Haidyn Sosalla-Bahr Modular Grid Process Book by haidynsosalla-bahr

Modular Grid Terms & Research

TERMS Text Alignments: Justified text: Left and right edges are both even Flush left: Left edge is hard, right edge is soft. Word spacing does not fluctuate. Flush right: Right edge is hard, left edge is soft. Hard to read, but can make effective side notes and pull quotes

Font Family: Set of fonts that have a common design Styles: A typeface variation (normal, bold, italic, compressed, etc.)

Parts of the grid: Margin: Buffers. They are the space between the trim size and the page content. Gutter: Width of the space between columns and/or rows Column: Vertical container that holds type or images Module: Individual divisions separated by consistent space

Line spacing/leading: The distance from the baseline of one line of type to another.

one or more cues, applied consistently across a body of text. A cue can be spatial (indent, line spacing, placement) or graphic (size, style, color).

Tracking: Adjusting the overall spacing of a group of letters.

Kearning: An adjustment of the space between two letters.

READING/VIDEO NOTES Thinking With Type: Grids ●

Golden section: relationship between sizes of elements, a:b = b:(a+b). ○

The smaller of two elements (such as the shorter side of a rectangle) relates to the larger element in the same way that the larger element relates to the two parts combined. Numerically is 1:1.618.

●

Multicolumn grid ○

Hierarchy: Expresses the organization of content, emphasizing some elements and subordinating others. Each level of the hierarchy should be signaled by

Work well for integrating both text and illustrations, zones for different kinds of content

○ ●

Hang line: horizontal line, possibly for setting aside images, that

○

Relative: seeming larger or smaller based on its context

text can then “hang” from

○

Conveys meaning: closer or further away based on size (or conceptual, think data visualization: more important elements

Modular grid ○

are larger)

consistent horizontal divisions from top to bottom in addition to vertical divisions from left to right. These modules govern the

●

○

placement and cropping of pictures as well as text ●

Dramatic contrast in scale can bring life to layout ones

Baseline grid ○

Tension between small, delicate characters and large, bold

○

Modular grids are created by positioning horizontal guidelines

Surprise audience with unexpected changes in scale

in relation to a baseline grid that governs the whole document. Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm.

Video: Asymmetry ●

Symmetry: many natural organisms are symmetrical, symmetrical layouts are inherently stable and balanced ○

Inherently understandable, since humans are symmetrical

Things to avoid: lots of holes in justified type, centering all of your text,

○

Can also be dynamic with varied size of elements

elements floating towards the edges and not being anchored, too many

○

Utilized in a creative way, it can have drama and energy

Video: The Grid ●

forms of emphasis ●

anchored elements fall in line with the grid and are not free-floating

●

Line spacing: important resource to create texture, can be used

●

Asymmetry: moving elements around until they feel balanced, but not symmetrical. Intuitive perception. ○

keep it balanced is a good asymmetrical design

creatively to make open or closed fields of type, each with their own ○

moods and functions; or mix and match different lines of type ●

leads to nothing looking important.

Focused on movement: guide viewer’s eye organically to all parts of a layout

A change in pace can create emphasis in design (for example: different colored text, bold, italic, or underlined), but too much emphasis quickly

For example, flush left type with enough interest on the right to

●

Symmetry is not always either/or ○

Either way, strong contrast, tension and dynamism can be achieved

Video: Scale & Tension ●

Scale: how big something is, but more complicated

Making and Breaking the Grid p. 22-31 ●

Grid is an approach to bringing elements together for better communication ○

Benefits of grid: clarity, efficiency, economy, continuity

●

Letter -> word -> line -> structure

●

Alignments between masses and voids visually connect and separate them

●

Working with a grid depends on two phases of development ○

First phase: assess informational characteristics of content

○

Second phase: laying out material by grid

Types of grids ○

Manuscript grid: simplest kind, base structure is large rectangle over most of page. Large volume of type can feel static, so look at margin proportions.

○

Column grid: flexible. Columns can be dependent on each other or independent for smaller notes. Flowlines create horizontal bands.

○

Modular grid: Essentially column grid w many flowlines, which create modules.

○

Hierarchical grid: Don’t conform to any category, intuitive placement and arrangement of information.

●

Variation and Violation ○

Designer must use grid in dynamic, interesting ways

○

Each spread has unique character, but all work as part of a whole

on typography rather than illustration and an overall simple and contrasting RESEARCH

atmosphere. Following the birth of Swiss Style, it quickly became a new global

Swiss Style often referred to as the International Style (general information,

design sensation, spreading far from its home in central Europe. Notably, many

dates, people, influences)

American designers embraced this style, and to this day continue to employ it

The Swiss Style of design is characterized by cleanliness, clarity, and

to create legible, unified layouts. A good example of the influence of Swiss

harmoniousness, often due to the use of various types of grids in creating

Style in America is the nearly ubiquitous presence of Helvetica in day-to-day

layouts. Another strong unifying element in this genre of design is the use of

life.

sans serif typefaces, with Helvetica and Univers being two well-known and commonly used fonts in Swiss Style. The use of such simple typefaces along with minimal ornamentation and stable grid layouts led to Swiss Style becoming highly popular in the design world for its serviceable and clear-cut way of presenting information. Rather than distracting the viewer with excessive decoration, Swiss Style stripped away all unnecessary elements, leaving behind designs that were still visually pleasing but also practical and highly functional. Ernst Keller is one of the most key figures in Swiss Style design, often considered to be the “father of Swiss design”. He secured a position as a teacher at a Swiss art school in 1918 and would go on to inspire a generation of students to embrace the confident simplicity of the design style he championed. One of these students was Armin Hoffman, who carried on many of the tenets of Keller’s teachings. Along with Emil Ruder, Hoffman founded another Swiss design school in 1947, in which his curriculum is still taught. His methods were considered unorthodox, but they were in line with many of the ideals now commonly associated with Swiss Style, such as a strong emphasis

It is ironic that while Tissiâ&#x20AC;&#x2122;s designs have spread throughout the world and received positive recognition in a variety of countries, putting a label to her Rosmarie Tissi

style still is a difficult task. Although her work started out with a focus on grid-

Rosmarie Tissi began her career as an influential designer when she

based utilitarianism, it eventually evolved to include a much more personal and

attended the same school that Ernst Keller once taught at, the

dynamic streak along with experimental layouts, thus separating itself from

Kunstgewerbeschule (School of Arts and Crafts) in ZĂźrich, Switzerland. She

Swiss Style, but still remaining tied to the term through its use of a few

was still a student by the time she began to receive recognition for her

underlying tenets of Swiss design that are instantly recognizable to anyone

outstanding work in typography and layouts; her work was published in the first

familiar with it.

issue of the magazine Neue Grafik in 1957, when she was only 20 years old. Neue Grafik would go on to become one of the most highly regarded publications in the world of design. Tissi took an apprenticeship with a wellknown and highly influential Swiss designer named Siegfried Odermatt and would go on to continue working with him for years, even after her apprenticeship had been completed. His disobedience of accepted design industry rules clearly had an influence on her, as she also developed an against-the-grain approach to design in her later work. Tissiâ&#x20AC;&#x2122;s work contributed greatly to the prominent Swiss Style of design. Her layouts became known for their boldly simplistic style; she never included too many elements together, but instead played with the proportions of the few elements she did use and embraced negative space to create impactful and uncluttered visuals. Although her work has become associated with Swiss Style, Tissi has remained unconcerned with following trends to the letter, instead choosing to pursue her own avenues for creative solutions. Her work carries a strong personality with it through its use of bright colors and type experiments to contribute to functional but eye-catching configurations.

Josef Müller-Brockmann Josef Müller-Brockmann was a Swiss graphic designer and was widely celebrated for pioneering one of the most influential tools in graphic design to date: the grid. Additionally, he co-founded Neue Grafik, which came to be regarded as a highly prominent periodical in the world of design. His career spanned a few very turbulent periods in history, such as the Second World War and the Cold War, and on top of this his designs had to be able to communicate to the multilingual population of Switzerland. Faced with these challenges, Müller-Brockmann sought to create a style of design that was accessible to all through its harmony, unobtrusiveness, universal appeal. The basis of Müller-Brockmann’s compositions lies in the use of grids, a trait which would cement his position as one of the leading figures of Swiss Style design. Using grids meant that his work was devoid of any unnecessary distractions or overly performative elements. Everything was laid out in its place in a top-to-bottom, left-to-right scheme that would be familiar to speakers of almost any European language. Hierarchy was very important to him, and he believed that every element in his compositions should be a part of a clear order in order to facilitate movement. This led to his work becoming a master class in the importance of simplicity. Rather than using many elements in layouts or falling victim to overdesigning, Müller-Brockmann harnessed the communicative power of simplified designs and clean, legible typography. Unsurprisingly, Müller-Brockmann’s work became the face of Swiss Style design and thus globally influential. The unity of his designs was much needed during times when it seemed like the rest of the world was in chaos. His work was symbolic of the harmonizing force that Europe needed while it

was recovering from war and destruction, and his use of grids made this possible.

Paul Rand

and clear in its restraint, IBM’s transformed visual identity accomplished similar

Paul Rand was an American graphic designer and a pioneer of

things: it told a strong message in a way that was bold, but not flashy. Each of

embracing the distinctive Swiss Style of design in America. He became

the slew of Rand’s subsequent branding projects is different in its own way, but

renowned for his logo design work, with his portfolio including many high-profile

clearly focuses on the same goals.

corporate clients such as IBM, ABC, and UPS. While attending school at Parsons School of Design, he began to amass an impressive portfolio and quickly gained recognition for his bold, colorful designs. His work in page design landed him a job at Apparel Arts magazine (now known as GQ). From there, he would go on to delve into the work that most people now associate him with: logo design and corporate identity. One of Rand’s most important guiding philosophies in creating his work was that of utilizing graphic design as a “universal language”. He believed that through clean, orderly simplicity, a design could speak to anyone, regardless of their own experience. His first influences included German Bauhaus, the De Stijl movement, and Russian Constructivism. Later on, along with others in the design world, he was an advocate for bringing the tenets of Swiss Style over to American design. Rand is a particularly good example of the blend of Swiss and American stylistic sensibilities, as his work exhibits a combination of Europe’s distinctive modernism bolstered by a streak of American spirit. He took a similar approach to many Swiss Style designers in that he stripped his work of sentimentality and highly emotional elements, instead allowing its simplicity to be understandable to any viewer. It was Rand’s later work in developing corporate identities, however, that truly makes him stick out as a key figure in American design history. During a time when the concept of corporate identities was newly emerging, Rand took on IBM as a client. Just as his earlier work strove to be communicative

Emil Ruder

had lost any ability to transition to the modern age allowed Swiss Style to take

Emil Ruder was a Swiss graphic designer and typographer who

off in popularity, leading to its eventual pursuit by a huge variety of designers,

dedicated much of his career to the teaching of new generations of design

many Americans included. The effects of Ruderâ&#x20AC;&#x2122;s push for modernity can still

students. He began to gain notoriety after teaming up with Armin Hofmann on

be seen and felt in the United States today.

several projects and continuing his prolific teaching career. All of this considered, however, he is primarily known for the radical direction his work took after the Second World War, when many forms of European art and design were left stagnant and struggling to find direction. He was a dedicated promoter of the Swiss Style and was partially responsible for its dissemination to other countries. During this time in which art forms needed new life breathed into them, Ruder recognized the apparent demand for revolution and so embarked on a journey to transform typography and design. His thinking was oriented around what the people of the time would respond to rather than adhering to any sort of previously accepted rules of design or aesthetics. The result was work that looked radically different from the design that most people were used to, but it came at the perfect time and was received with positivity. His designs were not whimsical or gaudy, as Ruder felt those traits would detract from the true purpose of design as a form of communication, but they did utilize strong contrast and inventive new laws of layout. All of this being said, he also did not discount the need for aesthetic appeal even in something meant to primarily functional, such as typography, and as such sought for a balance between the practicality of his designs and their visual appeal. As was the case with many Swiss designers at the time, Ruder was a strong advocate for the use of grids in compositions, as well as for the Swiss Style in general. His original take on design in a setting where most art forms

Modular Grid Round 1

1967

Typography: A Manual of Design 1967

Emil Ruder

Niggli Verlag

Emil Ruder

Typography: A Manual of Design

Round 1: 2 sizes 14pt + 36pt Reg + Black

Haidyn Sosalla-Bahr

Typography: A Manual of Design Typography: A Manual of Design

Emil Ruder

1967

Emil Ruder

Niggli Verlag

1967

Round 1: Part One: 2 sizes 14 + 36 Reg + Black

Typography: A Manual of Design

Emil Ruder Niggli Verlag

T Y P O G R A P H Y: A M A N UA L O F DESIGN

Emil Ruder

Niggli Verlag

1967

Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps

1967

Niggli Verlag 1 9 67

Emil Ruder

Ty p o g ra p hy : A M a n u a l of D es i g n

Niggli Verlag 1

7 Emil Ruder

TYPOGRAPHY: A MANUAL OF DESIGN

Round 1:

Emil Ruder 1967

EMIL RUDER

NIGGLI VERLAG

Niggli Verlag

1967

Typography: A Manual of Design T y p o g r a p h y : o f D e s i g n

Round 1:

M a n u a l

Emil Ruder

Typography: A Manualof Design

1967

Niggli Verlag Typography: A Manual of Design

Niggli Verlag

Emil Ruder

Round 1:

Ty p o g r a p h y : A Manual of Design

T Y P O G R A P H Y: A MANUAL OF DESIGN 1967

Niggli Verlag

E M I L

R U D E R

1967

NIGGLI VERLAG

Round 1:

Emil Ruder

emil ruder

niggli verlag

typography: a manual of design

1967

emil ruder

TYPOGRAPHY: A MANUAL OF DESIGN

niggli verlag

1967

Round 2:

Emil Ruder

1967

Typography: A Manual of Design

NiggliVerlag typography: a manual of design

Niggli Verlag

Emil Ruder

Typography: A Manual of Design

TYPOGRAPHY: A MANUAL OF DESIGN

NIGGLI VERLAG

e m i l

r u d e r

1967

niggli verlag

EMILRUDER

1967

Modular Grid Round 2

typography: a manual of design

emil ruder

niggli verlag

1967

typography: a manual of design

emil ruder

niggli verlag

1967

typography: a manual of design

emil ruder

niggli verlag

1967

EMIL RUDER

NIGGLI VERLAG

1967

Typography: A Manual of Design

1967

Typography: A Manual of Design

EMIL RUDER

NIGGLI VERLAG

1967

Typography: A Manual of Design

1967

Typography: A Manual of Design

EMIL RUDER

NIGGLI VERLAG

1967

Typography: A Manual of Design

1967

Typography: A Manual of Design

Emil Ruder

Typography: A Manual of Design

Emil Ruder

1967 Niggli Verlag

Typography: A Manual of Design

Emil Ruder

1967

1967 Niggli Verlag

Niggli Verlag

Typography: A Manual of Design

Emil Ruder

1967

1967 Niggli Verlag

Niggli Verlag

Modular Grid Round 3

Typography: A Manual of Design

emil ruder

niggli verlag

1967

typography: a manual of design

EMIL RUDER

niggli verlag 1967

19 67

typography: a manual of design

emil ruder

niggli verlag

emil r ud er typography: a manual of design emil ruder

niggli verlag

emil ruder niggli verlag

typography: a manual of design

NIGGLI VERLAG

typo graphy: a manual of design niggli verlag

emil ruder

1967

EMIL 1967 typography: a manual of design

NIGGLI 1967 VERLAG

RUDER

Typography: A Manual of Design Emil Ruder

1967

Niggli Verlag

TYPOGRAPHY:AMANUALOFDESIGN

NIGGLI VERLAG

EMIL RUDER

1 9 67

TYPOGRAPHY: A MANUAL OF DESIGN

EMIL RUDER

Niggli Verlag 1967

typography: a manual of design

emil ruder niggli verlag

1967

niggli verlag EMIL RUDER

ty p o g ra p hy : a manual of design

1967

emil ruder NIGGLI VERLAG

typography: a manual of design 1967

Niggli Verlag

typography: a manual of design 1967

Emil Ruder

1 9 6 7

Typography: A Manual of Design

emil ruder

1967

e m i l

r u d e r

niggli verlag

typography: a manual of design

niggli verlag

TYPOGRAPHY: A MANUAL OF DESIGN

emil ruder

1967

Niggli Verlag

1967 ty p o g rap hy :

m an u al

d es i g n

emil ruder

em i l

r uder niggli verlag

NIGGLI VERLAG

TYPOGRAPHY: A MANUAL OF DESIGN

TYPOGRAPHY: A MANUAL OF DESIGN 1967

1967

Modular Grid Round 4

Back Cover

taught that typographyâ&#x20AC;&#x2122;s purpose was to

legacy of Emil Ruder. The volume is

communicate ideas through writing, as

a comprehensive masterpiece seen

well as placing a heavy importance on

in its overall structure: in the themes

Sans-serif typefaces. No other designer

presented, in the comparison of

since Jan Tschichold was as committed

similarities and contrasts, in the richness

as Ruder to the discipline of letterpress

of the illustrations and the harmoniously

typography or wrote about it with such

inserted types. Today, fifty years after this

conviction.

book was first published, it is still widely used and referenced.

niggli verlag

ty p o g ra p hy : a manual of design

VER LAG emil ruder

emil ruder

Front Cover

typography: a manual of design

contributors to Swiss Style design. He

NIG GLI Spine

emil ruder

1967

Round 4: v1

score and fold

Back Cover

Front Cover

typography: a manual of design

NIG GLI Spine

Typography A Manual of Design is the

taught that typographyâ&#x20AC;&#x2122;s purpose was to

legacy of Emil Ruder. The volume is

communicate ideas through writing, as

a comprehensive masterpiece seen

well as placing a heavy importance on

in its overall structure: in the themes

Sans-serif typefaces. No other designer

presented, in the comparison of

since Jan Tschichold was as committed

similarities and contrasts, in the richness

as Ruder to the discipline of letterpress

of the illustrations and the harmoniously

typography or wrote about it with such

inserted types. Today, fifty years after this

conviction.

book was first published, it is still widely used and referenced.

niggli verlag

VER LAG emil ruder

emil ruder

ty p o g ra p hy : a manual of design

emil ruder

1967

Round 4: v1

score and fold

Back Cover

emil ruder

niggli verlag

typography: a manual of design

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss

Spine

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

emil ruder

inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.

typography: a manual of design

Round 4: v1

Front Cover

19 67 emil ruder

niggli verlag

typography: a manual of design

score and fold

Back Cover

emil ruder

niggli verlag

typography: a manual of design

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss

Spine

emil ruder

inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.

typography: a manual of design

Round 4: v1

Front Cover

19 67 emil ruder

niggli verlag

typography: a manual of design

score and fold

Back Cover

Spine

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 typographyâ&#x20AC;&#x2122;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 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

emil ruder typography: a manual of design

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss

Front Cover

inserted types. Today, fifty years after this book was first published, it is still widely

typography: a manual of design

emil ruder

used and referenced.

NIGGLI VERLAG 1967

niggli verlag

Round 4: v1

1967

score and fold

TYPOGRAPHY: A MANUAL OF DESIGN

Back Cover

Spine

design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as

a comprehensive masterpiece seen

well as placing a heavy importance on Sans-

in its overall structure: in the themes

serif typefaces. No other designer since Jan

presented, in the comparison of

Tschichold was as committed as Ruder to the

similarities and contrasts, in the richness

discipline of letterpress typography or wrote

of the illustrations and the harmoniously

about it with such conviction.

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

typography: a manual of design

emil ruder typography: a manual of design

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss

Front Cover

1967

TYPOGRAPHY: A MANUAL OF DESIGN

niggli verlag

score and fold

1967

Back Cover

Spine

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss

Typography: A Manual of Design is the

typographer. He is distinguishable in the

legacy of Emil Ruder. The volume is a

field of typography for developing a holistic

comprehensive masterpiece seen in its

approach to designing and teaching that

overall structure: in the themes presented,

consisted of philosophy, theory and a

in the comparison of similarities

systematic practical methodology. Ruder

and contrasts, in the richness of the

was one of the major contributors to Swiss

illustrations and the harmoniously inserted

Style design. He taught that typographyâ&#x20AC;&#x2122;s

types. Today, fifty years after this book

purpose was to communicate ideas

was first published, it is still widely used

through writing, as well as placing a heavy

and referenced.

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

TYPO GRAPHY: A MANUAL OF DESIGN 1967

TYPOGRAPHY: A MANUAL OF DESIGN

typo graphy: a manual of design

Front Cover

e m i l

r u d e r

niggli verlag

Round 4: v1

score and fold

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

EMIL RUDER

TYPO GRAPHY: A MANUAL OF DESIGN 1967

TYPOGRAPHY: A MANUAL OF DESIGN

typography: a manual of design

Front Cover

e m i l

r u d e r

niggli verlag

Round 4: v1

score and fold

Back Cover

Spine

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach

TYPOGRAPHY: A MANUAL OF DESIGN

Front Cover

EMIL typography: a manual of design

EMIL RUDER

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 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.

Round 4: v1

NIGGLI VERLAG

EMIL RUDER

that typographyâ&#x20AC;&#x2122;s purpose was to communicate

NIGGLI 1967 VERLAG

RUDER score and fold

Back Cover

Spine

Emil Ruder (1914â&#x20AC;&#x201C;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

TYPOGRAPHY: A MANUAL OF DESIGN

Front Cover

EMIL typography: a manual of design

philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typographyâ&#x20AC;&#x2122;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

NIGGLI 1967 VERLAG

NIGGLI VERLAG

as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.

Round 4: v1

EMIL RUDER

RUDER score and fold

Modular Grid Final Round (refined)

Back Cover

Spine

typography: a manual of design

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss

Typography A Manual of Design is the legacy

typographer. He is distinguishable in the

of Emil Ruder. The volume is a comprehensive

field of typography for developing a holistic

masterpiece seen in its overall structure: in

approach to designing and teaching that

the themes presented, in the comparison of

consisted of philosophy, theory and a

similarities and contrasts, in the richness

systematic practical methodology. Ruder was

of the illustrations and the harmoniously

one of the major contributors to Swiss Style

inserted types. Today, fifty years after this

design. He taught that typographyâ&#x20AC;&#x2122;s purpose

book was first published, it is still widely used

was to communicate ideas through writing,

and referenced.

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

niggli verlag

NIG GLI VER LAG Front Cover

typography: a manual of design

emil ruder

1967

score and fold

Back Cover

emil ruder

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

emil ruder

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss

Spine

systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typographyâ&#x20AC;&#x2122;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

niggli verlag

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

legacy of Emil Ruder. The volume is

19 67 emil ruder

niggli verlag

about it with such conviction. Typography: A Manual of Design is the

Front Cover

typography: a manual of design

score and fold

Back Cover

Spine

typography: a manual of design

Front Cover

emil ruder typography: a manual of design

typography: a manual of design

Emil Ruder (1914â&#x20AC;&#x201C;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 typographyâ&#x20AC;&#x2122;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 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

score and fold

1967

Back Cover

Spine

niggli verlag

TYPO

1967

GRAPHY: A MANUAL OF DESIGN

emil ruder

TYPOGRAPHY: A MANUAL OF DESIGN

typo graphy: 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.

Front Cover

emil ruder

niggli verlag

score and fold

Back Cover

Spine

typography for developing a holistic approach

EMIL RUDER

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 typographyâ&#x20AC;&#x2122;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

TYPOGRAPHY: A MANUAL OF DESIGN

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of

EMIL RUDER

TYPOGRAPHY: A MANUAL OF DESIGN

Front Cover

EMIL typography: a manual of design

NIGGLI 1967 VERLAG

RUDER

of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.

score and fold

Modular Grid Final Round (with grid)

Modular Grid Final Round (no grid)