M OD ULA R
SPRING 2020 • LINDA TALLEUR
grid + hierarchy
ELYSSA BEZNER
terms notes Text Alignments: Justified type is the words in a particular box of text starting and ending in the same places. In Flush Left, all lines begin at the left and then are jagged depending on the text on the right. Flush Right is the exact opposite. Parts of the grid: Margins are the negative spaces between the format edge and the content, which surround and define the live area where type and images will be arranged. The gutter is the space between each column and row. A column is a vertical alignment of type that creates horizontal divisions between the margins. A module is an individual unit of space separated by regular intervals which, when repeated, create columns and rows. Font Family: Traditional, Extended, and Super. Traditional includes roman, italic, bold, and small cap styles. Extended branches out to include hairline, black, and condensed styles, and the super included every style ever. Line Spacing/Leading: The amount of horizontal space between lines of text, measured baseline to baseline.
Tracking: Overall spacing between letters in text. Kerning: Adjusting the space between individual letters. Hierarchy: Change in type size, weight, color, style and placement throughout the composition to emphasize the order of importance. Golden section: a 2000yo ratio, A: b = b : (a+b) Smaller of two elements relates to the larger elements in the same way that the larger element relates to the two parts combined. 1: 1,618 Multicolumn grid: flexible format for publications with complex hierarchy + that integrate text and illustrations. Can create zones for different kinds of content. Designing with a Hang line: Divides the page more horizontally, body text can ‘hang’ from a common line. Modular Grid: consistent horizontal divisions from top to bottom and vertical divisions from left to right. Devised by Swiss graphic designers. Baseline grid: Mod grids created by positioning horizontal guidelines in relation to a baseline grid that governs the whole document. Baselines anchor all elements to a common rhythm.
readings notes ‘The Grid’ notes Graphic design is all about alignment. Creates uniformity and variety, Justified has ‘rivers’ which can be bad No floating things at the edges, or all justified. “Internal structure” layout comes from the elements on the page Line spacing, the space between lines, creates texture, open or closed, lighter or darker. Need effective hierarchy or anything important is lost. -- pick one thing that is used to emphasize, (color or size) and use sparingly. Scale and Tension notes: “Scale: relative to context. Conveys meaning Scale relationships are conceptual -- used to convey variety or quantity. Can tell a visual story, bring life and excitement. Tension between small and large created visual interest.
Scale is “relationship” Surprise the audience by flipping what is expected in scale. Symmetry/Asymmetry Natural organisms are symmetrical -- calling back to nature, stable and balanced. Designers for centuries are drawn to this ^ inherently understandable Asymmetry is balanced as well. Dynamic. Design that moves and changes, viewers eye moves around the page. In symmetry, scale can create that movement and can introduce drama. Tool: Symmetry or asymmetry -- basic and understandable. Harness both in a creative and dynamic way.
swiss design Swiss style originated through the art of Swiss graphic designers but also emerged in Russia, Germany and the Netherlands around the same time in the 1920s. It upholds the aesthetic of simplicity in design and follows the “form follows function� principle. All the elements serve a purpose in establishing hierarchy or giving an aspect a particular emphasis. Rather than textures and illustration, the craft is focused on typography and layout design. There’s also emphasis on uniformity and geometric patterns, and offbeat color combinations, all while using the grid and effective utilization of white space. It is also known as International Style or Typographic Design style. Josef Muller-Brockman was one of the chief proponents of its use along with the Basel School of Design and the Zurich University of the Arts. This movement changed the trajectory of design in the world while it was a direct result of the cluttered and illegible type usages of the past.
rosmarie tissi Rosmarie Tissi was born in Switzerland in 1937 and is a notable designer from the their School of Arts and Crafts. She formed a studio with her former employer Siegfried Odermatt in 1968 called O&T. Her work can be identified through her use of strong, vibrant colors and asymmetrical design. She juxtaposes intense scale differences to establish emphasis and importance, but also does not sacrifice attractiveness for functionality. She always held that the purpose of design is to deliver a message in the most visually interesting and original way possible. Her work directly reflects her Swiss design education. She taught at the Rhode Island School of Design and Yale University and is a member of the Alliance Graphique Internationale and the Art Directors Club since 1992.
josef muller brockman Josef Muller-Brockman was a famous designer from Switzerland and a chief proponent of Swiss Typographic Design. He was born in 1914 and studied architecture, art and design at the university of Zurich and Kunstgewerbeschule. He opened his own studio at the age of 22 where he specialized in graphic design, exhibition design, and photography. He published several books, including: The Graphic Artist, Design Problems, History of Visual Communications and Grid Systems in Graphic Design. He is most well-known Swiss designer, and like other Swiss designers, he uses offbeat color combinations, minimalistic structures and strong type. He developed the constructivism movements, as well as de stijl, and the Bauhaus. He became a teacher at the Zurich School of Arts and Crafts at 43 and his book, “Grid Systems in Graphic Design� is used today by design schools internationally to teach the grid to students.
paul rand Paul Rand is an American Graphic Designer and was born in Brooklyn in 1914. He is associated with the New York School Movement and Modernism and was one of the first Americans to practice Swiss style. He schooled at Pratt Institute and the Art Student League. After graduation he worked as a freelancer and was best known for later developing logos for IBM, Morningstar Inc, ABC, UPS, and Westinghouse. Originally named Peretx Rosenbaum, he eventually changed his name for fear that his Jewish identity would interfere with his career. His work with different companies communicated to the world that graphic design can set apart certain firms in the saturated market and largely buoyed the American publication and advertising community at that time.
emil ruder Emil Ruder was an Swiss graphic designer and typographer, born in Zurich in 1914. Emil is regarded as a main contributor to the Swiss style period and the idea of communicating ideas through writing. He attended the Schule fĂźr Gestaltung Zurich after serving an apprenticeship as a typesetter for four years. He later published a book called “Typography: A Manual of Design,â€? and it served to establish rules in effective use of typography and its elements. He also used asymmetrical compositions, san serifs and emphasized elements through strong hierarchy as well as positive and negative space considerations. He chiefly used the grid and was a monumental influence on designers to this day.
modular grid round 1
Typography: A Manual of Design Typography: A Manual of Design
Emil Ruder
Emil Ruder
Round 1:
Niggli Verlag
Niggli Verlag
1967
1967
Elyssa Bezner March 3
Niggli Verlag 1967
Emil Ruder
Typography: A Manual of Design 1967
Niggli Verlag
Typography: A Manual of Design Emil Ruder
Round 1:
Elyssa Bezner March 3
Typography: A Manual of Design Typography: A Manual of Design
Emil Ruder
Emil Ruder
Niggli Verlag 1967
Round 1:
1967
Elyssa Bezner March 3
Niggli Verlag
Emil Ruder
1967 Niggli Verlag
Typography: A Manual of Design
Emil Ruder Typography: A Manual of Design
Niggli Verlag 1967
Round 1:
Elyssa Bezner March 3
1967 Typography: A Manual of Design 1967 Emil Ruder
Emil Ruder
Niggli Verlag
Niggli Verlag
Typography: A Manual of Design Round 1:
Elyssa Bezner March 3
1967 Typography: A Manual of Design Emil Ruder Niggli Verlag
Typography: A Manual of Design Emil Ruder 1967 Niggli Verlag
Round 1:
Elyssa Bezner March 3
1967
Niggli Verlag
Typography: A Manual of Design
Typography: Emil Ruder
A Manual of Design Emil Ruder
1967
Round 1:
Niggli Verlag
Elyssa Bezner March 3
Typography: A Manual of Design
TYPOGRAPHY: A Manual of Design
Emil Ruder
Round 2:
Emil Ruder Niggli Verlag
Niggli Verlag
1967
1967
Elyssa Bezner March 3
Typography: A Manual of Design
TYPOGRAPHY: A Manual of Design
Emil Ruder Emil Ruder Niggli Verlag
Niggli Verlag
1967
1967
Round 2:
Elyssa Bezner March 3
1967
1967 Emil Ruder
emil ruder
Niggli Verlag
niggli verlag
Typography: A Manual of Design
Round 2:
typography: a manual of design
Elyssa Bezner March 3
Typography: A Manual of Design
typography: a manual of design
Emil Ruder 1967 Niggli Verlag
Round 2:
emil ruder 1967 Niggli Verlag
Elyssa Bezner March 3
Niggli Verlag 1967
Niggli Verlag 1967
typography: Typography: A Manual of Design
a manual of design emil ruder
Emil Ruder
Round 2:
Elyssa Bezner March 3
1967 Typography: A Manual of Design
1967 Typography: a manual of design
Emil Ruder
Emil Ruder Niggli Verlag
Niggli Verlag
Round 2:
Elyssa Bezner March 3
modular grid round 2
Emil Ruder
Typography: A Manual of Design 1967
Round 3
Niggli Verlag
Emil Ruder
Typography: A Manual of Design 1967
Niggli Verlag
Elyssa Bezner March 5
Emil Ruder
Typography: A Manual of Design 1967
Round 3
Niggli Verlag
Emil Ruder
Typography: A Manual of Design 1967
Niggli Verlag
Elyssa Bezner March 5
Emil Ruder
Emil Ruder
Typography: A Manual of Design 1967
Round 3
Niggli Verlag
Typography: A Manual of Design 1967
Niggli Verlag
Elyssa Bezner March 5
Niggli Verlag 1967
Niggli Verlag 1967
typography:
typography:
a manual of
a manual of
design
design
Round 3
emil
emil
ruder
ruder
Elyssa Bezner March 5
Niggli Verlag 1967
Niggli Verlag 1967
typography:
typography:
a manual of
a manual of
design
design
Round 3
emil
emil
ruder
ruder
Elyssa Bezner March 5
Niggli Verlag 1967
Niggli Verlag 1967
typography:
typography:
a manual of
a manual of
design
design
Round 3
emil
emil
ruder
ruder
Elyssa Bezner March 5
Emil Ruder
Emil Ruder
Typography: A Manual of Design
Typography: A Manual of Design
Niggli Verlag
Niggli Verlag
1967
1967
Round 3
Elyssa Bezner March 5
Emil Ruder
Emil Ruder
Typography: A Manual of Design
Typography: A Manual of Design
Niggli Verlag
Niggli Verlag
1967
1967
Round 3
Emil Ruder
Emil Ruder
Typography: A Manual of Design
Typography: A Manual of Design
Niggli Verlag
Niggli Verlag
1967
1967
Round 3
Elyssa Bezner March 5
modular grid round 3
1967
Niggli Verlag
Typography: A Manual of Design
Emil Ruder
Typography: A Manual of Design
Niggli Verlag 1967
Round 3
Emil Ruder
Elyssa Bezner March 23
Emil Ruder Niggli Verlag
1967
Emil Ruder
Typography A Manual of Design
Typography: A Manual of Niggli Design
Verlag
Round 3
1967
Elyssa Bezner March 23
Typography: A Manual of Design
Niggli Verlag Emil Ruder
1967 Round 3
Typography: A Manual of Design Emil Ruder Niggli Verlag
1967
Elyssa Bezner March 23
Emil Ruder
1967
Emil Ruder Niggli Verlag
Typography: A Manual of Design
Typography: A Manual of Design
Niggli Verlag
1967
Round 3
Elyssa Bezner March 23
Niggli Verlag 1967 Emil Ruder
Typography: A Manual of Design
Round 3
1967 Typography: A Manual of Design Niggli Verlag
Emil Ruder Elyssa Bezner March 23
Typography: A Manual of Design
Niggli Verlag Emil Ruder
1967
Niggli Verlag EmilRu Round 3
1967 Typography: A Manual of Design
Elyssa Bezner March 23
Niggli Ve r l a g
E m i l R u d e r
1967
N i g g l i V e r l a g
Typography: A Manual of Design
Emil Ruder Round 3
1 9 6 7
Typograp A Manual Design Elyssa Bezner March 23
Niggli Ve r l a g
Emil Ruder
1967
Niggli Emil Ve r l a g R u d e r
Typogra A Manu of Desi 1967
Typography: A Manual of Design
Round 3
Niggli Verlag Emil Ruder
1967
ypogra A Manu of Desig 1967
Emil Ruder Typography: A Manual of Design
Round 3
N i g g l i Ve r l a g
Elyssa Bezner March 23
Emil Rude 1967
Typography: A Manual of Design Niggli Verlag
Round 3
Emil Ruder 1967 Niggli Verlag
Typograph A Manua of Desig Elyssa Bezner March 23
modular grid round 3 part 2
ypogr A Man of DesEMIL 1967
Typography: A Manual of Design
NIGGLI VERLAG
Emil Ruder N ig g l i Ve r l a g
Round 3: Scale Part 2
1967
RUD Elyssa Bezner March 26
EMIL RUDER
19 67
Niggli Ve r l a g Emil Ruder
TYPOGRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG
Round 3: Scale Part 2
TYPOGRAPHY: A MANUAL OF DESIGN
1967 Elyssa Bezner March 26
19 iggl 67 erla Typography: A Manual of Design
Emil Ruder
Typography: A Manual
of Design
1967
Round 3: Scale Part 2
Emil Ruder
Elyssa Bezner March 26
Niggli Verlag
Niggli Ve r l a g
Emil Ruder
1967
1967
TYPOGR MANUA OF DESI Round 3: Scale Part 2
Emil Rude Typography: A Manual of Design
Elyssa Bezner March 26
Niggli Verlag
T Y P Emil G R A Ruder H Y: Typography: A Manual of Design
a manual of design
emil ruder niggli verlag
Niggli Verlag 1967
Round 3: Scale Part 2
Elyssa Bezner March 26
modular grid round 4
Back Cover
Niggli Ve r l a g “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.
Front Cover
Niggli Ve r l a g Emil Ruder
Niggli Ve r l a g EMIL RUDER
Emil Ruder TYPOGRAPHY: A MANUAL OF DESIGN
Round 4: Elyssa
TYPOGRAPHY: 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.
Spine
TYPOGRAPHY: A MANUAL OF DESIGN
1967 score and fold
Back Cover
Emil Ruder
Niggli Ve r l a g “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.
Round 4: Elyssa
Niggli Ve r l a g
Emil Ruder
TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: 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.
Spine
Front Cover
Niggli Ve r l a g Emil Ruder
TYPOGRAPHY: A MANUAL OF DESIGN
1967 score and fold
Back Cover
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 RUDER
Front Cover
EMIL RUDER
19 67
NIGGLI VERLAG 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.
Round 4: Elyssa
EMIL RUDER
TYPOGRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG
score and fold
Back Cover
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” 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
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
19 67 TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
Round 4: Elyssa
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
Front Cover
NIGGLI VERLAG
score and fold
Back Cover
Spine
il ber
1967
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.
Round 4: Elyssa
“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
Typography: A Manual of Design
Typography: A Manual of Design
Niggli Verlag
Front Cover
Emil Rud Typography: A Manual of Design
score and fold
Niggli Verlag
Back Cover
Spine
Front Cover
1967
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
Round 4: Elyssa
Emil Ruder
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.
Typography: A Manual of Design
Niggli Verlag
Emil Rud
Typography: A Manual of Design
score and fold
Niggli Verlag
Back Cover
Niggli Verlag
“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.
Round 4: Elyssa
Typography:A Maunal of Deisgn
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
Emil Ruder
Spine
Front Cover
Emil
R
uder
Typography: A Manual of Design
Niggli Verlag 1967
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.
Emil Ruder
Round 4: Elyssa
Typography:A Maunal of Deisgn
“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
Niggli Verlag
Spine
Front Cover
Emil
R
uder
Typography: A Manual of Design
Niggli Verlag 1967
score and fold
modular grid final layouts
“Typography: a manual of
was a Swiss typographer. He is design” is the legacy of Emil Ruder. distinguishable in the field of typography The volume is a comprehensive for developing a holistic approach to masterpiece seen in its overall designing and teaching that consisted structure: in the themes presented, of philosophy, theory and a systematic in the comparison of similarities and practical methodology. Ruder was one contrasts, in the richness of the of the major contributors to swiss style illustrations and the harmoniously design. He taught that typography’s inserted types. Today, fifty years after purpose was to communicate ideas this book was first published, it is still through writing, as well as placing widely used and referenced. 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 Ruder (1914–1970)
Niggli Ve r l a g
EMIL RUDER EMIL RUDER
Niggli Ve r l a g
TYPOGRA A MANUA OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
1967
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.
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 EMIL RUDER
NIGGLI VERLAG
EMIL RUDER
19 67 TYPOGRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG
Typography: A Manual of Design
l er
Typography: 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.
“Typography: A Manual of Design” is the legacy of Emil Ruder. The
1967 Emil Ruder
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
Niggli Verlag
Emi Rud Niggli Verlag
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
Niggli Verlag
Typography:A Maunal of Deisgn
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.
Typography: A Manual of Design
Niggli erlag
V Emil Ruder 1967
Emil Ruder
A Manual of Design
Niggli Verlag
Emil Ruder
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.
19 67
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.
Typography: A Manual of Design
Niggli Verlag
Emil Ruder