TY

PO
GR
Copyright © 2007
by Michael Rosenau

All rights reserved. No part of this book may be reproduced in

AP
any form or by any means without permission from the pub-
lisher. Critics are welcome, or course, to quote brief passages
by way of criticism and review.

Rosenau Publishing

HIC
• P.O. Box 845
Savannah, GA 31402
Designed and Assembled in Savannah Georgia
printed and bound by Rosenau Design Group

BO
OK
MICHAELPAULROSENAU
 CONTENTS

For my wonderful Design professor Zoran

1 TAUTOLOGICAL
Bellic, and his bitchin’ 6-series.

2 ANATOMIES

3 SIMULACRA

4 PHONETICS

5 METAPHORS

6 BOOK REVIEW

4
 TAUTOLOGICAL
True by necessity of their logical form

Em width. The base for typographic measurements.

page 6

page 14

page 20
M
page 26

page 30

page 34

1 6
 True by necessity of their logical form True by necessity of their logical form

NIHIL EST IN
INTELLECTU
QUOD NON
NIHIL EST IN INTELLECTU QUOD NON PRIUS FUERIT IN SENSU,
PRIUS FUERIT
IN SENSU,
NISI IPSE INTELLECTUS.

NISI IPSE
INTELLECTUS.

7 8
 True by necessity of their logical form True by necessity of their logical form

NOTHING
NIHIL EST IN
THE MIND
EST IN

QUOD NON THE MIND

QUOD NON
PRIUS FUERIT PRIUS FUERIT
IN SENSU, IN SENSU,
NISI IPSE NISI IPSE
THE MIND. THE MIND.

9 10
 True by necessity of their logical form
Tautology is defined as being true by virtue of its logical form
alone. In this paper I will be looking at tautology as it pertains to
semiotics and its relevance in modern typography. If you were
assigned the task of taking any letter and any typeface and
told to place it on a blank document at any size and position
on the page so that it represents that letter as being only that
letter and nothing else―how would you present the letter so it
would be a tautological statement? In this paper I will break
down the reason behind the correct representation of a letter
so that it is being only that letter and nothing else.
A simplified definition of a tautological statement is
A=A and it can be seen as an absolutely true statement. In
pertaining to typography lets look at the theory of sign known
as semiotics. In typography each letter of the alphabet in its
purest form is a visual code for a phonetic value. What about
all the different typefaces to chose from? Which ones purely
represent the phonetic value of each individual letter? San
Serif typefaces are the best choice, they were created to rep-
resent each letter in the alphabet as tautologically represent-
ing only its phonetic value. Serif typefaces have ornamentation
and aesthetically added forms that can lead the viewer to see
a letter as something outside of being just that letter.
The French linguist Ferdinand de Saussure’s theory
for semiotics revolves around the signifier and the signi-
fied. The signifier is audio that serves as a sign which points
to something else. The signified is something that has been
pointed out by its signifier, which can be referred to as the
acoustic image. According to Saussure, sound is comprised
of two elements; phoneme which are all sound values and mor-
pheme which is the building block of sounds to form words.
Semiosis is the process when something becomes or is a sign.
Phoneme and Morpheme are the two elements of semiosis.
So what do Saussure’s theories mean for typogra-
phy? Saussure’s theories tell us that each letter in the alpha-
bet is a signifier. The visual shape signifies the sound that the
letter makes―which is the signified and vice versa.
Charles Morris a philosopher also has a theory of
semiotics. There are 4 cardinal elements. First is the sign
vehicle which is equivalent to signifier. The sign vehicle is any-
thing absorbed through the 5 senses. Second we have the
designatum/denotatum which is equivalent to signified and
it’s something pointed out by the sign vehicle. Designatum is
something not perceptible and denotatum is something per-
ceivable. Third we have the interpretation. Fourth we have the
interpreter. All 4 elements are absolutely necessary. Morris’
theory applies to typography the same way Saussure’s do-the
sign vehicle shows us the designatum/denotatum and we in-
terpret that information according to our knowledge.
Before learning about Semiotics, Saussure and
Morris I was given the task mentioned above—to present a
chosen letter in its tautological essence. I thought to myself
should it be big should it be small, should it be serif, should it
be san serif. Should I place it in the corner or in the center.
11
True by necessity of their logical form
Ultimately I chose a san serif typeface I placed the letter G in
the center of the page and gave it a font size of about 40pt not
big not small but average. My decisions were correct because
the letter was not acting as a design element it was not stray-
ing from its essence as would a decorative serif typeface.
Placing it in the middle is the most natural way to view the let-
ter. We as humans naturally want to center objects, we look
to the middle. Choosing a medium font size allows the negative
space and the margin surrounding the letter to become non-
active and not important.
My tautological assignment of basically removing all
design elements from a sign (phonetic letter) is used margin-
ally in the design profession. There are certain rules that I do
follow. I know that san serif fonts are easier to read in body
copy. I also know that people read words often as shapes and
that the spelling of a word can be totally skewed and people
will still read it correctly. Because of this knowledge I use ty-
pography as a design element to further enhance what I am
trying to communicate. These facts that I know pertain to se-
miotics and the tautological representation of letters.
What’s fascinating is we can relate the structure and
theory of semiotics to visualization. A deeper analysis into the
history of semiotics and typography brings up gestalt, picto-
graphs, ideograms and logograms. Gestalt is wholes com-
prised of elements. Pictographs are visual marks capturing
the essential forms and other perceivable objects. An ideo-
gram is a symbol that represents an idea. If the symbol in-
stead represents a word it’s a logogram. We can trace our
letters and characters back to a pictograph. The beauty of it
all is in the way language forms us, we are a depository of in-
formation of language. It defines our intellectual abilities. If we
understand semiotics its themeology and the syntax of words
our intellect will grown and so will our visual skills along side it.
We still must remember that the primary function of all char-
acters is communication. That must not be ignored.
12
 Anatomies
Proportionally structured by necessity
of their optical appearance

Using the dimensions of the typeface to dictate a

design solution.

“Typeface is
a graphic
expression of
a letter form.
It is visual code
for a phonetic
v a l u e . ”
-Zoran Belic

13

2 14
 Proportionally structured by necessity Proportionally structured by necessity
of their optical appearance of their optical appearance

Syntax is defined as the grammatical arrangement of words in care in how we construct a false reality. Logical rules are a
a sentence. Building off of the topic of semiotics from our last necessary element to construct our visual statement. There
lecture we see syntax as the relationship among sign vehicles. is no binary logic in the visual realm. If there was we would
When analyzing the influences that surround the syntax of have troubles innovating our creativity. In language we have
a language we must ask our selves the question legibility of binary logic yet as human we love to speak in metaphors which
typographic signs. Is legibility subject to change and history are often paradoxical statements.
amongst the particular language of focus? Do we condition Take for example the metaphor, “life is a stage.” If
our readership to prefer and recognize certain visual coding we look at these words syntactically they are two unrelated
systems? I see the answer as yes because legibility is a mat- statements. As a metaphor this statement is very powerful.
ter of interest, it is dependent on the desire of an individual to A metaphor is a symbol we create new worlds visually with
access and or present that material. metaphors that have layers of depth and meaning. Applying
When Gutenberg invented movable type he could have this to typography we see that letters are derived from sym-
invented san serif typeface. He could have seen the need for bols which were metaphors. They’re a visual analogy between
a tautological representation of each phonetic value. Instead similar objects and letter forms.
he invented a typeface that was a variation of the lettering Simulacrum—an image representing another image.
standards used in manuscript writing of that time. He created With metaphors and simulacrum we are stepping outside of
letters in the style of the time. Even today we prefer specific binary logic into the visual realm. Constantly looking for visual
types of character renderings. San serif typefaces are pre- harmony and an aesthetic value. Trying to emulate and relay
ferred today for communication and for a modern design. meaning from a written verbal idea to a visual one. If we use
The syntax of language are the rules. Sometimes some visual rules and syntax as guidance in our design a great
these rules are very logical and structural. Sometimes the more creative solution can be achieved, as long as we adhere
rules are a matter of heritage. Subtle changes over time. to a strong core concept.
Through the use of these rules or syntax we assemble sen-
tences in a linear matter. Sentences are subject to the gram- Break the right rules.
matical rules. These rules are organizing our speech to convey
meaning. This is the central structure of our language; the of-
ficial language.
Outside of this central structure are deviations.
Dialects, slang, lingo’s are all deviations from the official lan-
guage. A deviation is really to negative of a term in my opinion.
I would call them additives. In America Ebonics is a primary
example of a dialect of American English. Linguistically speak-
ing Ebonics can stand on its own and be recognized as its own
official language. Politically this will likely never happen.
So what’s the analogy between grammar and the vi-
sual realm? What is the syntax of visual constructs? Colors,
shapes, composition and the Golden mean. Colors have vari-
ous associations and combinations that evoke personal feel-
ings and commons emotional responses among cultures.
Shapes can be subjected to formal rules. Simple shapes can
be combined to build more complex shapes.
Much like the way we build single words to create com-
plex intellectual sentences which can contain more meaning
and depth. The golden mean or golden rule is the most pow-
erful and widely used proportion in design. It is a ratio found
in the structure of the natural world. All of nature revolves
around this proportion which is 1.618 or 0.618. When we de-
sign according to this proportion the design appears harmoni-
ous. This balance in design is an artificial harmony because we
are emulating what we find in nature and what we naturally
find pleasing to the eye.
As humans we have a desire to emulate and depict
as accurately as possible the world around us. We must take

15 16
 Proportionally structured by necessity Proportionally structured by necessity
of their optical appearance of their optical appearance

Five Cardinal Points

Playing with meaning and context.
Details
Dealing with Hierachy.

17 18
 Simulacra
Representational by necessity of subsitution

Simulation or simulate is to pretend to have something one

doesn’t have. Jean Baudrillard is the champion of simulation
theory. The world renowned intellectual theorist recently
passed away and left a legacy of theory and critical analysis of
culture and its inate desire to simulate.
We as humans are deeply involved in simulation.
More increasingly in the past century. Technology has played a
large part in our manipulating of substances to create some-
thing that will feed our ideals. Our conquering of flight was a
result of an imitation of natural flight.
In simulation theory the act of simulating can also
be referred to as mimesis; the act of mimicking or imitating.
There are two main forums of simulation. One way to imitate is

“SHAPESar e to mimic the surfaces of objects, an example is faux finishes.

the second
Technology is becoming so advanced that many faux
finishes are almost indistinguishable. When this happens the

element- purchase and consumption of the original look is often an emo-

s h a p e s
tional decision.
Secondly we have the imitation of the principles or

combined can structures of objects. Technology plays an even larger part

build more
in structural simulation than surface simulation. Major ac-
complishments in the special effects industry of movie making

c o mp l e x have been made. Special effects feed our desire for the cred-

s h a p e s .
ible believable appearance of story telling.
Structural simulation studies the laws and info struc-

They can be ture beyond initial perception. Achieving a view of the micro-

subjected
scopic world to discover and accumulate knowledge about
those underlying processes. Remarkable achievements have

to more
been made by discerning what’s behind or under the surface.
A third element of simulation is how we look to nature

formal rules.” for inspiration to simulate in another way. Not mimicking but
instead learning and transferring knowledge to find a differ-
ent structure to emulate through. An example is how a bird

-Zoran Belic flies by flapping its wings. The bird is made up of light hollow
bones and feathers. We used the bird as inspiration to achieve
flight through a combination of propulsion and gliding. Early
attempts at flight did try to directly simulate bird flight employ
the flapping technique.
A second topic that relates to simulation and is also
highly prevalent in our technology based society is replica-
tion. Replication since the industrial revolution has changed
the way we live and interact in society. There are two major
characteristics of replication. Look is the visual replication
of the forms and shapes of an object. They appear the same.
Function is the characteristic of the objects use. Each repli-
cated objects performs the same tasks.
Simulants are the closes to life of all simulations.
Simulants are artificial intelligence. They are made by humans
to try and mimic what we do. We are trying to create an inde-
pendent machine that thinks and makes decisions freely. With
artificial intelligence we are trying give machines creativity.
Baudrillard’s fear is that in our simulation rich so-
ciety the more we are involved in simulation the further we

19

3 20
Representational by necessity of subsitution Representational by necessity of subsitution

are from life. Will we soon become simulants of our own? We

Natural ENVIRONMENT
naturally can transfer simulation and repetition into our de- Finding and compairing the letter “H”
sign techniques and strategies. With the golden proportion
we simulate the appearance and feeling of natural elements
in the ratio of our design layout. Nature itself is very repetitive
and mathematical in its underlying structure.
Ultimately in our design we should seek to draw from
many influences—artificial and natural enabling us to come to
an original style and visually appearance.

21 22
Representational by necessity of subsitution Representational by necessity of subsitution

Artificial Natural ENVIRONMENT OBJECTS

How does this correlate to the origins of the written Inspiration from experience and keen observation.
language?

23 24
Representational by necessity of subsitution Phonetic
Systems of writing

Artificial OBJECTS
Different Graphemes for the sound of the letter “R.”

GREEK

R ROMAN

CYRILLIC

KOREAN

ARABIC

25

4 26
Latin Letter Changes throughout the centuries
Changes throughout the centuries

Typographic marks change through centuries. Each mark in on the Realist letter form we can notice that it has the same
an alphabet depends on a phoneme. The grapheme changes basic shape as the Neoclassical and Romantic letters but it is
with time and with culture, it adapts, matures or digresses. heavier on the serif or it has no serifs at all. The stroke, weight
Typography never occurs in isolation. Letterforms are not and aperture are much more uniform and consistent. Most
objects of science they are an art form and they participate realist typeface lack a full collection of goodies such as small
in history just like other art forms do. Renaissance, Baroque, caps and text figures.
Neoclassical, Romantic. Different typographic styles exist for Geometric Postmodernism. These letter forms don’t
each art period and each typeface has a reference to an era revive classic typefaces of the Mannerist or Renaissance
just like Michelangelo’s David does. times they instead reminisce on Realist ideas adding in some
Technology can often play a big part in the change post modern humor and a touch of typographic sophistication.
of typographic marks. When the technology of moveable type Postmodern letters live in the world of technology - high-speed
hit Europe scribes saw there profession change overnight, yet offset printing and digital design.
today many ancient Roman scribal conventions exist as type Technology and culture has shaped all these eras of
today. artistic movements. Typography fits in to these movements
Breaking down the Latin letter let take a closer look just as strongly as painting, music and architecture do.
at the Renaissance roman letter. Renaissance roman letters Typographers will continue to create letter forms that fit and
where developed in northern Italy by scholars in the fourteenth react to contemporary times. Yet typography today is much
and fifteenth century. These letter forms have a sensual na- like it has always been. Bringhurst states this “confront the
ture and reflect the bustling time when beautiful art and mu- basic task with which typography began. That is the task of
sic was being made with great ambition and progressiveness. answering in two dimensions to a world that has many.
Just like Renaissance painting. The typographic letter devel-
oped during this time they set the standard for the medium for
centuries to come.
Moving on to the Mannerist letter we once again can
compare changes in the typefaces to the changes in painting.
Mannerist type is a bit longer and the angularity is stronger.
Most work was primarily done in Italy and France during this
time period. The Baroque letter has bit more differences from
the benchmark Renaissance letter forms. Here is a list of dif-
ference that Robert Bringhurst points out. The stroke axis
varies widely with in a single alphabet. Contrast is increased.
The x-height is increased. The aperature is generally reduced.
There is further softening of terminals from abrupt to lachry-
mal. The head serifs become sharp wedges.
In summary the Baroque letters appear more mod-
eled and less written than the Renaissance form. The give less
evidence of the trace of the written letter, the scribal form.
Part of that attribute can be contributed to the further devel-
opment of moveable type.
Neoclassic art can be classified as more rigid and
restrained than Renaissance art. More science and less emo-
tion. Neoclassical art is more interested in rigorous consis-
tency. Yet still in Neoclassical letters evidence of the broad pen
is evident. Bringhurst calls them a “products of the Rationalist
ear: frequently beautiful, calm forms, but forms oblivious to
the more complex beauty of organic fact.” I couldn’t have said
it better myself.
Skipping ahead to the Realist letter which appeared
in the nineteenth and twentieth centuries accompany-
ing a large variety of artistic movements such as - Realism,
Naturalism, Impressionism, Expressionism, Art Nouveau, Art
Deco, Constructivism, Cubism, Abstract Expressionism, Pop
Art, Op Art, and many many more. Most all of these move-
ments have inspired some sort of typographic form. Focusing

27 28
 Metaphors
Symbolic by necessity of tranferred
signification

Robert Logan has hypothesized that there are six modes of

language. He states that speech, writing, mathematics, sci-
ence, computing and the Internet form an evolutionary chain
of languages. Each one of these languages have different
similarities amongst each other and each mode has evolved
from the previous language due to its inability to deal with new
information and needs in society. Each language has its own

“Not binary
distinct semantics and syntax.
The first mode speech is our original way of sharing

logic in the information. Before written language evolved memorization of

visual realm.
speech was the primary way to store and pass on informa-
tion with in a culture. In speech we listen to the melody of the

Harmony is language. This skill is important for retaining information that

an aesthetic
exceeds one’s intellectual ability. Rhyme and rhythm are used
in addition to melody to create easily stored and remembered

value. We information.

are trying
This way of communication is the tradition of how
societies and cultures passed down valuable information.

to emulate Shamans in ancient cultures where given the responsibility

of retaining the history of the tribe. Shamans are healers

and look for and storytellers. They had to memorize and relay informa-

simularity
tion through Rhythm, rhyme and melody. Their words opened
doors of creative thought and visualization for tribe members

bet ween inviting the presence of other forces.

the subject
In India the word manthra which means sacred sound
defines how the delivery of words can give extra meaning,

matter and spiritual meaning. Shamans often didn’t know the entire mean-

the choice
ing of the information they were relaying. They relied on the
Rhythm and rhyme of the Shaman who taught them to convey

of typeface.” that special cultural meaning.

In today’s Christian world we have our own special
expressions and meanings. When reciting a scripture we
have normal expressions and we have expressions that mean

-Zoran Belic something. Such as the use of the word amen, amen is a word
of Egyptian origin. It means sun god and it has evolved through
the centuries to become a word of special meaning for the
ending of a prayer. It has almost no association to its original
meaning.
The oral tradition is enhanced by the written system.
The written system relies on characters representing pho-
netic value. Capturing and storing information grammar and
structure become more important in the written mode of lan-
guage. We use the rules of grammar to check the logic, to
compare efficiently. We also go beyond the grammar into the
structure that is called logical reasoning, not only for organiza-
tion but for systemization so that we can organize our variety
of interpretations of the world.
Our third mode of language is mathematics. Math is
deprived of other meanings. It is a special language and we use
it to measure and quantify things. We use it to draw parallels
and to compare and contrast. We try to find ways in which the
world is made up of and can be broken down to math.
A number four we have scientific methods. We com-

29

5 30
 Symbolic by necessity of tranferred Symbolic by necessity of tranferred
signification signification

bine it with number three mathematics because math is at

Typography Advertisment
the core of all scientific methods. It is used to analyze and with
Design is subtle manipulaton.
out it scientists would not have enough time to find meaning
in the vast plethora of information in our world today. Which
leads us to our fifth mode; computing.
The computational mode is all about complexity.
Computers are used for accessing information and sort-
ing information. Scientists are heavily reliant on computers.
Computers are made up of math. They are used to enhance
our communication. Computers are an extension of a scien-
tists mind.
The most recent and sixth mode of language is the
internet. The information revolution is redefining the way we
learn and process information. This technology will have pow-
erful effects on social, economic and cultural life.
How can we relate all of this information to our de-
sign. Well we as designers understand that visual media is a
big aspect of communication. Today as designers we are not
honest people. It is our job to manipulate and seduce our view-
ers to desire the product we are advertising through visual
means. We aren’t looking to outright manipulate them we get
into their subconscious through associations and metaphors.
There are two desires that consumers have. The desire to
possess, to own, to occupy and to most of all live. There is
on the contrary fear of loss which deep down is tied to a fear
of dying. We designers tap into these fears and desires with
color, composition, association and strong metaphors.

31 32
 Book Review
Robert Bringhurst: The Elements of
Typographic Style

I find Robert Bringhurst’s book “Elements of Typographic style”

an exhaustingly thorough analysis and presentation of typog-
raphy and its history. I was researching Robert Bringhurst on-
line and found an interview with him after the release of his
second edition of the book. I found this quote that he said at
the very end very applicable to my journey as a designer.
He said “The masters of art, it seems to me are those
who never stop apprenticing.” I’ve heard this saying in various
forms over the years but I like the way he states it because it
really keeps people off of their pedestals. There is not much
room to move on top of a pedestal.

“We see that What I think he is saying is that we can learn from lots

letters can
of different people and if we approach each day as an oppor-
tunity to learn something new we can progress the medium of

remind us of design. We can keep aspiring to do better and keep learning.

other objects
I was quite overwhelmed by the book as I began to
read it, Bringhurst weaves poetic lyrical descriptions of type

so we as with tangible logical rules to follow. I really had to relax my

designers
senses and just take the book in, and try to absorb through in-
spiration. What I really did enjoy about the book was the deep

find a visual visceral respect Bringhurst places on the art of type design
and typography. His in depth look into every minute aspect of

a n a l o g y page layout, typeface choice, etc. etc. It’s not only an in depth

bet ween
look, it also includes many strict guidelines to follow for the
organization and distribution of the type on the page.

s i m i l a r What I was most interested in was the actual pro-

objects and
cess of making a typeface out of metal at a type foundry. He
dipped into explaining it in bits and pieces but he never fully

letter forms.” explains how it happens. The book is definitely a typographic

bible as Hermann Zapf has wished it to become. It is the kind
of book a designer can reference over time or read leisurely in

-Zoran Belic parts.

I really enjoyed Chapter 6: Choosing and Combining
Type. He talks about how a typeface should be chosen on the
basis that it has remained faithful to the spirit and the letter
of the old designs. Many typefaces have gone from metal to
photo and finally to digital. Faces are designed differently for
each output medium. The weight and finish are different. As a
typographic purist he talks about the final printing conditions
being taken into consideration as well. He is mostly talking
about poor digital reproduction such as a laser printer.
He constantly refers to the original intention of a
typeface. What it was made for, who made it and why, what
time period it was made in. What typefaces it was inspired
by or modeled after. What kind of paper it was pressed into.
It seems a bit anal at time but that kind of attention to every
detail can enhance the subconscious impact of the design.
In this chapter he says choose faces that suit the task
as well as the subject. Go with the deeper less obvious asso-
ciations. Once again we come back to subconscious manipula-
tion. He uses the example of designing a book about bicycle
racing. Don’t use a typeface that has and O with spokes in it
and a T that resembles handle bars. Choose a typeface that

33

6 34
 Robert Bringhurst: The Elements of
Typographic Style
is first and foremost good type. Then look for the assets that
you will need. Such as a typeface that is good for long body
text. Maybe a face that is lean and strong, swift. A French or
Italian face would be good to since those two countries have a
long passionate history in cycling.
I am very interested in Bringhurst’s detailed look at
typography and how it is a highly complex and misunderstood
art form. I wish to over time absorb all his principle of type. I
am much more interested in his process.
His process of analysis and his start to finish break
down of what needs to be looked at is applicable to any cre-
ative process. I remember one favorite passage where he
speaks of how instinct is memory in disguise. I find that very
true. Look at most of the early 20th century masters of Art
such as Picasso, Matisse, Rodin, or Pollock. These artist didn’t
jump straight into abstract, expressive, cubist, child like art.
They learned the principles of painting and sculpture and then
pushed it even further with their intuition. Picasso learned
from Cezanne’s work, Pollock learned from Picasso’s work.
Yet they all create innovative progressive utterly unique styles
of painting.
Bringhurst’s process is phenomenal. The genius of ty-
pography is in the details. Not very many people could look at
the actual book and how it is designed and see what care and
precision he put into the type design to complement his bril-
liant writing. What if the cover was pink and the type was blue
on grey paper using Arial as the choice typeface. What would
then be perceived of the book and its author?
Great design is often the most difficult to describe es-
pecially for the laymen. The pink cover with blue text could be
pointed out by anyone as terrible and uninviting. What about
a poorly justified text with the rivers running right through
each and every page? Would that be noticed? Typography is a
highly intelligent art form.
Chapter 8: Shaping the page is probably my favorite
chapter. More often than not I’m a sucker for Bringhurst’s
poetic metaphorical writing. Here’s the opening paragraph.
“A book is a flexible mirror of the mind and the body. Its overall
size and proportions, the color and texture of the paper, the
sound it makes as the pages turn, and the smell of the paper,
adhesive and ink, all blend with the size and form and place-
ment of the type to reveal a little about the world in which it
was made.”
He talks about how we have no real freedom of
choice when it comes to choosing the shape and size of our
substrate. We are restricted to the already determined sized
decided by commerce. We have history, natural science, ge-
ometry and mathematics to aid us in dividing up our deter-
mined surface so that it is pleasing to the eye in the end.
I am particularly fascinated by the golden section and
the Fibonacci series. I enjoy the fact that this dimension is in-
herently pleasing to the eye. It makes perfect sense that in
America we have inches instead of the metric system, and we
35
Robert Bringhurst: The Elements of
Typographic Style
have 8.5 x 11 instead of A4 which uses the golden section. We
just have to do everything different no matter the sacrifice.
Chapter 7: Historical Interlude I found very educa-
tional. Comparing and contrasting a number of faces from
different periods of time really showed me a typeface really
is highly representative of time period, especially the italics.
Compare early I Renaissance italics to the Mannerist italics.
The Renaissance italic Bembo has a rounded almost angular
curves. The Mannerist italic Poetica is very script like with long
and exaggerated tails and serifs.
These subtle differences are important when choos-
ing a typeface for a design. Simply going off of what face looks
cool isn’t enough for Bringhurst. Yes he would agree that the
page layout and design needs to visually and aesthetically
soothing. But if you choose an English typeface designed for
the protestant church for use with a book of Jewish poetry its
completely ironic.
Like I’ve already mentioned before. Most people won’t
care or won’t get it. Typographers will see it as a sick joke.
But the deeper more important issue is that choosing to mix
styles and eras needs to be an aesthetic conscious choice.
Not a lazy design solution. Little subconscious details go along
way. They enhance the message of the text. The ultimate goal
of the typographer is to enhance.
One question that I would like to ask Mr. Bringhurst
is this; What if the content in which I, the typographer am de-
signing the book for is crap? What if I get some really terrible
short stories with no plot, poor character development, too
much dialog, and a boring mundane message?
Do I do my best to enhance that story by creating an
amazing book and with a beautiful typeface, elegant margins,
perfect justification and kerning? Do I give it an innovative
cover with soft supple paper?
Or should I create a completely ironic design where
everything clashes and it’s all a complete mash-up of random-
ness, just like the text within it. I’ll go ahead and answer my
own question. I would make as wonderful design as I possi-
bly can so that at the very best the book could win an award
for its design. To take a step back and look at the issue, I see
that a designer can find assets in even the worst of projects.
Everything has something positive to contribute. In the case
of my example it might just be buried deep down under all the
terrible writing that I mentioned…but it’s there.
Chapter 3 don’t compose without scale. This chapter
deals with issues of hierarchy, something that is often over-
looked and misused in the design industry. I’ve seen it miss
used in an attempt to be innovative, different. I am all for
stretching the envelope, painting outside the lines, walking on
the wild side. When it includes diverging from clear commu-
nication its just frivolous and self indulging. Designer’s often
forget that they are designing visual communication, not per-
sonal works of art.
One thing I noticed in chapter 6 is that Bringhurst is
36
 Robert Bringhurst: The Elements of
Typographic Style
always referring about to scribes and the early centuries of
metal type. Many of Bringhurst’s rules for typography and in
this chapter for scale are derived from old scribal traditions.
It’s fascinating to me that in so many art forms valuable rules
and guidelines have been lost through time. In typography
these guidelines have been ignored due to the sheer simplicity
of digital typography. Anybody can choose a font lay it out and
make a book. Centuries ago before letterpressing handwrit-
ing was an art form. Scribes where highly regarded because
they were the documenters of history of information. They had
rules and guidelines for creating a page.
Other crafts are similar. Technology seems to initially
kill all the beauty of the hand crafted product. Our hope is that
over time, it regains all the virtues of the craft to enable all
it’s dimensions to be created with ease. Typography seems to
finally turning the corner. But we need more typographic mas-
ters guiding the technology. Right now in America you cannot
copyright a typeface.
I’ve learned from this book that many great ancient
and classic typefaces have lost their luster over the years ei-
ther from poor recreation. Or from being converted through
too many different technologies like I mentioned earlier.
Reading this book makes me want to visit a type museum or
see a letter pressed sheet of Bembo or Baskerville on beauti-
ful paper. I want use a set letters and run a press. I want to see
the process of making the metal type.
One could really just go through this book and read
the headers of each chapter and the subheads throughout the
chapter. Take this summer at the end of chapter 1 it’s a great
list to reference.
“There are always exceptions, always excuses for
stunts and surprises. But perhaps we can agree that, as a rule,
typography should perform these services for the reader:
• invite the reader into the text;
• reveal the tenor and meaning of the text;
• clarify the structure and the order of the It’s interested how analphabetic symbols are often
text;
• link the text with other existing elements;
• induce a state of energetic repose, which is pressive than it appears through the narrow grill of the type-
the ideal condition for reading.
Or how about just going through chapter 2: Rhythm
and Proportion. 2.1 Horizontal motion. 2.1.1 Define the word
space to suit the size and natural letterfit of the font. 2.1.2
Choose a comfortable measure. 2.1.3 Set ragge if ragged set-
ting suits the text and the page. I could go on and on from
chapter to chapter and it’s a great layout, a great learning
tool. These subhead paragraph lead-ins could be a typogra-
pher’s mantra. Recite master Bringhurst’s 100 rules of type
at sunrise and sundown.
I think if I didn’t know anything about typography this
book might be a little bit more difficult to digest. Any and all
37
Robert Bringhurst: The Elements of
Typographic Style
designer will benefit from reading this book based on the prin-
ciples that Bringhurst instills and promotes.
Don’t be simplistic in your type choice and page layout.
Look into the values of the content. Research and know its his-
tory and roots, its intention and meaning. Choose a typeface
that reflects that. Choose a page layout that makes text easy
to read. Enhance, enhance, enhance. If you over design and
draw the focus completely to your typeface and your layout
you’ve failed, it needs to be a harmonious marriage of content
and design.
In chapter 6 Bringhurst talks about building a type
library. He says, “choose your library of faces slowly and well.”
The best typographers have no more than one roman font at
a time, one blackletter and one Greek. He feels that today we
have too many fonts that more often than not don’t make up
a complete collection. Have a little of the best than a lot of the
mediocre or the routine. I completely agree and I actually look
to apply this to my life. I would rather have one really nice well
made, comfortable pare of shoes that will age and adapt with
me over time…lasting years, than to buy 2 pairs a year because
they wear out every six months and become uncomfortable.
The same goes for choosing a typeface. Buy a good
typeface or family and get to know it. Find various ways to apply
it to design, explore its possibilities. Then move on. I think the
same thing can be said for many different disciplines. When
you learn something new. Learn everything about it. Become
the best you can be at it. Don’t be satisfied with just surface
knowledge or surface understanding. Learn its language. As
a designer I need to know the specific language of design, so
I can converse in that language with other designers. That is
what gives our profession validity, and that is what gives a per-
son a certain prestige. It’s how we know who are the masters;
not only by how they create but by how they discuss and ver-
balize their work and their philosophies about their work and
the profession.
not of the same design of the typeface. Bringhurst states “the
palette of analphabetic symbols is much more supple and ex-
writer keyboard.” These symbols are not to be over used but
many of them are effective forms of typographic punctuation.
His favorite is the midpoint.
Use analphabetic symbols that are in touch with the
basic font. He points out square brackets[] and parentheses as
“problem characters” often of poor design. Sometimes char-
acters are borrowed from other fonts, which can definitely
cause stylistic problems. Bringhurst encourages us to borrow
the italic ampersand (and symbol) for use with roman text.
The italic ampersand has more character, and more move-
ment. Once again I am inspired by his delving into the smallest
of details. Next he talks about the hyphen, calling it the lowly
hyphen. Many type designers designed the hyphen to slightly
38
 Robert Bringhurst: The Elements of
Typographic Style

slant upward, but when typefaces were commercially issued a

straight one would be substituted. BringHurst encourages us
to be faithful to the designers original intentions.
All in all I really enjoyed this book and intend to read
it fully through again, and to also drop in from time to time
and read the subheads and summaries to gains some insights
and inspiration. This truly is a typographic bible and it contains
many proverbs of design that go beyond typography into good
solid creative guidance.

39 40