Robert Bringhurst Quotes

A myth is a hypothesis about the personality of reality itself and not the personalities of individual persons, character types, or nations.

If language is lost, humanity is lost. If writing is lost, certain kinds of civilization and society are lost, but many other kinds remain - and there is no reason to think that those alternatives are inferior.

I think of something quite different from a snapshot. I know of a lot of poems, some very fine ones, that are like snapshots, but I'm more interested in poetry that is like an endless film, long stories, things that weave together many different strands, like a big piece of cloth, not like a photograph.

Logograms pose a more difficult question. An increasing number of persons and institutions, from archy and mehitabel to PostScript and TrueType, come to the typographer in search of special treatment.In earlier days it was kings and deities whose agents demanded that their names be written in a larger size or set in a specially ornate typeface; not it is business firms and mass-market products demanding an extra helping of capitals, or a proprietary face, and poets pleading, by contrast, to be left entirely in the vernacular lower case. But type is visible speech, in which gods and men, saints and sinners, poets and business executives are treated fundamentally alike . Typographers, in keeping with the virtue of their trade, honor the stewardship of texts and implicitly oppose private ownership of words.

Typography is the craft of endowing human language with a durable visual form.

Essay on Adam There are five possibilities. One: Adam fell. Two: he was pushed. Three: he jumped. Four: he only looked over the edge, and one look silenced him. Five: nothing worth mentioning happened to Adam. The first, that he fell, is too simple. The fourth, fear, we have tried and found useless. The fifth, nothing happened, is dull. The choice is between: he jumped or was pushed. And the difference between these is only an issue of whether the demons work from the inside out or from the outside in: the one theological question.

Wings are a constraint that makes it possible to fly.

Typographic style is founded not on any one technology of typesetting or printing, but on the primitive yet subtle craft of writing.

Typography exists to honor content.

When you think intensely and beautifully, something happens. That something is called poetry. If you think that way and speak at the same time, poetry gets in your mouth. If people hear you, it gets in their ears. If you think that way and write at the same time, then poetry gets written. But poetry exists in any case. The question is only: are you going to take part, and if so, how?

Literature in the written sense represents the triumph of language over writing: the subversion of writing for purposes that have little or nothing to do with social and economic control.

If you divide the world into them and us, and history into ours and theirs, or if you think of history as something only you and your affiliates possess, then no matter what you know, no matter how noble your intentions, you have taken one step toward the destruction of the world.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

To design things means to interfere with things: to think of how they might be and to alter how they are. Design is to making as writing is to speech: it is an ordinary physical activity pushed to a conscious edge. That interference with the given world can still be founded on admiration. Where it is not, what is the point of designing at all?

Stories are the reproductive organs of language.

The designer always has to leave room for the gods.

How much money you get, depends on lots of extraneous things. It depends on how good you are at turning poetry into a marketable product, which is something it was never supposed to be. That's why many people suppose that the better the poet you are the lower your income should be, and that's probably true.

Popularity isn't just something that happens. You have to give something in exchange for it, and that's the dangerous part of the process.

In a world rife with unsolicited messages, 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 with anything to say therefore aspires to a kind of statuesque transparency. It's other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.

By all means break the rules, and break them beautifully, deliberately and well.

When you die, your culture takes you in, and then, if you've given enough, your place is near the centre.

Space in typography is like time in music. It is infinitely divisible, but a few proportional intervals can be much more useful than a limitless choice of arbitrary quantities.

With type as with philosophy, music and food, it is better to have a little of the best than to be swamped with the derivative, the careless, the routine.