E M I LY
MYERS
V I S C O M 200
MODULAR GRID A N D
HIERARCHY
M O D U L A R
G R I D
RESEARCH
TYPE + GRID RESEARCH KEY TERMS
-Typefaces = Font family -Font (light, book, bold) -hierarchy establishes emphasis and points of importance -Kerning is the space between letters -Tracking is uniform spacing between letters -Leading is the space between lines of text
A WORD ON ALIGNMENT
ANATOMY OF THE GRID
TYPOGRAPHY TIPS
-Margins serve as buffer zones that outline the page content -Gutter are divisions of space between elements -Columns are vertical containers that hold type -Modules are individual cells of a grid
THINKING WITH TYPE: GRID
-Golden section: grouping based on the golden rectangle -Multi-column grids allow for flexibility and breakups of large chunks of information -Modular grids create cells for information
VIDEO: SCALE -Scale is relative and conveys meaning by
-Don’t use too many fonts -Use contrasting fonts to create hierarchy -Never stretch a font -use ligatures to add spice -purchase fonts to support type foundries
FONT STYLES -Sans Serif: modern -Serif: has feet, highly legible -Slab Serif: blocky feet -Display: sed decoratively -Blackletter: gothic, oldstyle type. -Script: cursive/handwriting -Symbols: wingdings
creating hierarchy
VIDEO: THE GRID
-Energizing when scale is unexpected
-Grids allow objects to be anchored to one another
VIDEO: ASYMMETRY
-Symmetry feels natural -Designers gravitate toward symmetrical designs -Asymmetry feels dynamic and alive -Symmetry is very popular in book design due to the central nature of the spine.
-Alignment is at the core of grid design -Avoid rivers -Flush left feels natural -Flush right feels dynamic -Structure needs to come from the objects, not just the margins
The Swiss International Typographic style was introduced in Switzerland in the 1940s and 1950s. This style has proved to be incredibly influential in the world of design, even to this day. The movement toward simplicity, legibility, and asymmetrical layouts was led mainly by designer Josef Muller-Brockmann. Brockmann was a huge proponent of incorporating text and photography in order to create multi-modal communication.
One of the major components of the Swiss design style is the incorporation of the grid into designs. Aligning objects to a grid allows for a sense of anchored togetherness of design elements that gave Swiss design it’s singularly appealing style that allowed for lots of breathing room and order in what used to be chaotivc styles. Swiss design traces back to many Although much of different influences the work produced including Dutch De in the swiss falls Stijl and arts and under the umbrella crafts. of graphic design, the term is also often used to describe industrial design and works by architects such as Le Corbusier. As typography is a major element of Swiss design, several fonts emerged during this
time period and began to dominate designs everwhere from subways to logos for huge corporations. Helvetica, also known as Die Neue Haas Grotesk, quickly became the top dog in the world of type, followed by similar sans serifs such as Akzidenz Grotesk.
SWISS STYLE
ROSMARIE TISSI Tissi’s work feature many playful, energetic, and dynamic elements. Although she placed strong emphasis on type, she was not afraid of using bright colors, as pictured on the poster to the left. She also used combinations of fonts to turn type itself into energetic and eye-catchinf compositions which can be seen in her work pictured below.
JOSEF MÜLLERBROCKMANN Brockmann was born May 9, 1914, in Rapperswil, Switzerland. His nationality remains inseparable from his name to this day as he is known as the father of the Swiss International design style. Renowned for his poster design, Brockmann was primarily a graphic designer despite exploring many creative fields, teaching, and writing several books outlining many of his design philosophies. Brockmann was a student of many subjects and interests throughout his life. He took classes in architecture, art history, psychology,
Rosmarie Tissi was a graphic designer born in 1937 began her professional training at the Zurich Arts and Crafts School, but changed her mind after a year, deciding to do a four-year vocational training course with graphic designer Siegfried Odermatt, where she eventually co-founded a studio called O&T. She was able to make a name for herself in the worl of design here, which makes her one of the first female graphic designers to do so. I believe she was chosen for this assignment due to her playful relationship with the grid, and influential nature as a female graphic designer.
I believe Brockmann was chosen for his prominence in the world of Swiss and grid design. He is regarded by many in the artistic world as the father of Swiss design. The impression Brockmann left on the world of design cannot be ignored.
and anatomy. During his education, he eventually became the assistant to Walter Diggelmann in Zurich who is known for his sports posters. Brockmann opened his own design studio in 1936. Assuming the role of a “jack of all trades”, Brockmann created a wide variety of work stretching from photography to set design and puppet making. Graphic design remained prominent in Brockmann’s life, however, as he worked as an artistic consultant for several organizations and companies, most notably IBM.
Paul Rand was one of the most influential graphic designers of the modern age. Born in 1914, Rand began his life on the East Coast of the United States, where he spent much of his time. Originally born with the name Peretz Rosenbaum, the designer quickly changed his overtly Jewish name to sound simpler and friendlier within the world of art and design. Due to lack of support from his parents, Rand was required to develop his skills largely on a self-taught basis, along withtaking night classes at Pratt during his High School years, and eventually attending Parsons School of Design. His style reflects that of the time. Inspired by European artists such as Cassandre and Moholy-Nagy, he took to the Swiss design style which was largely inspired by De Stijl and Arts and Crafts. Rand’s most noteworthy designs are corporate brand identities, specifically the logos he created for IBM, ABC, Ford, UPS, and Yale University.
Emil Ruder was a major influential force in typography and graphic design. who, Born in Switzerland in 1914, Ruder helped form the Basel School of Design and establish the style of design known as Swiss Design. His teachings focussed mainly on typography and he taught that, above all, typography’s purpose was to communicate ideas through writing. His work strives for clarity and concision, consistent with the philosophy of Swiss Design. Thus, Ruder was fond of using sans serif typefaces. I believe Paul Rand was chosen due to his singular and inspirational style. Clean typography and impressive portfolio of corporate logos. Personally, I am very fond of the Swiss International Design style, with Josef Muller-Brockmann as one of my all-time favorite graphic designers. His ability to overcome the lack of support from his father and go on to become one of the most influential, well-known, and highly respected graphic designers of the modern age is truly an inspiration to aspiring designers such as myself. Although Rand eventually passed in 1996, his designs are timeless.
PAUL RAND
Ruder’s contributions to the world of design, specifically within the realms of poster design and typography are incredibly influential and demonstrate a masterful command of the grid. While his works are mainly black and white, this helps to emphasize what he was able to do with clean typography which is why he was chosen for this assignment.
EMIL RUDER
M O D U L A R
G R I D
R O U N D
O N E
HIERARCHY
1967
Emil Ruder
Niggli Verlag
N i g g l i Ve r l a g 1967
Typography: a Manual of Design
Emil Ruder Typography: A Manual of Design
Emil Ruder Typography: a Manual of Design 1967
Typography: a Manual of Design
Niggli Verlag
Emil Ruder
1967 Niggli Verlag
Typography: a Manual of Design
1967 Niggli Verlag
Emil Ruder Niggli Verlag 1967
Emil Ruder
Typography: a Manual of Design
Emil Ruder Niggli Verag 1967
Emil Ruder
Typography: a Manual of Design Niggli Verlag
Typography: a Manual of Design
1967
Typography: A Manual of Design
Typography: A Manual of Design Emil Ruder Niggli Verlag 1967
Emil Ruder Niggli Verlag 1967
1967
Emil Ruder
Typography: A Manual of Design
Emil Ruder Niggli Verlag
Typography: A Manual of Design
1967 Niggli Verlag
1967
Niggli Verlag
Niggli Verlag
Emil Ruder
Typography: A Manual of Design
1967 Typography: A Manual of Design
Emil Ruder
1967
EMIL RUDER
NIGGLI VERLAG
Typography:
Typography: a Manual of Design
a
Manual of
Design
Emil Ruder NIGGLI VERLAG 1967
1 9 6 7 Nig gli
E m i l
R u d e r
Ve r l a g
Typography: a Manual of Design Nig gli
EMIL RUDER TYPOGRAPHY: A MANUAL OF DESIGN
1967
Ve r l a g
Typography: A Manual of Design
1 9 6 7 N i g g l i
Emil Ruder Niggli Verlag 1967
V e r l a g
TYPOGRAPHY: A MANUAL OF DESIGN
Emil Ruder
M O D U L A R
G R I D
R O U N D
T W O
COLOR + RULES
E m i l
E m i l
R u d e r
Typography: a Manual of Design Nig gli
1967
Ve r l a g
R u d e r
Typography: a Manual of Design Nig gli
1967
Ve r l a g
E m i l
R u d e r
E m i l
Typography: a Manual of Design Nig gli
1967
Ve r l a g
R u d e r
Typography: a Manual of Design Nig gli
1967
Ve r l a g
E m i l
R u d e r
E m i l
Typography: a Manual of Design Nig gli
1967
Ve r l a g
R u d e r
Typography: a Manual of Design Nig gli
1967
Ve r l a g
Typography: a Manual of Design
Typography: a Manual of Design
Emil Ruder
Emil Ruder
NIGGLI VERLAG 1967
NIGGLI VERLAG 1967
Typography: a Manual of Design
Typography: a Manual of Design
Emil Ruder
Emil Ruder
NIGGLI VERLAG 1967
NIGGLI VERLAG 1967
Typography: a Manual of Design
Typography: a Manual of Design
Emil Ruder
Emil Ruder
NIGGLI VERLAG 1967
NIGGLI VERLAG 1967
EMIL RUDER
1 9 6 7
1 9 6 7
Nig gli
Nig gli
Ve r l a g
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
Ve r l a g
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
1 9 6 7
1 9 6 7
Nig gli
Nig gli
Ve r l a g
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
Ve r l a g
TYPOGRAPHY: A MANUAL OF DESIGN
1 9 6 7
1 9 6 7
Nig gli
Nig gli
Ve r l a g
TYPOGRAPHY: A MANUAL OF DESIGN EMIL RUDER
Ve r l a g
TYPOGRAPHY: A MANUAL OF DESIGN EMIL RUDER
M O D U L A R
G R I D
R O U N D
T H R E E
SCALE
1967 Emil Ruder N i g g l i Ve r l a g
TYPOGRAPHY: a MANUAL of DESIGN
TYPO GRA PHY A MANUAL OF DESIGN
1967 E M I L
R U D E R
NIGGLI VERLAG
1967
1967 E m i l Ru d er N ig gl i Ver l a g
VERLAG TYPOGRAPHY: A MANUAL OF DESIGN
RUDER
TYPO
GRAPHY a
m a n u a l
o f
d e s i g n
typo graphy: VERLAG
RUDER
a m a n u al o f desig n
1967
TY PO GR AP HY
a Manual of Design Emil Ruder
Niggli Verlag 1967
VERLAG RUDER 1967 TYPOGRAPHY 1967
A MANUAL OF
DESIGN NIGGLI VERLAG EMIL RUDER
TYPOGRAPHY
A MANUAL OF
DESIGN
19
VERLAG RUDER
67
TYPOGRAPHY: A MANUAL OF DESIGN
19 67 TYPOGRAPHY: A MANUAL OF DESIGN
VERLAG RUDER
TYPOGRAPHY: A MANUAL OF DESIGN
19 67 NIGGLI VERLAG EMIL RUDER
19 67
NIGGLI VERLAG EMIL RUDER
TYPOGRAPHY: A MANUAL OF DESIGN
19 67 niggli verlag
typography:
emil ruder
typo graphy: a manual of design
Nig g l i
Verl a g
E mil Rud er 19 67
a manual of design
VERLAG & RUDER
TYPO
GRAPHY
TYPOGRAPHY: A MANUAL OF DESIGN
:
1967
NIGGLI VERLAG EMIL RUDER 1967
A MANUAL OF DESIGN
TYPO GRA PHY
:
NIGGLI VERLAG EMIL RUDER
1967
A MANUAL OF DESIGN
VERLAG RUDER TYPOGRAPHY A MANUAL OF DESIGN
: 1967
N ig g l i
Ve r l ag
E mi l Ru de r 1967
typography:
a m a n u a l o f d e s ig n
typography:
a manual of design Nig g l i
Verl a g
E mil Rud er 19 67
19 TY
1967
PO GR 67 AP HY
VERLAG RUDER
TYPOGRAPHY: A MANUAL OF DESIGN
Emil Ruder
Niggli Verlag
a Manual
of Design
1967 TYPOGRAPHY 1967
A MANUAL OF
DESIGN NIGGLI VERLAG EMIL RUDER
VERLAG RUDER TYPOGRAPHY: A MANUAL OF DESIGN
19 : typo 67 graphy:
VERLAG RUDER TYPOGRAPHY A MANUAL OF DESIGN
niggli verlag
emil ruder
1967
a manual of design
TYPO
GRAPHY
:
NIGGLI VERLAG EMIL RUDER 1967
A MANUAL OF DESIGN
VERLAG RUDER 1967
TYPOGRAPHY: A MANUAL OF DESIGN
VERLAG & RUDER TYPOGRAPHY: A MANUAL OF DESIGN 1967
TYPOGRAPHY: A MANUAL OF DESIGN
19 67
NIGGLI VERLAG EMIL RUDER
TY PO GR AP HY
1967
Emil Ruder
Niggli Verlag
a Manual
of Design
TYPOGRAPHY: A MANUAL OF DESIGN
19 67
NIGGLI VERLAG EMIL RUDER
TYPO
GRAPHY
:
NIGGLI VERLAG EMIL RUDER 1967
A MANUAL OF DESIGN
19
VERLAG RUDER
67
TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY 1967
A MANUAL OF
DESIGN NIGGLI VERLAG EMIL RUDER
M O D U L A R
G R I D
R O U N D
F O U R
BACK COVER + SPINE
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.
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
Typography A Manual of Design
TY PO GR AP HY
1967
Emil Ruder
Niggli Verlag
a Manual
of Design
Niggli Verlag
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.
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
Verlag & Ruder
Ruder
TY PO GR AP HY
1967
Emil Ruder
Niggli Verlag
a Manual
of Design
R u de r
VERLAG 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
TYPOGRAPHY: A MANUAL OF DESIGN
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.
19
VERLAG RUDER
67
TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY:
A MANUAL OF DESIGN
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
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 M A N U A L O F D E S I G N
Emil Ruder
Emil Ruder
19
VERLAG RUDER
67
TYPOGRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG EMIL RUDER
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 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.
19 67
NIGGLI VERLAG EMIL RUDER
TYPOGRAPHY: A MANUAL OF DESIGN
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
Ruder
A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG 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
TYPOGRAPHY:
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
A MANUAL OF DESIGN
Emil Ruder (1914–1970) was a Swiss typographer.
RUDER
TYPOGRAPHY: A MANUAL OF DESIGN
19 67
NIGGLI VERLAG EMIL RUDER
RUDER
NIGGLI VERLAG EMIL A MANUAL OF R U D E R DESIGN TYPOGRAPHY 1967
TYPOGRAPHY
A MANUAL OF
DESIGN
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
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 EMIL RUDER
MANUAL OF DESIGN
EMIL RUDER
TYPOGRAPHY
A
NIGGLI VERLAG
A MANUAL OF
DESIGN
TYPOGRAPHY A
MANUAL
OF
TYPOGRAPHY 1967
DESIGN
NIGGLI VERLAG 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.
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
TYPOGRAPHY A MANUAL OF DESIGN
EMIL
RUDER NIGGLI
VERLAG
EMIL RUDER
TYPO
GRAPHY
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 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 RUDER 1967
A MANUAL OF DESIGN
TYPOGRAPHY A MANUAL OF DESIGN
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.
TYPO 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
GRAPHY
:
NIGGLI VERLAG
EMIL RUDER
NIGGLI VERLAG
EMIL RUDER
EMIL RUDER 1967
A MANUAL OF DESIGN
M O D U L A R
G R I D
FINAL FIVE
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
Typography: a M a n u a l o f D e s i g n
VERLAG & RUDER
Typography: a Manual of Design
TY PO GR AP HY
1967
Emil Ruder
Niggli Verlag
a Manual
of Design
Ruder
EMIL RUDER
Ruder. The volume is a comprehensive masterpiece seen in its
NIGGLI VERLAG
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 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
TYPOGRAPHY: A M A N U A L O F D E S I G N
TYPOGRAPHY A Manual of Design is the legacy of Emil
Emil Ruder
19
VERLAG RUDER
67
TYPOGRAPHY: A MANUAL OF D ESIG N
TYPOGRAPHY: N I G G L I E M I L
V E R L A G
R U D E R
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 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.
19 67
NIGGLI VERLAG EMIL RUDER
TYPOGRAPHY: A MANUAL OF DESIGN
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
Ruder
A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
NIGGLI VERLAG
TYPOGRAPHY
A MANUAL OF
A MANUAL OF DESIGN
DESIGN
TYPOGRAPHY “TYPOGRAPHY A MANUAL OF DESIGN IS THE LEGACY OF EMIL RUDER.”
DESIGN
R U D E R
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
E M I L
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
T Y P O G R A P H Y 1 9 67
NIGGLI VERLAG EMIL RUDER
EMIL RUDER
TYPOGRAPHY A MANUAL OF DESIGN
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 NIGGLI 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.
TYPO
GRAPHY
:
A MANUAL
OF DESIGN NIGGLI VERLAG EMIL RUDER 1967