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Rating: 
Summary: an excellent typographic reference
Review: ... this is an excellent reference for both typographic disigners and type designers. Gunnar is well educated in the ways of typography and has used his knowledge to assemble an invaluable collection of essays. in my fairly extensive typographic library, I count this volume among my most favored.as for the design of the book, it comes down to matters of taste. certainly, none can question its readability. other than a few minor PostScript errors, I have never found this book anything but comfortable and efficient. to be honest, the cover is the only thing I took issue with, the rest of the book is quite well designed and relevant to the topic. I highly recommend it for any typographers or designers library.
Rating: 
Summary: Hind sight is better
Review: Bought it, read it, wish I didn't spend it. Hoping it would have been one that would have been worthy of my typographic and design library, but it doesn't make the cut. I loaned it to few other designers as well, they reached the same conclusion. If the economy is bad don't buy it, if it's good..up to you.
Rating:
Summary: Hind sight is better
Review: Bought it, read it, wish I didn't spend it. Hoping it would have been one that would have been worthy of my typographic and design library, but it doesn't make the cut. I loaned it to few other designers as well, they reached the same conclusion. If the economy is bad don't buy it, if it's good..up to you.
Rating:
Summary: Interesting
Review: I needed to read this book twice through to make sure I wasn't crazy. My conclusion: Save your money. The book seems sort of haphazardly designed with no stand-out meaning in the layouts. The essays although well written didn't really say anything, which really broke this book. The book also seemed pretentious to me, design included. Come down from the clouds and be a normal person, seriously. For what it's worth, the cover sure is "pretty".
Rating:
Summary: Interesting
Review: I needed to read this book twice through to make sure I wasn't crazy. My conclusion: Save your money. The book seems sort of haphazardly designed with no stand-out meaning in the layouts. The essays although well written didn't really say anything, which really broke this book. The book also seemed pretentious to me, design included. Come down from the clouds and be a normal person, seriously. For what it's worth, the cover sure is "pretty".
Rating:
Summary: an excellent resource for any typographic library
Review: I wrote a lengthy and very flattering review for this book here the other day. I hope this very brief version makes it through so people won't be deterred by some of the other reviews. I simply want to say that this book ranks among my most treasured resources in a fairly extensive typographic library. Gunnar is a well educated man in the ways of typography and has used that knowledge to assemble essays of value to both the typographic designer and type designer. any issues one may take with the design are purely subjective. the layout and design treatment function quite nicely and give adequate focus to the question at hand. there has been no time in my reading of this volume that I ever found it to be anything but comfortable and effecient (accepting a few PostScript errors in its production which are only slightly distracting). I recommend this book for experienced typographers looking for a little intellectual challenge as well as students only beginning to explore the issues of typography.
Rating:
Summary: an excellent addition to any typographic library
Review: let me first say that the two February 2002 reviewers are out of their minds. the articles Swanson compiled/commissioned are superb! from controversial contemporaries such as Hrant Papazian to unquestionable typographic staples such as Beatrice Warde, Swanson has covered his bases. each and every article provides invaluable insight into topics for both the typographic designer and the type designer alike. "The essays although well written didn't really say anything" (William Benard from Minneapolis, MN)
if anyone finds themselves with this sentiment, you may be lacking some basic knowledge needed to understand the issues. the authors have done a fine job of covering important problems, but these are short format articles and they would be hard pressed to frame the entire argument for all levels of readership. "leave the exploration of graphic design and reading (books) to the qualified... the reader. Why should the heady designer try to redefine what reading is?" (A reader from In a state of...)
unfortunately, reading is largely subconscious. the many variables that affect reading comprehension and speed are not even recognized by the reader. psycologists have conducted coutless studies to try to assist in the design of books. however, the designers are ultimately the ones who need to discuss and be educated in these matters. in terms of design, he has certainly illustrated the question of the uneasy relationship, but I found the structure to be quite readable. if anything, I was disappointed with the cover treatment, but it's just a matter of taste. if this were a long reading text book or novel I might question his technique; but given the short essay format, his occasional illustrations penetrating the margins are quite refreshing. I rate _Graphic Design & Reading_ among the most essential design theory works in my library.
Rating:
Summary: Reading on Acid
Review: No wonder this book is titled as such. This book destroys the relationship altogether. Perhaps the author / designer of this book should go so far as to DIVORCE reading from graphic design altogether. What seems like a good idea quickly goes awry in this feeble attempt to marry abstract design to reading comprehension. This graphic soup -- excuse me... I'll call this book "graphic soup" instead of a "book" because books usually convey information and this thing simply doesn't convey anything -- attempts to explore information theory through conceptual means as an adjunct to the information itself. What ends up happening is the information is rendered useless by being misrepresented by the visual presentation. The design takes over and becomes the focal point, creating two separate experiences: 1) efforts to figure out what the design is trying to communicate by aimlessly strongarming its way around the book and 2) efforts to figure out what the weakling information is trying to communicate through the smothering design. Indeed an uneasy relationship... but did it have to be that way? Wouldn't it have been better to simply design the book well and present the information on "communication through visual concept" in a cohesive and meaningful manner? This is trying way too hard... like sitting around with over-educated friends discussing Chaos Theory and Logic -- on LSD. Why don't we leave the exploration of graphic design and reading (books) to the qualified... the reader. Why should the heady designer try to redefine what reading is? Most young designers I know don't read very much anyway (which is why lots of them went to art school to begin with). Let's let the reader decide what the best relationship between design and reading is. After all, their longstanding preferences seemed to have developed into an easy relationship between the two... contrary to the efforts of this book. As designers, let's stop trying to deconstruct relationships and simply improve on what we know to be foundationally sound. By the way... I made a really cool square wheel recently... the only problem is that it won't roll -- you see, it has an uneasy relationship with logic and purpose. Nice try editor. Stick to the basics you write so often about in the PMA Newsletter -- the value of good traditional book design. Why the dualism? Won't it just confuse everyone? Perhaps that was the intent....
Rating:
Summary: A typographic symposium
Review: This book began as an idea for an unrealized exhibition titled "re:word." Gunnar Swanson asked, "Is graphic design about words - focusing on the writer's work - or rewording - a process of both restructuring and editing meaning?" His answer was both and neither. The unrealized exhibition led to a book that resembles a good symposium. Contributions by eighteen well informed, articulate writers function as a tour of design concepts, a scholarly compendium, and an illustrated guide. Each chapter is an essay, often opinionated, sometimes quirky, and always lucid. The book is enriched by useful footnotes and packed with well chosen illustrations. Swanson designed this book to illustrate the theme. While there are occasional problems with color material in black and white and a few typesetting difficulties, this is a strong project. It is all the stronger for finding its way out of the museum and into book form. Book review published in Design Research News, Volume 6, Number 6, June 2001.
Rating: 
Summary: Poor graphic design impedes my ability to read this book
Review: This book contains a number of valuable essays on the relationship between reading and graphic design. Ironically and unfortunately, it is so flawed in its own design that I get angry when I try to read it and put it back on the shelf before finishing a chapter. I'm ready to throw it in the trash. That the author and organizer of this book was also the designer/typographer/illustrator undermines its credibility. The page design has no relationship to the format of the book. The text and titles are lost in the gutter because not enough space has been left for the binding. The images are badly reproduced and so filled in that they are dead spaces in each chapter. Many of the chapters begin with corrupted type...where was GS for the press checks? The author's attempt at illustration with marbled paper doesn't make any sense, is comical and the book was printed with the grain of the paper running horizontally so the pages cannot be opened and are cockling along the foredge. Grrrr.
Perhaps these essays can be re-published with a more knowledgeable and sensitive designer at the helm. The authors and readers deserve this.
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