Podcast appearances and mentions of robert bringhurst

Jan Zwicky reads from “George Whalley’s Contemplative Mind” and Robert Bringhurst reads from “The Bookseller,” both pieces from Brick 113. With an introduction by Brick publisher, Laurie Graham. . . . Source

This conversation is a little different. We wanted to take a break from the election-year political jousting to talk to the poet Christian Wiman about Zero at the Bone: Fifty Entries Against Despair, one of the most singular books published in recent memory—part memoir, part commonplace book, part poetry collection. As with his previous My Bright Abyss, Wiman, more than any other contemporary Christian writer, manages to shake off our culture's desiccated religious tropes to write and talk about matters of ultimate concern in ways that are bracing, even exhilarating. How does poetry tap into reality, or, even better, what does poetry reveal about it? How does he think about the relationship between "life and art"? Why does he resist "Saul on the Road to Damascus"-style accounts of religious conversion? Why did he almost not write about his cancer diagnosis in My Bright Abyss? Why might postmodernism be good for religion, actually? How does the love of another person connect to the love of God? And how does any of this matter for how we live? We take up these questions and more.Sources:Christian Wiman, Zero at the Bone: Fifty Entries Against Despair (2023)— My Bright Abyss: Meditations of a Modern Believer (2013)— Ambition and Survival: Becoming a Poet (2004)— Every Riven Thing: Poems (2014)— "The Preacher Addresses the Seminarians" in Once in the West (2014)Matthew Sitman, "Finding the Words for Faith: Meet America's Most Important Christian Writer," The Dish, Sept 3, 2014Casey Cep, "How the Poet Christian Wiman Keeps His Faith," New Yorker, Dec 4, 2023Andre Dubus, "A Father's Story," in Selected Stories of Andre Dubus (1996)Simone Weil, Gravity and Grace (1947)Robert Bringhurst, "These Poems, She Said,"  from The Beauty of the Weapons: Selected Poems 1972-1982. Copper Canyon Press (1982)...and don't forget to subscribe to Know Your Enemy for access to all of our bonus episodes!

空格，其宽度因字体风格、排版功能、书写系统而异，由此形成了一组颇为庞杂的字符集合。本期节目，我们将简单梳理「空格」的常见字符和用法，探讨空格宽度在现代字体中的设计惯例，及其在计算机软件中的输入交互。 参考链接 铁宋已向预购用户发送预览版字体文件及部分纪念品 字谈字畅 212：狮子山下萨米柯 鳥海修．『明朝体の教室—日本で150年の歴史を持つ明朝体はどのようにデザインされているのか』．Book & Design，2024 藤田重信．『筑紫書体と藤田重信』．PIE International，2024 RIME 中州韵输入法引擎 智能 ABC 输入法 搜狗输入法 《微软字体排印文档》（Microsoft Typography documentation）中关于「空格」（space）的设计建议 Whitespace character（空白字符） 字谈字畅 220：「我们是不是要先哭一把」 Typography for Lawyers 介绍了英语法律文件中 no-break space 的使用规则 Quad（倍空） 全角/半角，日文字体排印术语 GB/T 13000—2010《信息技术 通用多八位编码字符集（UCS）》 UAX #50: Unicode Vertical Text Layout GB 18030—2022《信息技术 中文编码字符集》 Jost Hochuli. Detail in typography: Letters, letterspacing, words, wordspacing, lines, linespacing, columns. Éditions B42, 2015 Robert Bringhurst. The Elements of Typographic Style (Version 4.0: 20th Anniversary Edition). Hartley & Marks Publishers, 2012 Eric 所撰「孔雀计划」文章：《全角半角碎碎念》 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。

In the third and final part of an October 22, 2023 interview Robert Bringhurst, he talks about blister rust, how bioregionalism is an antidote to bad politics and other subjects connected to his 55 page poem The Ridge,

Through his books, I took lessons from Ezra Pound, who was a schoolmaster at heart and had a lot of things to say about what young poets should read and how they should read it. His politics were bonkers, but his ear was a good ear. I learned a lot from him and from others. But it dawned on me one day that my literary schooling had a gaping hole in the center. Except as a colonial construction, the land I was born in – the whole continent and hemisphere I was born in – was missing from this otherwise detailed map of the literary world. It was as if there were no Native American culture, no Native American literature – and I knew this to be false,

The Ridge is a poem in 20 parts, a meditation on a geological feature of Quadra Island, a large island in British Columbia, just north of the Strait of Georgia, and thus the Salish Sea. But the poem is also a meditation on what's happening on the island and on the planet we share in what's been described as devastating imagery. I would add that it's a meditation on the human species as well, at this time in the early Anthropocene. Robert Bringhurst is the author. Trained initially in the sciences at MIT, he makes his life in the humanities from his home on Quadra Island, where he's worked in poetry, Native American linguistics and typography. An officer of the Order of Canada, former Guggenheim Fellow and winner of the Lieutenant Governor's Award for Literary Excellence. He's our guest today to talk about The Ridge. Robert, thanks for your time and hospitality.

Robert Bringhurst reads “Life Poem,” In memoriam Stan Dragland, from Brick 111. With an introduction by Brick publisher, Laurie Graham. . . . Source

Roy L Hales/ Cortes Currents - On Saturday Robert Bringhurst (RB) brings his own brand of literature, local history, science and humour to the stage of the Quadra Community Centre. He just gave Cortes Currents a taste in a rambling conversation that at one point went off topic to include remarks about Cortes Island, Campbell River and Whistler. Bringhurst started out by describing his intentions in the epic description of ‘the Ridge' on Quadra Island where he lives.     
RB: “I wanted to make good poetry out of, among other things, good science. I wanted  to walk the ridge and relish it as one does without any thought of scientific measurement or accuracy, but I also wanted to think about it as a real place in historical time and to look at the species in relation to other species on the planet, and at the rocks in relation to other rocks. I began to wonder how much biology, geology, astronomy and climatology I could put in this poem without sinking it. The answer turned out to be quite a bit.”  
“So unlike most poems, there could be a corrected second edition. There could be mistakes. It's like a research paper. An interesting thing about science is that it purports to have the real answers to things, but the answers are always changing. The facts are changing. There could be numbers in the poem that need to be changed or updated,  that's a curious thought.” 
“Anyway, I worked on this thing for probably eight years, this one poem, and in that time I learned a great deal, and some of what I learned kept changing. The climatological facts change rapidly it seems, the geological facts change more slowly.” 
“It sort of restored my childhood faith  in the possibility of science and the arts, science and literature coexisting happily.  I hope other people might find some pleasure in that as well.”  
“It's also a meditation on the end of the world, and there's very little pleasure to be found in that except the pleasure of admitting that things are as they are, not hiding from it.”

Roy L Hales/ Cortes Currents - Sierra Quadra has been educating Quadra Islanders about the unfolding environmental crisis for close to 25 years, but they have been relatively quiet since COVID.  
This is changing. On September 28 they joined with the Council of Canadians, in Campbell River, to protest the provincial governments failure to implement its strategy to preserve old growth forests. On October 21 they will be sponsoring the world premiere of Robert Bringhurst's poem ‘The Ridge‘ at the Quadra Community Centre. They will be bringing two widely recognized films to Quadra this winter and plan to host a forum on environmental issues in March 2024.  
Cortes Currents recently asked Ray Grigg, one Sierra Quadra's principle Directors, for an update on their vision for the future.  
 “We got disoriented and stopped by COVID, like everybody. In the time that's transpired, we've been evaluating who we are, what we're trying to do, how successful it's been, and exactly how we should proceed.” 
 “We're not quite sure what to do and that has partly been the explanation for the quietude that's been us on Quadra for the last three years, actually.” 
 “We know we have an environmental problem on the planet. We know we produce too much CO2. We know we have too many children. We know we're consuming too much. We know we're in overshoot, but It's not registering deep enough for us to actually change.”  
 “I remember An Inconvenient Truth, which we showed, that should have awakened some people. Things haven't changed very much in any regard with respect to environmental emissions. With respect to forestry practices, Mosaic still is busy on the island.”  
 “How much information do you need before it's actually internalized into you and you change your behavior? It's almost as if we're confronted with a Zen koan and we have to reflect and think and wrestle with that koan for sometimes years and a whole lifetime until it actually changes us. It almost seems like that's the state in which we're in. We have this koan that we're confronting. We know what the koan is.” “This leaves us Sierra Quadra in a bit of a bind.  Do we keep plodding forward with more information? We're not perfectly clear what we're going to do and what we should do. I'm not sure we know as a society, as a civilization, what we're going to do and what we should do. It almost feels like we've stepped over the precipice and we're losing control of the environmental agenda.” 
 “I think there is a great deal of angst out there.”  
 “There's hope in the sense that we're shifting to green energies. There's potential there. My concern is that we've waited too long. As we start losing control, that loss of control impairs our ability to function preemptively.” 
 “The more money we spend dealing with forest fires, repairing from floods, typhoons and hurricanes,  the less money we have and the less energy we have and the less attention we can give to actually preventing those things from happening.  It works in both ways against us. We get the disasters, but the disasters impair our ability to prevent further disasters.” 
 “If you think of the number of homes that are destroyed by a hurricane in Florida, for example, those homes have to be rebuilt. This  means more wood for houses, it means,  there's now more demand, which creates more of the problem, which caused the problem.”

Roy L Hales/ Cortes Currents - Sierra Quadra is bringing Robert Bringhurst's poem The Ridge to  the Quadra Community Centre, at 7:30 on Saturday October 21st. In an interview with Cortes Currents, Ray Grigg said he believes thisis the 80 minute long poem's world premiere.   It is also the first of four performances Sierra Quadra is putting on this year. They also have two films lined up. On Dec 16 they will be showing ‘Once You Know' and on Feb 3 ‘Keepers of the Land.' A fourth event is being planned. In regards to Bringhurts poem, Grigg explained, “There is a ridge on Quadra Island called the Heriot Ridge and Robert Bringhurst lives just below it. He hikes it often. It's a rocky outcropping that separates the west from the east part of the island. It's rich in history, botany, zoology and all sorts of things. Robert has written this long poem about it involving the geography, the history, the First Nations, the arrival of people. it's a symbol of what's happening on the island specifically and on the planet generally,” explained Grigg. “The ridge has fortunately stayed fairly pristine, but it's a symbol of a larger concern. It's a reminder that our time on this planet as humanity is pretty brief.  We. I've only been here as a species for 350,000 years approximately, maybe actually less, about 250,000. Civilization is barely 5,000 years old. The ridge has been here a  lot longer, and the trees have been here a lot longer. This is some of the feeling that I think that Robert is trying to give to us in this poem. We are an ephemeral species and our influence is ephemeral. We may just have to back away from  the immediate traumas we're experiencing and place ourselves in the larger historical natural context to understand what is happening and how we deal with the climate crisis.” The poetry Foundation describes Bringhurst as one of Canada's most revered poets, who draws his inspiration from Native American myths and storytelling, the Bible and ancient Greek poets. According to the Sierra Quadra press release, ‘Bringhurst is a winner of the Lieutenant Governor's Award for Literary Excellence, and a former Guggenheim Fellow in poetry. Trained initially in the sciences at MIT, he has made his career in the humanities. Widely celebrated for his work not only in poetry, but also in typography and Native American linguistics, he is an Officer of the Order of Canada and the author of many books.'

Robert Bringhurst is a Canadian poet, typographer and author. He has translated substantial works from Haida and Navajo and from classical Greek and Arabic. He wrote The Elements of Typographic Style, a reference book of typefaces, glyphs and the visual and geometric arrangement of type. He was named an Officer of the Order of Canada in June 2013.

“We need geopoetics because geopolitics necessitate other ways of being… Proposing alternate narratives to the hegemonic ones we are caught in is the work and play of geopoetics.”– Erin Robinsong, Geopoetics in the Mess/MeshEnclosed is the last episode of our 4th season: a sympoietic stream of consciousness; on language, art making, and more-than-human interconnection.Find a transcript, full credits, and citations here– – –We want to hear from you! Please take our brief listener surveySupport our 5th season: Join our community on Patreon– – –The feet are the linkBetween earth and the body. Begin there.The lungs are the link between body and air.The hands, these uprooted feet, are the meansOf our shaping and grasping. Clasp them.The eyes are the hands of the head;its feet are the ears. – Robert Bringhurst– – –With the voices and words of Michael Datura, Astrida Neimanis, Cosmo Sheldrake, Rex Weyler, Robert Bringhurst, Jan Zwicky, David Abram, Megan Gnanasihamany, Stephen Collis, Eric Magrane, Hari Alluri, Nadia Chaney, Kaitlyn Purcell, Khari McClelland, Rita Wong, Jessica Bebenek, Vicki Kelly, Mark Fettes, Marjorie Wonham, and Cecily NicholsonMusic by Cosmo Sheldrake, Anne Bourne, Meredith Buck (as arranged by Vanessa Richards), Jonathan Kawchuk, the Time Zone Research Lab, Emily Millard, Khari McClelland, Ruby Singh, and Nathan Shubert, with field recordings by Julian Fisher.

Whatever your ancestry, wherever your people had deep roots, winter was the time for storytelling. To gather together inside, stay warm, relax, and learn together. Winter stories in particular, are stories about the mysteries that bind our earthly world to the other worlds. Stories about the bridges between the visible and the invisible. Stories of the uncanny. They are myths about the beginning times, when everything came into being and found its rightful place. Stories of the mythic times that bear on today. Raven is one of these mysteries who has been with us from the very beginning of our storied existence. In this episode, I tell a couple of Haida stories about Raven based on material collected by Robert Bringhurst. Raven is often associated with winter and the winter solstice in the northern hemisphere. Raven teaches us how to go into the dark to bring forth the light. Support the showEmail Catherine at drcsvehla@mythicmojo.comPost a positive review on apple podcasts! Learn how you can work with Catherine at https://mythicmojo.com

In this Awake in the World podcast Michael focuses on emptiness or boundlessness as a way of talking about interdependence, and Dogen's views (from the Genjokoan) about enlightenment and delusion. The talk includes a reading of Robert Bringhurst's poem, “Dogen.” Recorded on July 9, 2010.

Amelia Hugill-Fontanel, the Associate Curator in the Cary Collection at the Rochester Institute of Technology, discusses the history of the collection, the nature of preserving the past, and the rapid development of printing—especially how quickly reproduction sped up—across the early part of the 19th century.She's held her position at RIT since 2009, and her time working with collection dates back a further decade. She's an active artist and letterpress printer. She manages the Cary Collection's extensive set of historical presses and type, which are used actively in teaching and research, and also lectures extensively printing history and practice. Amelia is the vice president of programs at the American Printing History Association.Notes from This Episode:Cary Collection at RITRIT's Digital Collections, which includes holdings from the Cary CollectionGeorge Eastman MuseumDr. Therese Mulligan, chair of school of photo at RITKodak Center for Creative Imaging (and the controversy behind it, only in part)London's St Bride Printing LibraryLetter from the FBI to Martin Luther King, Jr.Robert Bringhurst's short book on Arrighi, The Typographic Legacy Of Ludovico Degli ArrighiRIT students discovered palimpsest on manuscript pageA Collation of Facts Related to Fast TypesettingThe iron hand pressMoxon's Mechanick Exercises: The Doctrine Of Handy Works Applied To The Art Of PrintingStanhope didn't patent his press“Flong Time, No See,” my monograph on flongs and stereotypesEd Folsom's monograph “Whitman Making Books/Books Making Whitman: A Catalog and Commentary”Making Printer's Type by Rich HopkinsStephen O. Saxe, who bequeathed his collection to RIT

Elements of typographic style best bits + design experiments This week we’re looking at some interesting and beautiful examples of concept and experimental work, checking out a potential new trend in cookbook design and bookmarking a useful overview of how some of the most popular modern typefaces came into existence. We’re also busy planning for the next workshop, make sure you keep your eyes peeled for more information - coming soon

He visto en las montañas una forma como dos pájaros con tres alas entre los dos y los he visto caer en picado, apoderarse en el río del mismo pez y planear allí hasta que el ala que compartían se abrió. He visto al oscuro hueso deslizarse como el filo de una navaja a través de sus plumas. En la sombra de sus alas he visto entonces que lo mismo sucedía con el pez: uno de los pájaros se aferró de pronto a las aletas y a la carne, el otro al esqueleto y a la cabeza. Amor, el pájaro con las plumas agarró la carne del pez y salió flotando hacia el océano. El pájaro del ala descarnada subió hacia las cumbres, y de sus garras pendía el esqueleto. Amor, he sentido cómo el mundo se partía en nuestras manos.

View live Google email https://reallygoodemails.com/emails/save-200-on-pixel-3/ The Elements of Typographic Style by Robert Bringhurst https://www.amazon.com/dp/0881792128/ See more emails from Google https://reallygoodemails.com/google/

My love of letterpress printing is no secret, and in this episode, I speak to two designers who devote parts of their working lives to modern letterpress. This episode was taped live at Ada's Technical Books and Café in Seattle on January 23. Printing didn't change much from about 1450 to 1950. It became faster, motorized, and blew up to industrial scale, but it was only when the “relief” (or letterpress) method of printing—putting ink on a surface and then pressing paper onto it—was replaced with offset lithography, which relies on flat printing plates and thin films of ink, that everything changed for good. Letterpress printing has remained as a craft, though, and it has thrived in the last 20 years as it's been rediscovered and taught fresh to new generations. Two Seattle practitioners have deep ties to this great resurgence of letterpress. We talk about how they got sucked into an old-school printing method and how the medium affects their design and vice-versa. Sarah Kulfan is a visual designer, illustrator, and letterpress printer. She is the proprietrix of Gallo Pinto Press and Beans n' Rice where she respectively prints limited edition prints and runs her freelance graphic design business. Demian Johnston is the Designer and Pressman at Annie's Art & Press, a letterpress shop in Ballard. At SVC, he teaches both introductory and advanced classes in the letterpress program. His design and illustration work has appeared in The Stranger, Seattle Weekly, City Arts, and Beer Advocate. Sponsors Thanks to the patrons in the crowdfunding campaign who brought the New Disruptors back, and these Disruptor-level backers in particular: Elliott Payne, my friends at Lumi, Kirk McElhearn, Kuang-Yu Liu, and Marc Schwieterman. (Marc, and another Disruptor backer, Kim Ahlberg, attended the taping!) You can become a patron of the show on a one-time or recurring basis, and get rewards like an exclusive enamel pin and being thanked in this fashion! Show notes: We talk about a lot of concepts and old tech in this show, so the notes are a little more extensive to help you understand some of the things we mentioned just in passing: SVC is the School of Visual Concepts in Seattle, where Jenny Wilkson runs the letterpress program. It's a for-profit analog and digital design school, teaching letterpress, UI/UX, graphic design, copywriting and more. It's where I had my 2017 design residency, too! Demian has a 10x15 Chandler and Price (C&P), which is a workhorse press, manufactured from 1884 to 1964. Stern & Faye: Jules Remedios Faye and Chris Stern ran this press together for decades. Jules continues to print and bind, and handbound my book, Not To Put Too Fine a Point on It (copies still available). The C.C. Stern Type Foundry, a working museum in Portland, Oregon, is named for Chris and features a lot of Jules and Chris's casting equipment. “dissed type”: Type distribution is an incredibly tedious part of hand setting type. Each character you pull out of a type case has to be “distributed” back into its original compartment in the case when you're done with a printing job. Ruling pens: These pens were used for making lines, or “rules,” and hold ink in a reservoir between two jaws. The gap of the jaws can be adjusted to create lines of different thickness. Plates: Printing plates are solid sheets of metal or plastic made from source material and intended to be printed as a full sheet, sometimes including dozens of pages. Starting in the 1800s, printers would cast metal plates (called “stereotypes”); in more recent decades, printers rely on a rubbery plastic called photopolymer that's light sensitive. Digital files can be output to high-contrast film and exposed to the plastic plastic, and make a letterpress-printable plate. Carl Montford: a local renowned wood block engraver, who has taught thousands of people how to carve linoleum blocks and hundreds how to carve in wood. Linoleum blocks: These are really just pieces of linoleum glued to a wood base. A designer carves the linoleum to leave high areas to receive ink. Type high: The exact height needed for type and other material on the “bed” of a press to be inked by rollers and press exactly at the right distance into paper. It's 0.918 inches in America and England. Touche plate: This may have been a regionalism, but a “touche” (French, pronounced toosh) is a touch-up plate used to fix an error in offset printing. Reduction cut: On a block, you engrave a starting image that prints in the lightest color, carve away details, print the next-lightest color, and so forth. The block is creatively destroyed in the process. A “kiss” impression Vandercook cylinder presses are the hot thing in letterpress today, originally designed largely as a “proof press”: to pull a copy of a section of text for proofreading, layout, and evenness, before it went on a real press. Printing the Oxford English Dictionary (YouTube) “Farewell, Etaoin Shrdlu”: The last day of hot-metal Linotype typesetting at the New York Times The quote I was trying to recall was from A Short History of the Printed Word, written by Warren Chappell and, in a second edition, updated and extended by Robert Bringhurst. Bringhurst wrote the following devastating sentence about the entire era following relief printing: In the 1970s and 1980s, the practitioners of photocomposition and offset printing were, like Gutenberg, engaged in a simultaneously innovative and imitative act. But they were not imitating writing; they were imitating printing—and were doing so in a world where reading had become, for most, a passive, cerebral act, unconnected with any physical sense of the making of letters, and unconnected with any sense of the intellectual urgency of publishing.

Tonight is part 2 of my Adobe MAX series. In this episode I'm talking to Dan Rhatigan, Senior Manager of Adobe Type Development. We're chatting about fonts and typefaces, variable fonts, the constantly changing nature of graphic design in an increasingly digital world, and working for Adobe. Dan's recommended links: Getting started with variable fonts on the web by Oliver Schöndorfer   Amazing tutorial videos for web-based typography and design by Jen Simmons. Fonts in Use is a pretty incredible resource for both identifying typefaces and finding inspiration and background information on what people do with them. Rich Rutter’s web-centric adaptation of Robert Bringhurst’s essential book, “The Elements of Typographic Style.”  Lessons from the Adobe Type team about working with type and text. Adobe Font Packs making it easy to jump-start design projects with curated sets of fonts from the Adobe Fonts library. Music for the show provided by OGRE.

Typography is a core component of logo design, but so many designers lack the essential knowledge needed to use fonts correctly. To solve that, this week Ian interviews Michael Stinson to talk about the fundamentals of type, choosing and managing fonts, licensing, book recommendations and more. Michael is the typography instructor at Laguna College of Art + Design, and is also the founder and lead Instructor at TypeEd, an educational platform that teach designers about the fundamental theory of type. Show notes, and a full transcription of the interview can be found here: https://logogeek.uk/podcast/typography-fundamentals/   Typography Resources & Books Mentioned michaelstinson.com TypeEd Website Font Management: Suitcase Fusion The Anatomy of Type by Stephen Coles  Amazon UK | Amazon US Type Matters! by Jim Williams  Amazon UK | Amazon US The Elements of Typographic Style by Robert Bringhurst  Amazon UK | Amazon US Reading Letters: Designing for Legibility  Amazon UK | Amazon US InDesign Type: Professional Typography with Adobe InDesign  Amazon UK | Amazon US The Complete Manual of Typography by James Felici  Amazon UK | Amazon US Shady Characters: The Secret Life of Punctuation, Symbols, and Other Typographical Marks  Amazon UK | Amazon US   A Big Thank You to FreshBooks FreshBooks have sponsored the Logo Geek Podcast, and I’m so thankful – without them this would not be possible (It takes so much time!!). FreshBooks is a cloud based accounting software that makes it easy to create and send branded invoices, track time and to manage your incoming and outgoing money. I highly recommend it, and you can try it out for yourself with a free 30 day trial.  

Episode—VIII. Matias Corea is by training a graphic designer, co-founded in 2006 Behance, now one of the most popular online portfolio platforms. As chief of design Matias was responsible for the brand identity and design of all Behance products including the Behance Network, The 99U Conference & Magazine, and Action Method. In 2015 he left Behance to start new adventures. In this episode Thomas Dahm talks with Matias about his trip through the three America, his time at Behance and what he has learned during this time. In addition to that Matias shares some insides in what he thinks a speaker should give to the audience. This episode is recorded during Digital Design Days http://ddd.it and OFFF Italy 2017 http://offfitalia.com. EPISODE IS SPONSORED BY TABLETTO https://tabletto.nl - Thank you! _____ Listen to more episodes on https://neonmoire.com/interviews If you have questions, we love to get your feedback on Twitter https://www.twitter.com/neonmoire And of course, if you enjoyed this episode please let Matias know via Twitter at https://www.twitter.com/matiascorea Neon 5 Book: The Elements of Typographic Style by Robert Bringhurst - https://goo.gl/RpPPxP Conference: http://conference.99u.com/ Food: Paella Movie: The Huster by Robert Rossen​ and Twelve Angry Men by Sidney Lumet​. Miscellaneous: Take a trip without planning. Mentions: http://scottbelsky.com/ https://behance.com/ https://99u.com/ The Colour of Money #neonmoireshow #thomasdahm --- Send in a voice message: https://anchor.fm/neonmoireshow/message

Palatino，名匠 Hermann Zapf 的代表作，庞杂而繁衍不息的字体家族。Robert Bringhurst 在新作 Palatino: The Natural History of a Typeface 中，以类比生物进化的视角，记述了 Palatino 谱系的演进历史。 族繁不及备载，夜短难叙长篇。本期节目，我们邀来特别嘉宾、居于 Zapf 出生地德国纽伦堡的吴涛，闲话一字一生。 参考链接 Robert Bringhurst 见面会印象，《一天世界》第九期，本期节目前传 纽伦堡（Nuremberg），德国巴伐利亚州的第二大城市，字体设计师 Hermann Zapf 出生地 赫尔曼·察普夫（Hermann Zapf, 1918–2015），著名书法家、字体设计师 OS X 附带 Zapf 设计的四款字体： Palatino Optima Zapfino Zapf Dingbats Robert Bringhurst. Palatino: The Natural History of a Typeface. CA: Book Club of California, 2015 Aldus，Palatino 变体，主要用于书籍正文字体，命名向 Aldus Manutius 致敬 赫拉克利特（Heraclitus），古希腊哲学家，被借用作 Palatino 希腊文版的名称 Futura，Paul Renner 设计的几何无衬线体 Book Antiqua，微软委托 Monotype 模仿 Palatino 定制的字体 Linotype: The Film，关于 Linotype 铸排机的纪录片 Linotype 铸排机 Monotype 铸排机 Point，字体排印常用单位 Blackletter，又称「Gothic script」（哥特体） Gilgengart Fraktur，Fraktur 风格的哥特体，也是 Zapf 生平设计的第一款字体 Metafont，Donald Knuth 开发的矢量字体格式，用于 TeX 系统 Rochester Institute of Technology（罗彻斯特理工大学） Gudrun Zapf-von Hesse，书法家、字体排印师、书籍装帧师，Hermann Zapf 的妻子 嘉宾 吴涛：《内核恐慌》主播，Type is Beautiful 程序员 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎致信 podcast@thetype.com 与我们交流或反馈。如果你喜爱本期节目，也欢迎用 PayPal 或支付宝向我们捐赠，账户与邮箱地址相同。

听众朋友早上好，今天是 5 月 3 日星期二，欢迎收听全球字体新闻联播。 俄罗斯在线刊物揭晓十佳字体，东京奥运会会徽征集落下帷幕，布达佩斯城市形象再换新颜。另悉，日、法两地竞相发布字体相关产品，加拿大诗人付梓字体史著作。此外还有本台记者从京、广两地发回的现场采访及深度剖析。 下面是本期内容的详细报道。 参考链接 Oradano Mincho，内田明开发的免费日文字体，发布第二版；假名源自筑地体前期五号假名定稿（築地体前期五号仮名の最終型），汉字源自《標註漢文入門》和《同文新字典》，其他符号由内田制作 秀英体，大日本印刷所有的字体品牌 築地体（活版活字），最初由築地活字公司铸造 游築 36 ポ仮名，筑地体的一种复刻版，字游工房设计 日本现行《常用汉字表》由日本内阁于 2010 年发布 日本文化厅发布《关于常用汉字表的字体及字形的方针（报告）》（常用漢字表の字体・字形に関する指針（報告）） Drop&Type，Type Project 发布的试用版字体快速制作工具 匈牙利首度布达佩斯发布新的城市标识及视觉形象 布达佩斯正在申办 2024 年奥运会，并发布了相关的视觉形象 东京 2020 年奥运会会徽终稿 俄罗斯在线期刊 Type Journal 评选出 2015 年十佳字体 Robert Bringhurst，加拿大著名诗人，同时涉猎字体排印、翻译、文化史及语言学等多个领域；字体排印领域的代表作是 The Elements of Typographic Style Bringhurst 新作 Palatino: The Natural History of a Typeface 即将上市 Palatino 字体，Hermann Zapf 设计 日本字体排印期刊 Typography 推出台湾版《Typography 字誌》 法国字体作坊 Typofonderie 发布新字体 PS Fournier，由 Stéphane Elbaz 设计，向 Pierre-Simon Fournier 致敬；另有样张可供阅览 Pierre-Simon Fournier，法国字体设计师，活字雕刻及铸造师，字体排印理论家，推动了法国字体度量单位 point（点）的标准化 厉致谦（colourphilosophy）在 2012 年撰文介绍「字号的故事」 社会实验——第三届「汉字二十四时」，深圳市平面设计协会主办，羊城同创汇、汉仪字库、方正电子协办 味冈伸太郎，日本设计师及艺术家，设计了伸明、小町、良宽等字体 中日字体设计夜话——与鸟海修对谈，Eric 采访及整理 Optical size 第十八期勘误： 平面设计杂志 Eye 出自英国伦敦 Cité Universitaire 指的是巴黎国际大学城（Cité internationale universitaire de Paris） Charlie Hebdo（常译作《查理周刊》），按法语发音应译作《沙尔利周刊》 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎致信 podcast@thetype.com 与我们交流或反馈。如果你喜爱本期节目，也欢迎用 PayPal 或支付宝向我们捐赠，账户与邮箱地址相同。

Title is taken from a Robert Bringhurst text

#brickbooks #NewsandWeather #RobertBringhurst

#brickbooks #NewsandWeather #RobertBringhurst

#brickbooks #NewsandWeather #RobertBringhurst

#brickbooks #NewsandWeather #RobertBringhurst

#brickbooks #NewsandWeather #RobertBringhurst

Robert Bringhurst is the author of the quintessential typographic reference book ‘The Elements of Typographic Style’. He is also a poet, book designer, historian and linguist, living in Vancouver Canada. Robert tells us how his interest in typography began. And how typography is the cross section of all his interests. Since Robert is active in more disciplines we talk about the differences between them. We continue to discuss his views on and knowledge of the real cultural history of America and he tells us how studying these native languages makes him feel more in touch with the country he was born in. Recorded at the ATypI 2010 conference in Dublin, Ireland. Robert Bringhurst wikipedia :: The Elements of Typographic Style :: The Solid Form of Language - CreativePro book review :: The Elements of Typographic Style - applied to internet :: Robert Bringhurst reading pt1 :: Robert Bringhurst reading pt2 :: File Download (31:39 min / 44 MB)

Born in Los Angeles in 1946, Robert Bringhurst is an award winning Canadian poet, typographer and author. Perhaps best known for The Elements of Typographic Style – a reference book of typefaces, glyphs and the visual and geometric arrangement of type, he is also a respected translator of poetic works from Haida into English.  He lives on Quadra Island, near Campbell River, B.C. We met in Ottawa to talk about his definitions of both the book, as articulated in The Surface of Meaning, and typography which should Invite the reader into the text Reveal the tenor and meaning of the text Clarify the structure and the order of the text Link the text with other existing elements Induce a state of energetic repose, which is the ideal condition for reading