<root-function><p><topicclass="small">Bibliography</topic></p><p><lc>T</lc>his is not, by any measure, a comprehensive bibliography. Rather, it’s a selection of favorites from my own bookshelf that I consult most frequently in my work as a writer and a typographer.</p><p><subhead>writing</subhead></p><p>Bryan A. Garner, <book>Garner’s Modern American Usage</book>, 3rd ed. (New York: Oxford University Press, 2009).</p><p><indentedstyle="position:relative;top:-0.4em">Long before he agreed to write the foreword for my book <book>Typography for Lawyers</book>, Bryan Garner was a hero of mine. Garner thinks and writes about American English in a way that’s rigorous, convincing, and accessible. He is stern but not shrill; authoritative but not authoritarian. He is a vigorous advocate for clear, simple writing. His work should be mandatory reading for all writers.</indented></p><p><subhead>Typography</subhead></p><p>Matthew Butterick, <book>Typography for Lawyers</book> (Houston: Jones McClure Publishing, 2010).</p><p><indentedstyle="position:relative;top:-0.4em">The precursor to <book>Butterick’s Practical Typography</book>. Lawyer or not, consider buying a copy, because it’s a virtuous act. See <xref>how to pay for thisbook.</xref></indented></p><p>Jan Middendorp, <book>Shaping Text</book> (Amsterdam: BIS Publishers, 2012).</p><p><indentedstyle="position:relative;top:-0.4em">If you get a second book on typography, get this one. Middendorp’s beautifully written and illustrated book is full of careful details and lucid explanations.</indented></p><p>Carolina de Bartolo, <book>Explorations in Typography</book> (<slink>explorationsintypography.comhttp://explorationsintypography.com</slink>, 2011).</p><p><indentedstyle="position:relative;top:-0.4em">Using a Spiekermann essay from <book>Stop Stealing Sheep</book> (see below), de Bartolo shows how different typesetting choices change the effect of thetext.</indented></p><p>Cyrus Highsmith, <book>Inside Paragraphs</book> (Boston: Font Bureau, 2012).</p><p><indentedstyle="position:relative;top:-0.4em">Highsmith’s charmingly hand-illustrated book focuses on the paragraph as a unit of typographic interest.</indented></p><p>Robert Bringhurst, <book>The Elements of Typographic Style</book>, 3rd ed. (Vancouver: Hartley and Marks Publishers, 2004).</p><p><indentedstyle="position:relative;top:-0.4em">Bringhurst’s book has become something of a standard reference guide among professional typographers, bringing together the history, theory, and practice of typography.</indented></p><p>Ellen Lupton, <book>Thinking With Type</book>, 2nd ed. (New York: Princeton Architectural Press, 2010).</p><p><indentedstyle="position:relative;top:-0.4em">Intended as an introduction to typography for design students, Lupton’s book is more accessible than Bringhurst’s. It includes full-color illustrations from every era of typography.</indented></p><p><subhead>Fonts</subhead></p><p>Erik Spiekermann and E. M. Ginger, <book>Stop Stealing Sheep & Find Out How Type Works</book>, 2nd ed. (Berkeley, California: Adobe Press, 2002).</p><p><indentedstyle="position:relative;top:-0.4em">Ginger & Spiekermann, a self-described typomaniac (and author of the <xref>foreword</xref>) explain how fonts work, and how they differ in appearance and in function. My font <xref>Hermes</xref> is among those featured.</indented></p><p>Stephen Coles, <book>The Anatomy of Type</book> (London: Quid Publishing Ltd., 2012).</p><p><indentedstyle="position:relative;top:-0.4em">Explores the major categories of fonts and their characteristic qualities by examining 100 fonts in detail.</indented></p><p><subhead>Design principles</subhead></p><p>Edward Tufte, <book>Envisioning Information</book>, 4th printing ed. (Cheshire, Connecticut: Graphics Press, 1990).</p><p>Edward Tufte, <book>The Visual Display of Quantitative Information</book>, 2nd ed. (Cheshire, Connecticut: Graphics Press, 2001).</p><p><indentedstyle="position:relative;top:-0.4em">These are two of my favorite books of all time. Tufte makes an
