This 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 law­yer and a typographer.

Bryan A. Gar­ner, Gar­ner’s Mod­ern Eng­lish Us­age, 4th ed. (Ox­ford Uni­ver­sity Press, 2016).

                  , Gar­ner’s Dic­tio­nary of Le­gal Us­age, 3rd ed. (Ox­ford Uni­ver­sity Press, 2011).

                  , The Red­book: A Man­ual on Le­gal Style, 3rd ed. (West Aca­d­e­mic Pub­lish­ing, 2013).

                  , The Win­ning Brief, 3rd ed. (Ox­ford Uni­ver­sity Press, 2014).

An­tonin Scalia and Bryan A. Gar­ner, Mak­ing Your Case: The Art of Per­suad­ing Judges (Thom­son West, 2008).

Long before he agreed to write the foreword for this 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—especially legal writing. His work should be mandatory for all lawyers.

Jan Mid­den­dorp, Shap­ing Text (BIS Pub­lish­ers, 2012).

If you get a second book on typography, get this one. Middendorp’s book is full of careful details, lucid explanations, and terrific illustrations.

Robert Bringhurst, The El­e­ments of Ty­po­graphic Style, 4th ed. (Hart­ley and Marks Pub­lish­ers, 2013).

Bringhurst’s book has become something of a standard reference guide among professional typographers, bringing together the history, theory, and practice of typography.

Ellen Lup­ton, Think­ing With Type, 2nd ed. (Prince­ton Ar­chi­tec­tural Press, 2010).

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.

Erik Spiek­er­mann, Stop Steal­ing Sheep & Find Out How Type Works, 3rd ed. (Adobe Press, 2013).

A book about fonts—how they differ in appearance and in function. Erik even used my font Equity for the body text.

Sofie Beier, Read­ing Let­ters: De­sign­ing for Leg­i­bil­ity (BIS Pub­lish­ers, 2012).

Beier’s thoroughly researched and illustrated survey shows how empirical considerations have influenced type design for hundreds of years.

Tim Ahrens and Shoko Mugikura, Size-Spe­cific Ad­just­ments to Type De­signs (Just An­other Foundry, 2014).

This is the nerdiest recommendation on this list. But I can’t leave it out—it’s a beautifully presented demonstration of the subtlety and thought that goes into the best-designed fonts.

Ed­ward Tufte, The Vi­sual Dis­play of Quan­ti­ta­tive In­for­ma­tion, 2nd ed. (Graph­ics Press, 2001).

Ed­ward Tufte, En­vi­sion­ing In­for­ma­tion, 4th print­ing ed. (Graph­ics Press, 1990).

These are two of my favorite books. Tufte makes an eloquent and compelling case for why design matters. Both books are fantastically interesting, featuring examples of information design from many historical periods.

William Lid­well, Kritina Holden, and Jill But­ler, Uni­ver­sal Prin­ci­ples of De­sign, 2nd ed. (Rock­port Pub­lish­ers, 2010).

An excellent and accessible introduction to design principles that apply not only to printed documents, but to all objects that we interact with.

The Chicago Man­ual of Style, 16th ed. (Chicago: Uni­ver­sity of Chicago Press, 2010).

United States Court of Ap­peals for the Sev­enth Cir­cuit, Re­quire­ments and Sug­ges­tions for Ty­pog­ra­phy in Briefs and Other Pa­pers, avail­able at

The Blue­book: A Uni­form Sys­tem of Ci­ta­tion, 20th ed. (Cam­bridge, Mass­a­chu­setts: The Har­vard Law Re­view As­so­ci­a­tion, 2015).

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