not pretty; its beauty is deeper and stranger than that" (p. 244). Throw in some talk of ascenders and bicamerality and you've got attributes just as arcane and remarkable as "hay-scented" and "overtones of kumquat."Some words I learned and will soon forget:elision (n): an omission, particularly of parts of a word.helpmeet (n): a helper. (p. 227)

  • Carlos Scheidegger
    2018-10-12 09:33

    This book convinced me that there is a lot of art in typography. It convinced me that good typography can make a big difference in how good text looks in a page. And it definitely convinced me that Robert Bringhurst is a stellar typographer. But it hasn't convinced me that he can convey this knowledge effectively. Bringhurst has deep knowledge of typography, and the historical chapter on typefaces alone makes it worth your read. However, in many instances he falls into the trap of confusing tradition with quality, and begs most of the raised questions. The chapter on page proportions, as a concrete example, is pure numerology.His style is a little florid for my tastes, and I feel like his love of the subject matter got in the way of his exposition.If you are willing to read past rationalizations and are willing to appreciate just how much someone can love typography, and how it obviously comes through in form and function of this book, I highly recommend it. If you are looking for a guide on specifics, perhaps only a fifth of the book will be of direct use.

  • M.
    2018-09-21 10:43

    What a beautiful book! It almost doesn't matter what this book was about, because it was so thoughtfully laid out and lovely to read, which is in itself a testament to great typography. But the content was equally good. I learned so much about type, from the mundane technical details to the influence of language and politics. Bringhurst's little jokes and anecdotes are the cherry on top.Anyone who is interested in type, words, history, design, art, and all that is good in the world should read this book.

  • Phill Melton
    2018-10-19 14:23

    Sure, it's simply the best book on print typography out there. That's nice, I suppose, but the content of this book pales in comparison to its form. It's a book on book design that serves as its own case study in effective design. There's not a thing about this book as a book I don't love—the design incorporates so many little touches (marginal notes, a lay-flat spine on a paperback, proper paragraph layout, dead-on perfect justification) that it's a joy just to look at it.Which is good, because you spend a lot of time looking at the book; the content inspires you to do just that, to learn and notice what good design and typography are. Bringhurst has made something close to a Perfect Book, then explained how it was done. Oh, and the section on type designers and foundries is worth the price of admission alone. This may be one of the coolest books I've ever used.

  • Darren Goossens
    2018-10-10 13:30

    This review appeared at a blog.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. 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. For producing plain text the Neo is the right tool; it is not the right tool for designing a page or driving tent pegs.Bringhurst's book is a modern classic and a 'review' is at best redundant, so instead I'll just make a handful of random comments and saying that lots of people should read it.* In some ways the centre of the book is in this extract: 'The needs of the text should take precedence over the layout of the font, the integrity of the letterforms over the ego of the designer, the artistic sensibility of the designer over the foundry's desire for profit, and the founder's craft over a good deal else.'Indeed, the first subsection of the first chapter is titled Typography exists to honour content. But how do you recognise the needs of the text and design a page and choose type accordingly? Surely there are essentially three parts to mastery of most things: (1) Being able to physically do it. (2) Being able to tell shit from clay. (3) Knowing what to do about the shit. (I apologise for the crudity, but the idiomatic force is irresistible.)Sticking to the subject of typography, thanks to computers (1) is now not an issue for most of us. Where once the physical act of setting type was a skill in itself, even apart from getting the subtleties right, now we can get a first pass just by bunging text into a program, whether InDesign or Quark or LaTeX or whatever, and we can get on with (2) and (3). These require an educated eye and a brain that knows a few rules and tools for finding solutions to design issues, and it is here that this book is so very useful.* The title reminds us of Strunk and White, a prescriptive little book about writing; and the quoted text above contains the word 'should'. Educators can argue about the value of highly prescriptive guides. Do the strangle creativity? Are they even correct? How much of it is purely subjective? 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. Deeper mastery will tell you when even Robert Bringhurst should be ignored. It's a bit like Orwell's five rules for writing, which are all definite and clear, and then at the end are followed by 'Break any of these rules sooner than say anything outright barbarous'.* For me, the ideal of book design is rather like a comfortable, handsome armchair. On the first meeting it is nice to admire it and appreciate its many good qualities. But its main task is to let me engage with the text. Bringhurst makes this point over and again. The typography serves the text.* I guess it is one of those arts that only gets noticed when something goes wrong.* The book is (of course) clearly written; it is almost too easy to read. It is (of course) very well designed, and extremely informative.* The back cover tells me that Hermann Zapf himself said 'I wish to see this book become the Typographer's Bible.' Who am I to argue? Maybe the typographic Gideons could make sure a copy shows up in the desk drawer of everyone charge with flanging together the office newsletter.* The book could act as a text for a course, a gift to anyone who likes books as objects, or the beginning of an education for anyone who has to design, well, almost anything -- not just books, and not just working with text.* I recently read The Form of the Book by Jan Tschichold, an equally, possibly more, prescriptive look at designing books. Bringhurst edited the English translation, as it turns out. The two have much in common, including a pragmatism that grounds them and makes them at once useful and inspiring.* Page 321 suggests that 360" = 1o; I am pretty sure that should be 3600. I'm sure that will be fixed in version 4.1. Should I email the publisher? No, someone will have told them by now....

  • H James
    2018-10-22 06:23

    Aside from some mystical mumbo jumbo about the pseudoscience of golden ratios in page layout, this is a brilliant, succinct, and comprehensive guide to typographical best practices. Skip Chapter 8 and this guide will serve you well.

  • Akshay Bakshi
    2018-10-03 06:26

    I didn’t finish this because it was far more technical and went deeper into the art of type than I feel I will ever need. Almost a textbook for a professional. However, everything I did read and understand, I loved. The precision and richness of information that goes into setting text on a surface is breathtaking. Glad I know a bit more about it now.

  • Abrahamus
    2018-10-04 12:26

    Within a short time after completing my formal education and entering my profession, I became rather painfully aware that my training in the art and craft of typography had been sorely lacking in many respects. 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. These were practically occult to me early in my career. I had some vague sense that they were floating around out there and that others were aware of them and made good use of them, but they were as yet undiscovered by me. After I languished for a couple of years or so in this state, a helpful co-worker (eternal thanks, Jade!) recommended this book. My well-worn paperback first edition copy of Bringhurst’s respected manual still sits within easy reach on my shelf and I refer to it – sometimes out of necessity and sometimes out of sheer delight – on probably a weekly basis, at least. I would say that its contribution to my career has been inestimable, though I have by no means begun to exhaust the vast store of knowledge on the subject and am always captivated to learn more.There are those who will assert that rules have nothing whatever to do with aesthetic enterprises, to which I say Hogwash! Of course I will grant that the rules have to be employed with a rather loose grip and a free hand, especially when it comes to aesthetics. But even one intent upon bending or breaking the rules (which is appropriate and even obligatory from time to time) must understand them thoroughly if it is to be done with thoughtfulness and effectiveness. (This is true, incidentally, with respect to literature, poetry, music and any other art form as much as it is within the visual arts.)For all its value, Bringhurst’s book is not without its flaws. In my opinion, these have more to do with what is left unsaid than what is said. (Some of the reviews on amazon.com, while overwhelmingly positive, do highlight this fact. I would particularly Amen! virtually every critique offered by Erik Fleischer.) Hopefully the author can address these in a future edition. That said, I would consider this a must-have book for every graphic designer and a handsome edition to the library of anyone who has even a casual interest in typography.

  • Matt
    2018-10-02 08:21

    As the title clearly indicates, Bringhurst sets out to do for Typography what Strunk and White’s Elements of Style did for writing: condense the vast array of typographic rules into one thorough reference manual. Of course, the role of typography has vastly expanded over the past century, and the typographic rules for billboards are entirely different from those for websites. Wisely, Bringhurst restricts himself primarily to one form: the book.Within that field, the Elements does a wonderful job of exploring the minutiae that most normal readers never notice, such as kerning (adjusting the spacing between certain pairs of letters which, if spaced the same as other letters in the font, would read as either too tight or too wide – example: fi) or tracing the histories of various fonts. What makes the book appealing, even to non-specialists, is how the book reveals a hidden language – subtle moves such as how the book designer chose to emphasize certain aspects of the text by the way in which he/she floated the textblock on the page. Indeed, in Bringhurst’s conception, these decisions should go unnoticed – at one point, he summarizes the job of the typographer as “creative non-interference.”Like any attempt to define out a system, Bringhurst’s may appear to be overly prescriptive to some practitioners. 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.

  • Lindy
    2018-10-01 12:17

    The Elements of Typographic Style is pretty much the bible for its field. I read it some time ago (it was first published in 1992) and decided to revisit it recently. Bringhurst writes with clarity, passion and humour. He loves the printed word and celebrates when it is presented with grace and beauty. So do I. The printing museums in Antwerp and Lyon have both enthralled me.Bringhurst's aim for typographers is to "induce a state of energetic repose which is the ideal condition for reading." He warns of "typographical slums," "hyphens like refugees" and texts like "shrink-wrapped meat." It isn't all about the fonts, either: "Perhaps fifty per cent of the character and integrity of a printed page lies in its letterforms. Much of the other fifty per cent resides in its margins." Yay for white space!I'll close with a quote about one of my pet peeves when I'm editing: double spaces after a period. "In the nineteenth century, which was a dark and inflationary age in typography and type design, many compositors were encouraged to stuff extra space between sentences. Generations of twentieth-century typists were then taught to do the same, by hitting the spacebar twice after every period. Your typing as well as your typesetting will benefit from unlearning this quaint Victorian habit." To my dear blog readers, may you take note.

  • Andrew
    2018-10-18 11:42

    Part Tufte design book, part Chicago Manual of Style, part encyclopedia of fonts. Wonderful book for anyone interested in design.The book can be read in one of two ways:1) This book is pretentious! When the author describes a poor choice of margins as abuse of your publication's readers, he is clearly exaggerating the importance of his field.2) Typography is an old field that, unlike modern UX, which continues to abuse software users with poor application design, has already figured out the rules and can write them down in a neat, orderly way that modern software usability can not yet.The book includes:* Rules for how to lay out a page, how to space text, how to kern letters, and what to look for in a font* Which decisions in the above process are hard-and-fast rules, and which are reasonably left up to artistic discretion* Historical considerations in font design, particularly with* Distinctions between print and online publications and how that affects typographical choices* High concern for glyphs and character sets from a variety of languages* Details regarding modern electronic font file formats and their implicationsDoes that sound interesting? Read it!

  • Hinch
    2018-09-24 14:17

    An incredibly comprehensive journey through the art and science of typography. Written with a poetic edge, the book is a romantic embrace of the world of type. The text often borders on grandiloquence, sometimes resulting in a loss of clarity, but the practical applications, and the author's overriding passion for the subject, justify this book's reputation as a classic of the field.

  • Thomas
    2018-10-21 14:42

    The best book on typography and print design I've ever read!

  • Lokesh Krishna
    2018-10-12 12:25

    A testament to the very craft that it talks about. Makes you appreciate what goes into making a book so much and proves that every craft can be art.

  • Mark Jr.
    2018-10-05 06:38

    Books by passionate experts are fun.

  • Desmond
    2018-09-29 08:30

    Flipped though again recently and realized the typography in this book is trash

  • Alfredo Sherman
    2018-09-28 06:39

    Este libro fue mi introducción formal al mundo de la tipografía y creo que acierta en lo fundamental, establecer los elementos básicos que forman la composición tipográfica en todos y cada uno de sus aspectos. 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.La recomiendo ampliamente a nivel de imprescindible para cualquier estudiante de diseño, es algo que debemos tener en nuestros libreros para recordarnos el uso correcto de nuestras letras. Creo que si cada diseñador leyera este libro aumentaríamos considerablemente la sensibilidad tipográfica y con ello la calidad de nuestra comunicación visual y objetivos de negocio. 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.Vaya, que no sé qué más decir para recomendarlo. Que a mí me lo prestaron y al terminarlo decidí comprar una copia para tenerlo en el estudio.

  • Kazia
    2018-09-29 09:34

    This was the first text I ever read with regards to typography. Although some concepts still muddle my head (I'm mildly asleep during my morning commute), I found it was thoroughly informational, it and has given me a new appreciation to typography (and [book] design/publishing). A curious thing, however, in my opinion, is that Bringhurst mentioned that having some white, blank pages at the end of the book was a good thing, and yet there wasn't a single one in his! His book looked so visually dense that for some time I was tentative to even begin reading it.(Also, the lack of em-dash use and the use of single quotation marks in lieu of double quotation marks unnerved me throughout the read.)

  • Misha Kuzemski
    2018-10-11 08:23

    Вау!Це, звісно, не для світського ознайомлення праця, але якщо б Вас часом, леді і джентельмени, зацікавила історія шрифтів, їх створення, їх змісту та власне, ким бачать себе (натхненні, відданні і свідомі типографи), то це ідеальне поєдання цих аспектів. Автор дуже тонко подає типографію, стиль шрифту у роботі, через аналогічні змістовно сенси у музиці, до того ж скурпульозно розкриває найтонші грані філософії функціонування усього різноманіття шрифтів.

  • Nedislav
    2018-09-30 09:18

    This book... This book is not surprising the 'typographer's bible'. Yes, perhaps this is a big statement but it is a very very concise and yet descriptive manual to typography for everybody interested in the craft.I am glad I didn't read it too early. Taking your time with it seems like a better idea. I want to purchase it for myself so I have a copy to refer to in the future.

  • Anton
    2018-10-16 10:28

    Само издание лучше всего подтверждает тезис Брингхерста, что типографика — искусство. Книга о традициях и ремесле с совершенно неожиданными метафорами, и она скорее отвечает на вопрос «почему», а не «как». Редкая по своей глубине вещь.

  • Starling Whistler
    2018-10-13 13:37

    The most magnificently readable, and re-readable, book on typography I've yet encountered. Works perfectly as a book to keep on your desk to turn to in an idle moment, and is itself a beautiful thing.

  • Alice
    2018-09-26 13:21

    Extremely thorough and comprehensive, a must-read for anyone interested in typography. I learned so much from it and was pleasantly surprised at how accessible the writing is. (I feared it would be very dense and dry but it was not at all!)

  • Vishal
    2018-10-22 14:29

    It's a great book.

  • Peter F. Porcelli Jr.
    2018-09-25 12:36

    As as guy who self-publishes books from his basement, I didn't want my books to look like they were published in some guy's basement. So, before baring my arse to the world, I read several books on typography and graphic design. I found Bringhurst's The Elements of Typographic Style not only an informative tome on the history of letterforms, typefaces, kerning, tracking, leading, sizing, and pairing, but also an enthralling manual on the practical art and science of applying such elements. Without a doubt, this book saved my bacon and helped me produce a work that looks and feels as though it was crafted with care by an enlightened professional on the top floor or a major publishing house, instead of by the dank basement-dwelling, cigar-puffing curmudgeon that I am.

  • Gabe
    2018-10-16 09:29

    An interesting look into the world of typography.

  • Erling Sharp
    2018-09-26 13:23

    Precious prose on preparing your pages for print.

  • Fritz Carmichael
    2018-10-15 11:39

    Probably the best book on typography and layout ever written. It should be noted that this book, although it spends significant space discussing fonts and spacing, also has in-depth analyses of formatting issues that are central to the creation of nearly every book. 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.

  • Chad Warner
    2018-10-04 07:15

    This book contains more than I’ve ever wanted to know about typography. It describes not only how to use fonts, but also how to create them, explaining the math and science involved in font design. It also describes techniques for laying out text on pages. It reveals the history of typography from the days of clay and early paper, to the invention of the printing press, to modern digital typography. Bringhurst has a relaxing, elegant writing style that’s a pleasure to read.I wanted to read a typography book because I’m using Web fonts more frequently in the websites I create in my web design business, OptimWise. I chose this book because it was on the reading list of notable graphic designer Jason Santa Maria. I’ll admit that I skimmed large sections of the book that aren’t relevant to my work, including details on creating font faces, and the second half of the book which contains font face specimens and appendices.Bringhurst makes several thought-provoking statements about typography. I liked these:• “...typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn.”• Typography should “invite the reader into the text” and “reveal the tenor and meaning of the text.”• “Consult the ancestors. Typography is an ancient craft an an old profession as well as a constant technological frontier.”• “...typography itself has not improved. There is no greater proof that typography is more art than engineering. Like all the arts, it is basically immune to progress, though it is not immune to change.”Rhythm & Proportion• Single columns should contain 45-75 characters (66 are ideal). Multiple columns should contain 40-50 characters.• “...avoid consecutive hyphenated line-ends, but frequent hyphens are better than sloppy spacing, and ragged setting is better yet.”• Use a single space after periods and other punctuation; don’t double-space.• Add little or no space within strings of initials, such as “J.P. Morgan”.• In numbered lists, don’t put too much space between numbers and text.• Don’t begin or end a page with isolated lines; use at least two lines from a paragraph.Harmony & Counterpoint• Use bold weights sparingly.• Text weight should decrease as size increases.Structural Forms & DevicesTitles should be spaced caps the same size and weight as body text. If using a large size for titles, use an upper- and lowercase titling font or lightened version of the body font.Analphabetic Symbols• Use the dimension sign instead of the letter “x” for dimensions.• Use close-set en dashes to indicate a range, such as “5-6 PM” or “25-30 minutes”. In prose, use the word “to” instead.• Don’t use periods in acronyms and abbreviations written with small caps, like “AM”, “PM”, “Washington, DC”.Choosing & Combining Type• "Choose faces that suit the task as well as the subject." Choose 1) an inherently good type, 2) a good type for the medium and how it will be read, and 3) a type that's sympathetic to the theme of the content.• "Choose faces whose individual spirit and character is in keeping with the text."• "Start with a single typographic family." For example, pair serifs and sans serifs from the same family. However, feel free to expand beyond that family, mixing and matching.• "Pair serifed and unserifed faces on the basis of their inner structure. When the basic text is set in a serifed face, a related sanserif is frequently used for other elements..."Shaping the PageTo invite continuous reading, use columns that are taller than they are wide.The State of the Art“Good text faces for the screen are therefore as a rule faces with low contrast, a large torso, open counters, sturdy terminals, and slab serifs or no serifs at all.”