Modular Grid & Hierarchy
Alyssa Gonzales
T EXT ALIGN M EN TS Justified text is aligned along the left margin. Letter and word spacing falls flush with left and right margins. There are no gaps on either side.
Flush left means that the text is aligned with the left side. This is the most legible method of text alignment. Unlike justified text, the right side is left ragged.
Flush right Centered text text is aligned along text that is centered. the right side. Centered text should be used sparingly, as it is not easily legible; especially when applied to paragraphs.
FONT FAM I LY: ST YL ES bold
italic
regular
leading is
tracking is the distance between each character in a text
kerning adjusts the space between each character in a proportional font
the distance between each baseline in lines of text
PARTS OF THE GRID margin
gutter
flowlines
module
Swiss Style Swiss Style, also known as International Style, Swiss Typographic Style, and Typographic Design Style, is a style of art, graphic design, and architecture that was made famous by a group of graphic designers in Switzerland in the 1950s. Specifically, Josef Müller-Brockmann was one of the leaders of the style. Although it is called Swiss Style, it actually began in Russia, Germany, and the Netherlands around the 1920s and 1930s. The two major design schools responsible for this style: the Basel School of Design and the Kunstgewerbeschule Zürich (Zurich University of the Arts). Jan Tschichold was the first to bring the Swiss Style into the mainstream. This style is known for its simple, minimalistic designs inspired by gestalt principles. It often centered around simple and legible typography—usually including sans serifs such as Helvetica, Akzidenz Grotesk, and Univers. As for color, it is used to emphasize visual hierarchy. The strong color palettes and photographs all serve a purpose—they are not just
there for their beauty. One important element of this style is the usage of grids and layouts. This approach allowed designers to value the importance of legibility, consistency, and the overall human experience. This is one of the reasons why this style of design was included in the research for this project; it brought forward a large wave of the usage of grids, scale, color, asymmetry and symmetry, etc. that has changed how graphic design is executed to this day. Another element the Swiss Style introduced was asymmetry. Before Swiss Style emerged, many artists and designers focused on symmetry. After Swiss Style emerged, many embraced creating designs that were dynamic and less formal but still simple and concise. A few notable designers from the Swiss era include Josef Müller-Brockman, Armin Hofmann, Max Miedinger, Le Corbusier, HR Giger, and Adrian Frutiger.
Rosmarie Tissi Rosmarie Tissi is an acclaimed graphic designer from Zurich, Switzerland. She was born in Thanygen, Switzerland in 1937. She took a preliminary course at the Kunstgewerbeschule (School of Arts and Crafts) , then completed a four-year apprenticeship with Siegfried Odermatt. After working with Odermatt for ten years, they founded the studio O&T together in 1968. She has over 60 years of professional graphic design experience and is now renowned for her work. She uses the grid, but she is more flexible about it than some other Swiss designers. Her work greatly showcases her creativity and passion for her art. Her work is very striking and vibrant; this is seen especially through her large-scale typography, the bright colors, and in her asymmetrical and whimsical elements. She commonly uses scale in her work to show emphasis. Every element of her designs are intentional and serves a purpose— rather than just being attractive to look at.
Tissi believes that good design is a combination of functionality and aesthetics. She also believes that the purpose of design is to deliver a message in a way that is the most interesting and original as possible. Tissi was included in this research because of her use of asymmetry, bold designs, and strong usage of hierarchy. Her work is very reflective of her Swiss education and other Swiss influences throughout her life. She has also taught at the Rhode Island School of Design and Yale University. She has won many awards, including three Swiss Federal Scholarship for Applied Arts, 1st prize and a gold medal at the 11th International Poster Biennial in Warsaw, and the 2nd place price at the competition for New Swiss Banknotes Design in 1989. She is also a member of the AGI (Alliance Graphique Internationale) since 1974 and a member of the ADC (Art Directors Club) since 1992.
Josef Muller-Brockmann Joseph Muller-Brockmann was a graphic designer and teacher from Switzerland. Muller-Brockmann was born on May 9, 1914 in Rapperswil, Switzerland. He studied architecture, art, and design at the University of Zurich and Kunstgewerbeschule. At the age of 22, he opened his own design studio specializing in graphic design, exhibition design, and photography Some of his books include The Graphic Artist and his Design Problems, History of Visual Communication and Grid Systems in Graphic Design. MullerBrockmann is known for his simple, minimalistic designs and his usage of typography. He is often recognized as the most well-known Swiss designer, and his name is commonly referred to when talking about Swiss Style. Along with the Swiss International Style, he also influenced design movements such as constructivism, de stijl,
suprematism, and the Bauhaus. At the age of 43, he became a teacher at the Zurich School of Arts and Crafts. Muller-Brockmann was included in this research because his work utilizes functional design while also having an attractive, minimalist appearance. He is also a large influence to designers today. His book, Grid Systems in Graphic Design (1968), is still used to this day by design schools around the world to teach the typographic grid system to students. He once said “The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice�.
Paul Rand Paul Rand is an American Graphic designer. He was born in 1914 in Brooklyn by the name of Peretz Rosenbaum. He is associated with the New York School Movement and Modernism. He was one of the first American designers to practice Swiss Style. He is best known for his logo designs, including: IBM, UPS, Enron, Morningstar Inc., Westinghouse, ABC, and NeXT. After completing lessons at the New York Pratt Insitute and the Art Student League, he sold illustrations to newspapers and magazines. After, receiving more experience in the field, he worked as a freelancer for a small group of clients. During this time in his life, he worried that his Jewish identity would interfere with his career, so he changed his name to Paul Rand.
After Rand worked with IBM on a project building their brand identity, many other companies realized how graphic design can communicate their identity as well as help them stand out in an ever expansive field. This is one main reason why Rand was included in this research; he influenced American publications and large company’s branding. The work he did during his 60 year career, is still admired and respected today.
Emil Ruder Emil Ruder was a Swiss graphic designer and
typographer. He was born in Zurich, Switzerland in 1914. After an apprenticeship as a typesetter for four years, he attended the Schule fur Gestaltung Zurich where he studied type composition, letterpress printing, lettering, and book design. He is often regarded as a one of the main contributors in the Swiss Style period. He believed that typography’s purpose was to communicate ideas through writing. He once published a book titled Typography: A Manual of Design. This book is Emil Ruder’s legacy. It was created to be an aid for typography that established a basic grammar for the art. His style often included asymmetrical compositions, sans serif fonts, strong hierarchy, and utilize the grid system. He also often uses
positive and negative space to his advantage. His style centered on legibility and functionality rather than aesthetics. Ruder is included in this assignment because of his usage of the grid as well as his influence on modern day designers. His work was a large part of what Swiss Style is today.
ALYSSA GONZALES
MODULAR GRID & HIERARCHY
ROUND 1.0
T Y P O G R A P H Y :
t y p o g r a p h y :
A MANUAL OF DESIGN
A MANUAL OF DESIGN emil
niggli
verlag
1967
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
ruder
1967 niggli verlag
emil ruder
typography:
EMIL RUDER
a manual of
DESIGN
TYPOGRAPHY: emil RUDER
niggli VERLAG
1 9 6 7
Round 1:
a manual
of
design
1967 NIGGLI VERLAG
T Y P O G R A P H Y :
a MANUAL of DESIGN
e mil r u d e r
1 9 6 7 n i g g l i
e m il
1967
Round 1:
n i ggli ve r la g
r u de r
TYPOGRAPHY:
A MANUAL OF DESIGN
ve r la g
1 9 6 7
1 9 6 7
T Y P O G R A P H Y :
T Y P O G R A P H Y :
A MANUAL OF DESIGN
A MANUAL OF DESIGN emil ruder n i ggli ve rlag
Round 1:
emil ruder
niggli verlag
TYPOGRAPHY:
TYPOGRAPHY: a MANUAL of DESIGN
emil RUDER
a MANUAL of DESIGN
EMIL RUDER NIGGLI VERLAG 1967
Round 1:
NIGGLI VERLAG
1967
1 9 6 7
TYPOGRAPHY: a MANUAL of DESIGN
T Y P O G R A P H Y :
A MANUAL OF DESIGN emil ruder NIGGLI VERLAG
1967
Round 1:
e m il ruder
niggl i ver la g
emil ruder
emil
TYPOGRAPHY:
TYPOGRAPHY: A MANUAL OF DESIGN
A MANUAL OF DESIGN
1967
Round 1:
ruder
n i ggl i ve r la g
1967
niggli verlag
ALYSSA GONZALES
MODULAR GRID & HIERARCHY
ROUND 1.2
typography: a manual of design
typography: A MANUAL OF DESIGN
emil ruder emil ruder
niggli verlag 1967
niggli verlag
1967
Round 1: Part 2
EMIL
1 9 6 7
RUDER TYPOGRAPHY: A MANUAL OF DESIGN
T Y P O G R A P H Y :
A MANUAL OF DESIGN
1967
emil ruder
NIGGLI VERLAG
niggl i ver la g
Round 1: Part 2
E M I L RUDER
e mil r u d e r
1 9 6 7 n i g g l i
TYPOGRAPHY: A MANUAL OF DESIGN typography:
1967
Round 1: Part 2
a manual N I G G L I VERLAG
of design
ve r la g
ALYSSA GONZALES
MODULAR GRID & HIERARCHY
ROUND 2 ADDING RULES + COLOR
EMIL
RUDER
EMIL
RUDER TYPOGRAPHY:
TYPOGRAPHY:
A MANUAL OF DESIGN
A MANUAL OF DESIGN
1967
NIGGLI VERLAG
Round 2:
1967
NIGGLI VERLAG
ALYSSA GONZALES
EMIL
RUDER
EMIL
RUDER TYPOGRAPHY:
TYPOGRAPHY:
A MANUAL OF DESIGN
A MANUAL OF DESIGN
1967
1967
NIGGLI VERLAG
NIGGLI VERLAG
Round 2:
ALYSSA GONZALES
EMIL
RUDER
EMIL
RUDER
TYPOGRAPHY:
TYPOGRAPHY:
A MANUAL OF DESIGN
A MANUAL OF DESIGN
1967
1967
NIGGLI VERLAG
NIGGLI VERLAG
Round 2:
ALYSSA GONZALES
1 9 6 7
1 9 6 7
niggli verlag
niggli verlag
T Y P O G R A P H Y :
T Y P O G R A P H Y :
A MANUAL OF DESIGN
A MANUAL OF DESIGN
emil ruder
e m il ruder
Round 2:
ALYSSA GONZALES
1 9 6 7
1 9 6 7
niggli verlag
niggli verlag
T Y P O G R A P H Y :
T Y P O G R A P H Y :
A MANUAL OF DESIGN
A MANUAL OF DESIGN
emil ruder
e m il ruder
Round 2:
ALYSSA GONZALES
1 9 6 7
1 9 6 7
niggli verlag
niggli verlag
T Y P O G R A P H Y :
T Y P O G R A P H Y :
A MANUAL OF DESIGN
A MANUAL OF DESIGN
e mil ruder
e m il ruder
Round 2:
ALYSSA GONZALES
1967 niggli verlag
Round 2:
t y p o g r a p h y :
t y p o g r a p h y :
A MANUAL
A MANUAL
OF DESIGN
OF DESIGN
emil ruder
1967 niggli verlag
ALYSSA GONZALES
emil ruder
1967 niggli verlag
Round 2:
t y p o g r a p h y :
t y p o g r a p h y :
A MANUAL
A MANUAL
OF DESIGN
OF DESIGN
emil ruder
1967 niggli verlag
ALYSSA GONZALES
emil ruder
1967 niggli verlag
Round 2:
t y p o g r a p h y :
t y p o g r a p h y :
A MANUAL
A MANUAL
OF DESIGN
OF DESIGN
emil ruder
1967 niggli verlag
ALYSSA GONZALES
emil ruder
emil RUDER
1967
emil
RUDER
TYPOGRAPHY: A MANUAL OF
DESIGN
TYPOGRAPHY: a manual of design
n i g g l i
1967
niggli verlag
Round 3: Scale
v e r l a g
Alyssa Gonzales
1967
1967 niggli verlag
niggli verlag
typography:
EMIL RUDER
TYPOGRAPY: a manual of design
Round 3: Scale
A MANUAL OF DESIGN emil ruder
Alyssa Gonzales
typography: a manual of design
emil
RUDER
1967
typography: a manual of design
Round 3: Scale
emil RUDER
1967 n i g g l i
niggli verlag
Alyssa Gonzales
v e r l a g
niggli verlag
niggli verlag
19 67 Round 3: Scale
typography: a manual of design EMIL RUDER
19 EMIL RUDER 67 typography: a manual of design
Alyssa Gonzales
n i g g l i
1967
1967
TYPOGRAPHY:
EMIL RUDER
A MANUAL OF DESIGN
typography: a manual of design
niggli
VERLAG Round 3: Scale
v e r l a g
emil
Alyssa Gonzales
RUDER
1niggli 96 7 verlag
emil ruder
TYPOGRAPHY:
TYPOGRAPHY: a manual of design
a manual of design
1967 niggli verlag
emil ruder
Round 3: Scale
Alyssa Gonzales
1967 emil ruder typography:
typography: a manual of design
emil
RUDER n i g g l i
v e r l a g
1967
A MANUAL OF DESIGN emil ruder
Round 3: Scale
Alyssa Gonzales
typography: a manual of design
emil RUDER
emil ruder
NIGGLI
TYPOGRAPHY:
A MANUAL OF DESIGN
1967 n i g g l i
Round 3: Scale
1967
v e r l a g
Alyssa Gonzales
VERLAG
1967 n ig g li v e rla g
1967 niggli verlag
emil ruder
TYPOGRAPHY
A MANUAL OF DESIGN Round 3: Scale
TYPOGRAPHY: a manual of design
emil ruder
Alyssa Gonzales
niggli verlag
1 9 67 n i g g l i
1 9
TYPOGRAPHY: A MANUAL OF DESIGN
v e r l a g
TYPOGRAPY:
a
of
MANUAL DESIGN
emil
emil ruder
Round 3: Scale
6 7
Alyssa Gonzales
RUDER
ALYSSA GONZALES
MODULAR GRID & HIERARCHY
ROUND 3B SCALE
1 9 67 n i g g l i
1 9 67
v e r l a g
EMIL RUDER
typography:
MANUAL of DESIGN a
e m i l
Round 3B: Scale
r u d e r
niggli verlag
typography:
A MANUAL OF DESIGN Alyssa Gonzales
19 67 typography:
A MANUAL OF DESIGN
NIGGLI VERLAG
Round 3B: Scale
1967 n ig g li v e rla g
TYPOGRAPHY:
A MANUAL OF DESIGN
emil ruder
EMIL RUDER
Alyssa Gonzales
E MI L RUD E R
TYPOGRAPHY:
TYPOGRAPHY:
A MANUAL OF DESIGN
A
1967 n i g g l i
Round 3B: Scale
1967 M A N U A L
O F
DESIGN
v e r l a g
NIGGLI VERLAG
Alyssa Gonzales
E M I L R U D ER
niggli verlag
19 EMIL RUDER 67
typography:
MANUAL of DESIGN
a
1967 niggli verlag
typography: a manual of design EMIL RUDER
Round 3B: Scale
Alyssa Gonzales
1 9 67
typography:
emil a manual of design
ruder 1 9 67 niggli verlag
n i g g l i
TYPOGRAPY:
a
of
MANUAL DESIGN
e m i l
Round 3B: Scale
v e r l a g
Alyssa Gonzales
r u d e r
ALYSSA GONZALES
MODULAR GRID & HIERARCHY
ROUND 4 SPINE & BACK COVER
Back Cover
Spine
19 67 Front Cover
typography:
typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress
typography
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of
A MANUAL OF DESIGN
EMIL RUDER
typography or wrote about it with such conviction.
typography: A MANUAL OF DESIGN Typography: A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
NIGGLI VERLAG
Round 4: v1
EMIL RUDER
A MANUAL OF DESIGN
NIGGLI VERLAG
score and fold
EMIL RUDER
Back Cover
Spine
19 67 Front Cover
typography:
Typography: A MANUAL OF DESIGN
is the legacy of Emil Ruder. The volume is a
comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
typography
A MANUAL OF DESIGN
A MANUAL OF DESIGN
typography
EMIL RUDER Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
NIGGLI VERLAG
Round 4: v1
EMIL RUDER
A MANUAL OF DESIGN
NIGGLI VERLAG
score and fold
EMIL RUDER
Back Cover
Spine
Front Cover
typography: a manual of design
EMIL RUDER
Round 4: v1
a manual of design
niggli verlag
typography:
EMIL RUDER (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
EMIL RUDER
typography: a manual of design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
niggli verlag
19 EMIL RUDER 67 typography: a manual of design
score and fold
Back Cover
EMIL RUDER (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Spine
niggli verlag
of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Round 4: v1
emil ruder
presented, in the comparison of similarities and contrasts, in the richness
emil ruder
a manual of design
a comprehensive masterpiece seen in its overall structure: in the themes
niggli verlag
typography:
TYPOGRAPHY A MANUAL OF DESIGN typography: a manual of design is the legacy of Emil Ruder. The volume is
Front Cover
19 EMIL RUDER 67 typography: a manual of design
score and fold
Back Cover
emil ruder
comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. today, fifty years after this book was first published, it is still widely used and referenced.
Front Cover
typography:
a manual of design
typography a manual of design is the legacy of emil ruder. the volume is a
a manual of design
typography:
Spine
emil ruder (1914–1970) was a swiss typographer. he is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. ruder was one of the major contributors to swiss style design. he taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on sans-serif typefaces. no other designer since jan tschichold was as committed as ruder to the discipline of letterpress typography or wrote about it with such conviction.
typography: a manual of design
emil
niggli verlag
niggli verlag
1 9 67 emil ruder
Round 4: v1
ruder
score and fold
Back Cover
Spine
emil ruder emil ruder (1914–1970) was a swiss typographer. he is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. ruder was one of the major contributors to swiss style design. he taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on sansserif typefaces. no other designer since jan tschichold was as committed as ruder to the discipline of letterpress typography or wrote about it with such conviction.
Round 4: v1
emil ruder
niggli verlag
typography:
typography a manual of design is the legacy of emil ruder. the volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. today, fifty years after this book was first published, it is still widely used and referenced.
a manual of design
typography: a manual of design
Front Cover
typography: a manual of design
emil 1 9 67
score and fold
ruder
niggli verlag
Back Cover
Spine
E MI L RUDE R
Front Cover
E M I L R U DER
(1914–1970)
Emil Ruder was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy,
TYPOGRAPHY: A MANUAL OF DESIGN is the legacy of Emil Ruder. The volume is a
Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
n i g g l i
structure: in the themes presented, in the
harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Round 4: v1
EMIL RUDER
in the richness of the illustrations and the
TYPOGRAPHY:
A MANUAL OF DESIGN
1967 n i g g l i
v e r l a g
comprehensive masterpiece seen in its overall comparison of similarities and contrasts,
TYPOGRAPHY:
A MANUAL OF DESIGN
Ruder was one of the major contributors to
A MANUAL OF DESIGN
TYPOGRAPHY:
theory and a systematic practical methodology.
score and fold
v e r l a g
Back Cover
Spine
N IGGL I V E RL AG
Front Cover
E MI L RUD E R
E M I L R U D ER
Emil Ruder (1914-1917) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
TYPOGRAPHY:
A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
is
the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it
Round 4: v1
is
still
widely
used
and
referenced.
TYPOGRAPHY:
A MANUAL OF DESIGN
1967 n i g g l i
score and fold
v e r l a g
Back Cover
Spine
Front Cover
typography:
is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Emil Ruder (1914-1917) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as
EMIL RUDER
EMIL RUDER
typography:
typography: a MANUAL of DESIGN is the legacy of Emil Ruder. The volume
a MANUAL of DESIGN
a MANUAL of DESIGN
typography:
MANUAL of DESIGN
a
1967 niggli verlag
committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Round 4: v1
score and fold
EMIL RUDER
Back Cover
Spine
typography: a MANUAL of DESIGN is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Emil Ruder (1914-1917) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s
EMIL RUDER
EMIL RUDER
niggli verlag
typography:
a MANUAL of DESIGN
a MANUAL of DESIGN
typography:
Front Cover
typography:
MANUAL of DESIGN
a
1967 niggli verlag
purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Round 4: v1
score and fold
EMIL RUDER
ALYSSA GONZALES
MODULAR GRID & HIERARCHY
FINAL 5
19
Back Cover
Spine
typography:
the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces.
typography:
Emil Ruder (1914-1970) was a Swiss typographer. He is distinguishable in
A MANUAL OF DESIGN
EMIL RUDER
No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
typography: A MANUAL OF DESIGN Typography: A Manual of Design is the legacy of Emil Ruder. The volume is
67
a comprehensive masterpiece seen in its overall structure: in the themes
presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Round 4: v1
19 67 Front Cover
NIGGLI VERLAG
EMIL RUDER
A MANUAL OF DESIGN
NIGGLI VERLAG
score and fold
EMIL RUDER
Back Cover
Spine
Front Cover
typography: a manual of design
EMIL RUDER
Round 4: v1
typography:
niggli verlag
a manual of design
EMIL RUDER (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
EMIL RUDER
typography: a manual of design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
niggli verlag
EMIL 19 67 RUDER typography: a manual of design
score and fold
Back Cover
Spine
Front Cover
typography:
distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
typography: a MANUAL of DESIGN is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first
EMIL RUDER
EMIL RUDER
niggli verlag
typography:
Emil Ruder (1914-1970) was a Swiss typographer. He is
a MANUAL of DESIGN
a MANUAL of DESIGN
typography:
MANUAL of DESIGN
a
1967 niggli verlag
published, it is still widely used and referenced.
Round 4: v1
score and fold
EMIL RUDER
Back Cover
He is distinguishable in the field of typography for developing a holistic approach to designing and
teaching
that
consisted
of
philosophy,
theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as
contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
N I G G L I VE RL AG
Front Cover
NI G G L I V E R LAG
TYPOGRAPHY:
Emil Ruder (1914-1970) was a Swiss typographer.
TYPOGRAPHY: A MANUAL OF DESIGN is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and
A MANUAL OF DESIGN
E MIL RU DE R
Spine
1967
MANUAL DESIGN TYPOGRAPHY: A MANUAL OF
TYPOGRAPHY: A
EMIL RU D E R
OF DE S I G N
Round 4: v1
E M I L R U DER
score and fold
Back Cover
Spine
emil ruder emil ruder (1914–1970) was a swiss typographer. he is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. ruder was one of the major contributors to swiss style design. he taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on sansserif typefaces. no other designer since jan tschichold was as committed as ruder to the discipline of letterpress typography or wrote about it with such conviction.
Round 4: v1
emil ruder
niggli verlag
typography:
typography a manual of design is the legacy of emil ruder. the volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. today, fifty years after this book was first published, it is still widely used and referenced.
a manual of design
typography: a manual of design
Front Cover
typography: a manual of design
emil 1 9 67
score and fold
ruder
niggli verlag