daily typography sellected by Nana Choi

Th e E le m e nt s o f Ty p og raph i c S ty le w r i t t e n by Robert Bringhurst

here are many books about typography, and some of them are models of the art they teach. But when I set myself to T compile a simple list of working principles, one of the benchmarks I first thought of was William Strunk and E.B. Whiteâ&#x20AC;&#x2122;s small masterpiece,The Elements of Style. Brevity, however, is the essence of Strunk and Whiteâ&#x20AC;&#x2122;s manual of literary technique. This book is longer than theirs, and for that there is a cause. Typography makes at least two kinds of sense,if it makes any sense at all.It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letterforms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden. This book has therefore grown into something more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles, survival techniques, and ethics that apply. The principles of typography as I understand them are not a set of dead conventions but the tribal customs of the magic forest, where ancient voices speak from all directions and new ones move to unremembered forms. One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different, and free to become more different still, how can one honestly write a rulebook? What reason and authorityaese commandments, suggestions, and instructions? Surely typographers, like others, ought to be at

Th e E le m e nt s of Ty p og raph i c Sty le

is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden. This book has therefore grown into something more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles, survival techniques, and ethics that apply. The principles of typography as I understand them are not a set of dead conventions but the tribal customs of the magic forest, where ancient voices speak from all directions and new ones move to unremembered forms. One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different, and free to become more different still, how can one honestly write a rulebook? What reason and authorityaese commandments, suggestions, and instructions? Surely typographers, like others, ought to be at liberty to follow or to blaze the trails they choose. Typography thrives as a shared concern - and there are no paths at all where there are no shared desires and directions. A typographer determined to forge new routes must move, like other solitary trav-

w r i t t e n by Robert Bringhurst

here are many books about typography, T and some of them are models of the art they teach. But when I set myself to compile a simple list of working principles, one of the benchmarks I first thought of was William Strunk and E.B. Whiteâ&#x20AC;&#x2122;s small masterpiece, The Elements of Style. Brevity, however, is the essence of Strunk and Whiteâ&#x20AC;&#x2122;s manual of literary technique. This book is longer than theirs, and for that there is a cause. Typography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letterforms and their usage

The Elements of Typographic Style

of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letterforms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden.

written by Ro b e r t Br i n g h u r s t

This book has therefore grown into something more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles,

There are many books about typog- survival techniques, and ethics that raphy, and some of them are models apply. The principles of typography of the art they teach. But when I set as I understand them are not a set of myself to compile a simple list of dead conventions but the tribal cusworking principles, one of the bench- toms of the magic forest, where anmarks I first thought of was William cient voices speak from all directions Strunk and E.B. Whiteâ&#x20AC;&#x2122;s small mas- and new ones move to unrememterpiece, The Elements of Style. Brev- bered forms. One question, neverity, however, is the essence of Strunk theless, has been often in my mind. and Whiteâ&#x20AC;&#x2122;s manual of literary When all right-thinking human betechnique. This book is longer than ings are struggling to remember that theirs, and for that there is a cause. other men and women are free to be Typography makes at least two kinds different, and free to become more

The Elements

of Typographic St yle w r i t te n by R o be r t B r i n g h u r s t

There are many books about ty- of letterforms and their usage is

pography, and some of them are visible too, to those with access to models of the art they teach. But manuscripts, inscriptions and old

when I set myself to compile a sim- books, but from others it is largely ple list of working principles, one hidden. of the benchmarks I first thought

This book has therefore grown

of was William Strunk and E.B. into something more than a short

Whiteâ&#x20AC;&#x2122;s small masterpiece, The El- manual of typographic etiquette. ements of Style. Brevity, however, is It is the fruit of a lot of long walks the essence of Strunk and Whiteâ&#x20AC;&#x2122;s in the wilderness of letters: in part

manual of literary technique. This a pocket field guide to the living book is longer than theirs, and wonders that are found there, and

for that there is a cause. Typog- in part a meditation on the ecologi-

raphy makes at least two kinds of cal principles, survival techniques, sense, if it makes any sense at all. It and ethics that apply. The principles makes visual sense and historical of typography as I understand them sense. The visual side of typography are not a set of dead conventions is always on display, and materials but the tribal customs of the magic

for the study of its visual form are forest, where ancient voices speak many and widespread. The history from all directions and new ones

The

Elements of

tory of letterforms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely

Typographic Style

hidden. This book has therefore

w r i t t e n by

walks in the wilderness of letters:

R o b e r t B r i n g h u rs t

in part a pocket field guide to the

There are many books about typography, and some of them are models of the art they teach. But when I set myself to compile a simple list of working principles, one of the benchmarks I first thought of was William Strunk and E.B. Whiteâ&#x20AC;&#x2122;s small masterpiece, The Elements of Style. Brevity, however, is the essence of Strunk and Whiteâ&#x20AC;&#x2122;s manual of literary technique. This book is longer than theirs, and for that there is a cause. Typography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The his-

grown into something more than a short manual of typographic etiquette. It is the fruit of a lot of long

living wonders that are found there, and in part a meditation on the ecological principles, survival techniques, and ethics that apply. The principles of typography as I understand them are not a set of dead conventions but the tribal customs of the magic forest, where ancient voices speak from all directions and new ones move to unremembered forms. One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different, and free to become more different still, how can one honestly write a rulebook? What reason and authorityaese commandments, suggestions, and instructions? Surely typographers, like others, ought to

The

Elements of Typographic Style w r i t t e n by R o b e r t B r i n g h u rs t

There are many books about ty- tory of letterforms and their usage pography, and some of them are is visible too, to those with access to models of the art they teach. But manuscripts, inscriptions and old when I set myself to compile a sim- books, but from others it is largely ple list of working principles, one hidden. This book has therefore of the benchmarks I first thought grown into something more than of was William Strunk and E.B. a short manual of typographic etiWhiteâ&#x20AC;&#x2122;s small masterpiece, The El- quette. It is the fruit of a lot of long ements of Style. Brevity, however, is walks in the wilderness of letters: the essence of Strunk and Whiteâ&#x20AC;&#x2122;s in part a pocket field guide to the manual of literary technique. This living wonders that are found there, book is longer than theirs, and for and in part a meditation on the that there is a cause. Typography ecological principles, survival techmakes at least two kinds of sense, niques, and ethics that apply. The if it makes any sense at all. It principles of typography as I unmakes visual sense and historical derstand them are not a set of dead sense. The visual side of typogra- conventions but the tribal customs phy is always on display, and mate- of the magic forest, where ancient rials for the study of its visual form voices speak from all directions and are many and widespread. The his- new ones move to unremembered

The Elements of Typographic Style w r i t t e n by R o b e r t B r i n g h u rs t

The Elements of Typographic Style written by Ro b e r t B r i n g h u r s t

There are many books about ty- letterforms and their usage is visible pography, and some of them are too, to those with access to manumodels of the art they teach. But scripts, inscriptions and old books, when I set myself to compile a sim- but from others it is largely hidden. ple list of working principles, one This book has therefore grown into of the benchmarks I first thought something more than a short manual of was William Strunk and E.B. of typographic etiquette. It is the fruit WhiteĂs small masterpiece, The Ele- of a lot of long walks in the wilderments of Style. Brevity, however, is ness of letters: in part a pocket field the essence of Strunk and WhiteĂs guide to the living wonders that are manual of literary technique. This found there, and in part a meditation book is longer than theirs, and for on the ecological principles, survival that there is a cause. Typography techniques, and ethics that apply. makes at least two kinds of sense, The principles of typography as I unif it makes any sense at all. It derstand them are not a set of dead makes visual sense and historical conventions but the tribal customs sense. The visual side of typography of the magic forest, where ancient is always on display, and materials voices speak from all directions and for the study of its visual form are new ones move to unremembered many and widespread. The history of forms. One question, nevertheless,

The Elements of Typographic Style

letterforms and their usage is visible

w r i t t e n b y Ro b e r t B r i n g h u r s t

but from others it is largely hidden.

too, to those with access to manuscripts, inscriptions and old books, This book has therefore grown into something more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation

There are many books about ty-

on the ecological principles, survival

pography, and some of them are

techniques, and ethics that apply.

models of the art they teach. But

The principles of typography as I un-

when I set myself to compile a sim-

derstand them are not a set of dead

ple list of working principles, one

conventions but the tribal customs

of the benchmarks I first thought

of the magic forest, where ancient

of was William Strunk and E.B.

voices speak from all directions and

WhiteĂs small masterpiece, The Ele-

new ones move to unremembered

ments of Style. Brevity, however, is the essence of Strunk and WhiteĂs manual of literary technique. This book is longer than theirs, and for that there is a cause. Typography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of

forms. One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different, and free to become more different still, how can one honestly write a rulebook? What reason and authorityaese commandments, suggestions, and instructions? Surely typographers, like others, ought to be at liberty to follow or to blaze the

The Elements of Typographic Style w r i t t e n by R o b e r t B r i n g h u r s t

There are many books about and materials for the study of typography, and some of them its visual form are many and are models of the art they widespread. The history of letteach. But when I set myself terforms and their usage is visto compile a simple list of ible too, to those with access to working principles, one of the manuscripts, inscriptions and benchmarks I first thought of old books, but from others it is was William Strunk and E.B. largely hidden. This book has Whiteâ&#x20AC;&#x2122;s small masterpiece, The therefore grown into someElements of Style. Brevity, how- thing more than a short manual ever, is the essence of Strunk of typographic etiquette. It is and Whiteâ&#x20AC;&#x2122;s manual of literary the fruit of a lot of long walks technique. This book is longer in the wilderness of letters: in than theirs, and for that there part a pocket field guide to the is a cause. Typography makes living wonders that are found at least two kinds of sense, if there, and in part a meditation it makes any sense at all. It on the ecological principles, makes visual sense and histori- survival techniques, and ethcal sense. The visual side of ty- ics that apply. The principles pography is always on display, of typography as I understand

i8j The Elements of Typo-

is a cause. Typography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letterforms and their usage is vis-

graphic

ible too, to those with access to

Style

old books, but from others it is

written by Robert Bringhurst

manuscripts, inscriptions and largely hidden. This book has therefore grown into something more than a short manual

of typographic etiquette. It is There are many books about the fruit of a lot of long walks typography, and some of them in the wilderness of letters: in are models of the art they part a pocket field guide to the teach. But when I set myself living wonders that are found to compile a simple list of there, and in part a meditation working principles, one of the on the ecological principles, benchmarks I first thought of survival techniques, and ethwas William Strunk and E.B. ics that apply. The principles Whiteâ&#x20AC;&#x2122;s small masterpiece, The of typography as I understand Elements of Style. Brevity, how- them are not a set of dead conever, is the essence of Strunk ventions but the tribal customs and Whiteâ&#x20AC;&#x2122;s manual of literary of the magic forest, where antechnique. This book is longer cient voices speak from all dithan theirs, and for that there rections and new ones move

THE ELEMENtS of TYPOGRAPHIC StYLE w r i t t e n b y Ro b e r t B r i n g h u r s t

THE / ELEMENtS / of TYPOGRAPHIC / StYLE w r i t t e n b y Ro b e r t B r i n g h u r s t

The Elements of Typographic Style written by Robert Bringhurst

There are many books about and materials for the study of typography,

and

some

of its visual form are many and

them are models of the art widespread. The history of letthey teach. But when I set my- terforms and their usage is visself to compile a simple list of ible too, to those with access working principles, one of the to manuscripts, inscriptions and benchmarks I first thought of old books, but from others it is was William Strunk and E.B. largely hidden. This book has Whiteâ&#x20AC;&#x2122;s small masterpiece, The therefore grown into something Elements of Style. Brevity, how- more than a short manual of ever, is the essence of Strunk typographic etiquette. It is the and Whiteâ&#x20AC;&#x2122;s manual of literary fruit of a lot of long walks in the technique. This book is longer wilderness of letters: in part a than theirs, and for that there pocket field guide to the living is a cause. Typography makes wonders that are found there, at least two kinds of sense, if and in part a meditation on the it makes any sense at all. It ecological principles, survival makes visual sense and histori- techniques, and ethics that apcal sense. The visual side of ty- ply. The principles of typograpography is always on display, phy as I understand them are

The Elements of Typographic Style written by Robert Bringhurst

There are many books about ty- tory of letterforms and their usage pography, and some of them are is visible too, to those with access models of the art they teach. But to manuscripts, inscriptions and old when I set myself to compile a sim- books, but from others it is largely ple list of working principles, one hidden. This book has therefore of the benchmarks I first thought grown into something more than of was William Strunk and E.B. a short manual of typographic etiWhiteâ&#x20AC;&#x2122;s small masterpiece, The El- quette. It is the fruit of a lot of long ements of Style. Brevity, however, walks in the wilderness of letters: is the essence of Strunk and Whiteâ&#x20AC;&#x2122;s in part a pocket field guide to the manual of literary technique. This living wonders that are found there, book is longer than theirs, and for and in part a meditation on the ecothat there is a cause. Typography logical principles, survival techmakes at least two kinds of sense, niques, and ethics that apply. The if it makes any sense at all. It principles of typography as I unmakes visual sense and historical derstand them are not a set of dead sense. The visual side of typogra- conventions but the tribal customs phy is always on display, and mate- of the magic forest, where ancient rials for the study of its visual form voices speak from all directions and are many and widespread. The his- new ones move to unremembered

The Elements of Typographic Style written by Robert Bringhurst

THE ELEMENTS OF TYPOGRAPHIC STYLE

written by Robert Bringhurst

There are many books about and materials for the study of

typography,

and

some

of its visual form are many and

them are models of the art widespread. The history of letthey teach. But when I set my- terforms and their usage is visself to compile a simple list of ible too, to those with access to working principles, one of the manuscripts, inscriptions and benchmarks I first thought of old books, but from others it is was William Strunk and E.B. largely hidden. This book has Whiteâ&#x20AC;&#x2122;s small masterpiece, The therefore grown into something Elements of Style. Brevity, how- more than a short manual of ever, is the essence of Strunk typographic etiquette. It is the and Whiteâ&#x20AC;&#x2122;s manual of literary fruit of a lot of long walks in the technique. This book is longer wilderness of letters: in part than theirs, and for that there a pocket field guide to the livis a cause. Typography makes ing wonders that are found at least two kinds of sense, if there, and in part a meditation it makes any sense at all. It on the ecological principles, makes visual sense and histori- survival techniques, and ethcal sense. The visual side of ty- ics that apply. The principles pography is always on display, of typography as I understand

written by

Robert Bringhurst

E - S C E T - I T HL E N O H E F P PE M L A Y O R Y T T G S

at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letterforms and their usage is visible too, to those with access to

There are many books about manuscripts, inscriptions and typography,

and

some

of old books, but from others it is

them are models of the art largely hidden. This book has they teach. But when I set my- therefore grown into something self to compile a simple list of more than a short manual of working principles, one of the typographic etiquette. It is the benchmarks I first thought of fruit of a lot of long walks in the was William Strunk and E.B. wilderness of letters: in part Whiteâ&#x20AC;&#x2122;s small masterpiece, The a pocket field guide to the livElements of Style. Brevity, how- ing wonders that are found ever, is the essence of Strunk there, and in part a meditation and Whiteâ&#x20AC;&#x2122;s manual of literary on the ecological principles, technique. This book is longer survival techniques, and eththan theirs, and for that there ics that apply. The principles

written by

Robert Bringhurst

it th e s in om e fo ns bo et l o fo k nh th gr on id io ar to e o uni he rm , to s, fr a e be oo is m w om ct u h s o t b rfo pt ut Th re ut ed lik gh tt om ce an e s n s s te e to cri , b n. b to i n i c th t hi e, rou ain l in t m It le m at e, us ks de r g si of t ib in n r ov h . g s in ud a an oo hid ow e pa vm s, t ho ette lks lit oad ths b ss m th ect d r a gr a s r so y in e li d d le pa ow in w an cro qu bj e i ol gel c l i l s u g th n: ed s: n or et r un try d, re e s ph ell itio o fo av on tter ef tha ic la fo ion to n fa v t ra h fl e a t er d l h l a , g r e ph t o f le ide g e th o ita es .T tra free nd l-t ar or gra lo ou wn typ ly o el he ed ipl tha gu t m w a is c t t m on r a s fa po d e d n o e , h f i s t n ty it o nes fiel o us nt - if ld le t a pr d s e o f r i p e n s i th fru der ket e cor h o to e er pa cal , a inc and il th t c os are r s d w poc ond in s n gi e p ea an ho s ue d lo er th w co c t s , a th a t of an eco niq The und ad e g th om npa e no w e e, in I ch . st d er the te ply as or en the ens ee cu e a iof th h s t fr al y al ap er w ld w h h e iv a se o ib on t al v v p r at w t r a o kn ve ra ta e m th t, Th tra m su ne og no th . es s fro ha s O e r p ic k ad re as ut th f . fo ty ne s e a h b l o if ea c n of s t rm , gi sp w em n he s us lef fo s s th ntio ma es W ne d le . ng r or er ve the oic nd ere the ind bei e v b v a e b er m an t of em are y em ev ns en i t n m m io ci um rem en ree ou ct nre , f in g h m ll, re n i o of u ab o t w st nd tio en kin s t o t a s t f t d n e g i e ar ok o n n , e -th glin n a ent fere qu en rit bo som he yw ht r y g m t e if e g e i b f d of ru an et tly on lr t of st er m dif re m and e es al I s lis s o h h n e s e a t t e o r m b o f el ar le re f en h a o y, e an e o od wh imp e o at e t t . m er m th e t ph s om on n ha m .B gh ut c o Th gra re E a W e fre be an ou co . B le a s, th nd c Th po e le o ch pi nd k? t , s t ty a o w e em tea om ncip firs k a ce how k ho ebo itya ns, th c ie y, n a n ri I ey rp ru ru ul gr it or io t r th lf to g p ks o h St ste rev St rary r ut ges typ f r a e a B se rkin ma o t g lit nge am ll m le. o e e su rely ugh illi w nch a of lo ty nc er W sm f S sse ual th es Su , o o is be s o s k â&#x20AC;&#x2122;s a e n at ak w if er a te nts oo th e m e, llo hi e th s m s b or y It fo o s f eâ&#x20AC;&#x2122; em is ph en l. hi h w

THE ELEMENTS OF TYPOGRAPHIC STYLE

written by

Robert Bringhurst

THE ELEMENTS OF TYPOGRAPHIC STYLE

There are many books about at least two kinds of sense, if

typography,

and

some

of it makes any sense at all. It

them are models of the art makes visual sense and historithey teach. But when I set my- cal sense. The visual side of tyself to compile a simple list of pography is always on display, working principles, one of the and materials for the study of benchmarks I first thought of its visual form are many and was William Strunk and E.B. widespread. The history of letWhiteâ&#x20AC;&#x2122;s small masterpiece, The terforms and their usage is visElements of Style. Brevity, how- ible too, to those with access to ever, is the essence of Strunk manuscripts, inscriptions and and Whiteâ&#x20AC;&#x2122;s manual of literary old books, but from others it is technique. This book is longer largely hidden. This book has than theirs, and for that there therefore grown into something is a cause. Typography makes more than a short manual of

THE ELMENTS STYLE

TYPOGRAPHIC written by Robert Bringhurst

There are many books about at least two kinds of sense, if typography,

and

some

of it makes any sense at all. It