Modular Grid Process Book

modular grid process book

HALLIE POPE ABBEY OCKINGA VISC 200 SPRING 2020

research

TERMS + NOTES

TEXT ALIGNMENTJUSTIFIED TEXT: even edges on left + right; space efficient, clean, compact, designers adjust tracking to fix lines that look ugly as a result

FLUSH LEFT: left edge is hard and right is soft, never big holes in texts, but must be careful about how right edge looks (too even or uneven, etc)

FLUSH RIGHT: soft left, hard right, supposedly harder to read, usually not used for long bodies of text, effective for smaller quotes or margin notes

PARTS OF THE GRIDMARGIN: space between body of page and its edges GUTTER: space between columns of type COLUMN: a vertical block of content separated by guides or guides MODULE: individual units of space divided at regular intervals, used to create columns and rows, and from those, grids

FONT FAMILYSTYLES:

TRADITIONAL: roman, italic, bold, small caps; modern can include other EXTENDED: hairline, black, extended, condensed SUPER: serif, sans serif, everything in between

LINE SPACING/LEADING- distance from baseline of one line of type to another; default in most software is 120% per type size Can be used to create denser sections or seperate elements entirely TRACKING- adjusting overall spacing of letter groups, usually small adjustments, not noticeable to reader, can track certain words for emphasis, though Negative can be used on short lines of text White on black is more legible when tracked

KERNING- an adjustment of the space between two letters Metric: built tables that automatically space the letters and adjust for often problematic combinations Optical: done after the type has been set, adjusted manually by the designer to account for spacing issues or ideas

HIERARCHY- expresses organization of content, emp on some elements and subordinate others Creates path for viewers Signaled by cue like color, size, space, placements, etc No more than 3 cues per level of a doc Only use one signal at a time in text bodies

THINKING WITH TYPE - GRID NOTES Golden Section

A : B = B : (A+B)

Smaller side of rect : long

side = long : combined sides

1 : 1.618

Some peeps live and die by it, others think

just as valid as any other method

Remove square from rect and you get

another perfect rect Multicolumn Grid

Good for publications w/ hierarchical

system or combo of text + illustration

More columns = more flexible grid

Can zone content to create hierarchy

Not all space need be filled, and pieces can

span multiple columns Designing w/ a Hang Line

Can divide pages both horiz and vert

Can reserve top for images and body text

hangs from common line; the two

are separated by horiz band for structure Modular Grid

Consistent horiz divisions top to bottom

and vert from left to right

Governs pics + text Baseline Grid

Position horiz guides in relation to

base grid over whole doc

Anchor pieces to common rhythm Choose type size and leading so they divide evenly, and use line space to set baseline grid Adjust top and bottom margin to make up for leftover space Determine page units using number of lines in grid Count lines in full column of text, then choose even dividing number for horiz divisions For headlines, captions, other: choose line spacing that works with baseline

Headline: 18/24

Subhead: 14/18

Caption: 8/12 Position all page elements in relation to baseline grid when possible, don’t force it tho Sometimes beneficial to ignore grid tho

Indesign Baseline: Preferences > Grids + Guides

Horiz Dividers: Layout > Create Guides

Text frames auto align to baseline grid: Object > Text Frame Options > Baseline Options > Leading

Leading determines where baseline falls from top of

text frame

SCALE AND TENSION VIDEO NOTES ELLEN LUPTON VIDEO NOTES

Architecture of Typography

Graphic design about alignment

Anchor objects to others

Uniformity and variety created

Centered alignment is formal, symm, static

Used on tombstones so can remind of death

Justified saves space, makes nice boxes

Can end up with holes aka rivers so

must work to prevent that

Flush left is organic, hard edge on one side,

soft on other

Flush right is unusual so dynamic,

soft on left and hard on right

Use flush for motion/movement,

guiding viewer

Boring = everything central

Awkward = floating elements not

aligned to anything

Aligning through internal structure

is v helpful

Jan Tschihold - made grids w/ flush left

elements anchored to each other

Line spacing creates texture, open or close

feelings, lighter or darker

Line spacing can be used to mix +

match type lines

Don’t mix methods for emphasis,

focus on one only

Scale is relative Things seems big or small based on context Can convey meaning in terms of depth Can convey importance of info by sizing Tells a visual story Cropping can imply scale Contrast in scale can use small delicate and big bold ones to create tension Not entirely random, but instead, is precise and uses repetition in creating tension Small book w/ large type on almost every page to convey loud subject Changing scale can energize design Playing with what is common and breaking rules can sometimes create interest

ASYMMETRY VIDEO NOTES Symmetry is in nature, keeps balance

Centered layouts work with symm to keep

page equal Asymm is moving elements until they feel balanced, even in irregularity

Creates living, dynamic, moving layouts Symm can use cropping or different sizing to still create movement or tension

Can seem to create traditional comps, but

drama can be made by altering

the text in unique ways

Central patterns can be used with

disruption to create interests

Can use book spine symm designs in dynamic

ways by using the cut off

parts to create visual interest

Half sheet of yellow in middle of book for

moving design, but still symm Can find balance in asymm or symm, and can accent in contrasting color, shape, pattern, etc Symm relates to logic and sense, but must be used creatively to be designed well Asymm is more exciting, organic, and easier to create movement in

ROSMARIE TISSI SWISS STYLE

Swiss style design began in Switzerland during the 1940’s or 50’s. The style was led by designers like Josef Muller-Brockmann, Rosmarie Tissi, and Emil Ruder, with each designer adjusting the style to fit their own theories for design. Two of the main schools that practiced this style of design were the Basel School of Design and the Zurich School of Arts and Crafts, headed by Armin Hofmann and Josef Muller-Brockmann, respectively. Common practice in Swiss style was the use of sans-serif typefaces, grid based and asymmetrical layouts. The main ideas behind Swiss design seemed to be focused on simple and clean type mixed with pictorial elements of type or geometry.

Cleanliness and legibility were stressed for text, and use of strongly contrasting scale or asymmetry added tension and interest to the designs.

The practices of Swiss Design are seen best through the work produced by those who spearheaded the movement. Brockmann’s work shows clear use of asymmetrical layouts and pictorial elements, along with strong usage of grids. His color schemes reflected the selective color choices made by Swiss Designers. Emil Ruder did not use color so much, but focused instead on some of the other pra\ctices in the style. He used contrasting text sizes or styles to emphasize different words or ideas, though he tended toward a less pictorial style than Brockmann. The work of Paul Rand even shows the influence that Swiss style had on designers across the globe. Rand’s clean, asymmetrical layouts are quite reflective of the style. His selective and simple logos reflected the style as well, though Rand tended to use more color in his work than the other designers, showing how he transformed the style to serve his needs. I believe studying Swiss Style was important for this project because it focuses on simple clean design, which is a good starting point for those learning design. The common use of grids by these designers also helps in considering how we could use and elevate our grid designs for this assignment.

Rosmarie Tissi was a Swiss graphic designer known primarily for having both functional and dynamic design. She learned mainly from her work as an apprentice under a master designer, Siegfried Odermatt. Odermatt and Tissi would later form a joint studio together, where they worked individually on print materials and designing typefaces for different companies. Even while she was still just a student, her work was influential enough to be included in the famous Neue Grafik magazine. Her work transitioned from functionalistic and modern to more dynamic and experimental type styles. Tissi later went on to teach at Yale University and the Rhode Island School of Design. During her time as a designer, she received multiple scholarships and awards for her work, including 1st Prize at the 11th International Poster Biennal in Warsaw, Poland.

Tissi’s work plays greatly with the arrangement of elements on a page. Her work is often very asymmetrical, though she finds a way to create a balance in the asymmetry that results in intentional and thoughtful design. Some of the best examples of her work showcase repeated elements like different line styles or continued patterns. Some pieces have more emphasis on the type itself with large and interconnected headers that contrast smaller body texts, creating a tension in the scale of the elements. Though some of her works can seem sporadic, they all show clear jumping off points in the form of grids.

Her staircase based design is clearest in showing grid origins, but in some pieces Tissi even includes grids, like in her E design, where the grid is implemented into the design of the page itself. I think that her clear use and breaking of grids is part of why we have been asked to study her. I also feel that her general experimentation in type arrangements is inspirational for students, as it gives us insight as to how we can create interesting layouts, while still maintaining some form of order in our work.

PAUL RAND JOSEF MULLER-BROCKMANN

Josef Muller-Brockmann was a Swiss designer well known for work in creating dynamic typographic posters. Brockmann initially went to college to architecture, art, and design, though he found the most success in his design work. His work was likely inspired by some of the art movements which he experienced, including De Stijl, Constructivism, and Bauhaus. Brockmann attended the University of Zurich and began his career by working as an apprentice to designer Walter Diggleman. He opened his own design and photography studio in 1936, and developed his take on Swiss style during this time. Brockmann taught at the Zurich School of Arts and Crafts and had multiple books published, including The Graphic Artist and His Problems and Grids Systems in Graphic Design. Later, he went on to tour the US and Canada, discussing his work and philosophies behind it.

Brockmann’s work relies on grid for general structure, but also knows when to break it. His designs are very often asymmetrical, with symmetry only really coming from an occasional balance in the elements on different sides of the page. Many of Brockmann’s designs utilized strong graphic elements, with lines of various colors being arranged to establish a mood related to the content which was being designed for. One of Brockmann’s most famous designs is his Beethoven poster. The style of the poster might have influenced some of the imagery that would be used in some of the James Bond movies. The circular pattern was reimagined for that usage, but on Brockmann’s poster, it was likely used to convey some feeling associated with listening to Beethoven’s music. This poster is strong in the tension created between the slowly shrinking arcs and the text. I think Brockmann was included for students to understand how grids can be used to create strong designs, and how graphic elements can be included in a way that does not dilute the design, but instead, enforces it.

Paul Rand was an American graphic designer and artist known for numerous famous logo designs. Rand was born in New York and was involved in painting and designing during his childhood. He attended multiple schools for art, including The New School for Design and Yale University, though he found his style through his own study. Reading through European magazines gave Rand views of Swiss and German style that would later come to define much of his work. As time passed, he developed a strong portfolio of work, which included pieces that led to global recognition of his work. Though his initial fame came from page design for magazines like Apparel Arts and Esquire-Coronet, some of Rand’s most famous work would come from his logo designs for companies like IBM, ABC, NeXT Computer, Enron, and more.

Rand’s logo design ideas shifted somewhat to fit each company’s individual needs, however they all tended towards simplicity in style. Many of his logos showcased specialized typography, like in the IBM logo with its matching slab serifs and sharp M vertex. His Yale logo also shows thoughtful type arrangement, with the strokes of the Y and A combining, the top stroke of the L becoming the middle stroke of the E, and the placement of the L which fits snugly under the Y and A. Rand’s page designing also focused on simplicity, drawing on influences of Swiss style.

In his book, A Designer’s Art, he juxtaposes pages with full bright colors and interesting graphics with pages of what looks like found advertisements or text from other other printed materials. His work also had strong, but controlled use of color, with his text often being white on dark colored backgrounds. I believe Rand was included in this project research so that we might see not just the Swiss Style of Brockmann and Tissi, but how it influenced others. Rand took the inspirations of this style and changed it to suit his needs and desires. His typographic work also provides strong examples of customized type and how it could be used to create an even more impactful design.

EMIL RUDER

Emil Ruder was a Swiss typographer and graphic designer known for his strong typographic elements and innovative teaching methods. Ruder grew up in Zurich and began his career with a design apprenticeship at age 15. He studied typesetting in Paris and at the Zurich School of Arts and Crafts. After learning about the principles of Bauhaus and Tschichold’s principles of typography, Ruder went on to teach his typographic knowledge at the Allgemeine Gewerbeschule. In 1947, Armin Hofmann and Ruder met and began collaborating on projects. After WWII and the cultural shift away from past convention, Ruder brought about new ideas for structure and methods used in design, emphasizing contrast, legibility, and aesthetic effects. In 1967, his famous book, Typographie, was published. It would go on to be republished in multiple languages and would spread the ideas of Ruder and Swiss Style all over the world.

The power of contrast is clearly conveyed in Ruder’s designs, like in his Berlin poster. He uses large, bold, uppercase type, contrasted with small, regular type to establish a clear hierarchy with strong tension. Ruder typically uses asymmetrical designs, and even when he chooses to use symmetrical elements, he arranges them so the page is still set up asymmetrically. Another prominent example of his typographic style is present on the cover for his book, Typographie. The tension developed between the large T and the rest of the letters is very strong, as is the contrast between the black background and the white text.

This design is also the clearest for showing Ruder’s use of the grid, though this is prevalent in many of his designs, like the Zurcher Maler poster. The red text aligns with the black rule above to create a design that flows vertically down the information on the page. I think Ruder was included for this project because of his strong use of tension and contrast in his typographic work, which would give students ideas for how scale can be pushed in their designs.

MAKING AND BREAKING THE GRID NOTES (22-31) Modular Grids

Can be even bigger or smaller, have many columns

and rows or few

The result of few is a simpler, v easy to follow page

EX: Large scale grid utilized to reveal more

information as brochure unfolds

Can change block usage to create visual rhythm Hierarchical Grid

Broken into different sized modules

Most important info in the largest modules

Proportions of page establish importance Column Grid

Mainly columns with a few marginal horiz lines

Page appears longer

Better for text based documents Modular Grid

With smaller modules, able to either condense or

spread out information

Modules can be relative to content, grid can be

broken for clarity Modular w/ Compound Articulations

Modules combined in sections and showcased in

the design

EX: An interior grid shown within the large overall

page grid

Alternates specific grid types for different content Modified Column Grid

There is one row about a Âź down the page, rather

than being at the top

Use vert alignments for rhythm

+ shift paragraph alignments

Proportional modular Grid

Broken up into square modules and then columns

within the squares

Taking a square modular grid and putting on a

column grid page

Use grid lines to establish folds/boundaries Column Grid

Three large columns, with a divider down and

heading info at top

Good for very text heavy docs

Gutter + margin size allow for intaking moreinfo

Repeated grid keeps consistency w/ many types of

info present Compound Column + Hierarchical

A column grid, smaller on the page, with

hierarchical dividers within it

Helps break up pages and let important information

stand out

Small margins create tension with text

Strong w/ inconsistent styles, creates uncertainty

GRID BASICS NOTES (14-21 MAKING + BREAKING)

Design = problem solving, communicating

Grids can be loose or structural

Grid Benefits:

Clarity, efficiency, economy, continuity

Systematic order established,

allows for ease in layouts

Grids organize hierarchies + alignments into a

repeatable order Anatomy of a Grid

Grids all have same basic parts, can be combined

or removed as needed

1st: consider info characteristics and requirements

Consider images and possible

problems to arise

Decide on basic grid type to start with

2nd: begin to apply info within grid, and decide

where/if can be adjusted Parts:

Columns - vert alignments of type creating horiz divisions

Modules - individ spaces, create

columns + rows

Markers - placement indicators for

consistently appearing text

Spatial Zones - module groups to form distinct fields

Flowlines - alignments break space into

horiz bands, guide the eye

Margins - neg spaces between

format edge + content Manuscript Grid

Simplest in terms of structure

Accommodates for large text blocks

Main area for body text, then smaller defining areas

for page numbers, titles, etc.

Consider type color: comfort in reading

for long stretches

Can adjust the margins for interest (but don’t mess

w/ gutter too much)

Asymm margins can be used for visual white space

Type size, font, leading, kerning important here Column Grid

Discontinuous info

Can be used for long text + pictures, helps with

caption separation

Column width depends on body text size

Want comfortable character length

Flowlines used to create horiz breaks

Hanglines define capline of running text

Flowlines at top + bottom allow for repeat content

Can use sep columns for sep content types Modular Grid

More control than a column grid w/ horiz dividers

Made of modules, can be grouped into spatial zones

Size of modules can be altered to fit info

Consider relation of modules to margins + gutters

Modules able to outgrow grid, but using them

as is creates harmony

Good for tabular forms w/ charts, graphs, etc.

Rationalism, Swiss Style, minimalism, order Hierarchical Grid

Grid not fitting any category, fits needs

of page content

Study optical interactions of elements

Can unify disparate elements, or overall packaging

Web pages are examples

Organic approach to organizing elements Variation and Violation

Grids help designer layout work, but need to still

use/break for dynamism

Grids don’t have to be dull!

View whole project layouts to see if too repetitive

and where can be broken Consider:

Darkness and lightness of page

More + less dynamic layouts

Movement from spread to spread Manuscript Grid

Large text chunk area with defined margins, and

space for informative texts

Can utilize asymm, can create simple

and clean designs

Create interest in different field

colors and picture sizes Column Grid

Two or more main columns take up the page with

footer space for informative text

Simple, works well for guidelines, optically even

Can incorporate charts or tables easily

MAKING AND BREAKING THE GRID NOTES HISTORICAL INTERLUDE - THE SEEDS OF DECONSTRUCTION Late 20th Cent = rationalism in design b/c trustworthy Use of alts to grids comes from developing ideas War and psych unrest leads to different outlets in art + design

Dada, surrealism, art nouveau, etc Dada - words + images used to convey states, with power in their arrangements Futurism - uses repeat letters, scale, placements to convey power of machines Cubism/Symbolism - words form picture Collage - found images or text related to create potential meanings Bauhaus starts w/ emph on abstract marks, “irrational design”

Shifts to rational design later De Stijl - focus on primary colors WWII brings more focused structural thinking, but with pictorial intent Emil Ruder begins grid deconstructivist work, interested in semiotics Becoming critical of past ways of thinking, revolutions + revolts against gov Modernism - reflect outside impulses + influencing change within Others used semantic approach, basing visuals on verbal structure

Look at formal quality of materials

to consider new comps

Archi or environmental references made in structure Context = helps decide which system best for project Test video w/ found image + printing Intuition and response drives organizing Teachers of rational, minimal structures begin to reconsider

Use “Las Vegas” as inspiration for slightly more jarring design New ideas being discussed bring new styles, too Deconstructionism is coined to describe these experiments

Using alt line spacing, breaking base grids Computer happens!

Expands on deconstructive notions

b/c more room to play

Now digital type becomes big, with

many new capabilities

Non-designers find success in

interpreting for content

Ignore structure, tho still understandable

Visual cohesion in intuitive relationships = popular Rational + intuitive = strong methods for organizing depending on content

round 1

2 SIZES, 2 STYLES

Typography: A Manual of Design

Typography:

Emil Ruder

Emil Ruder

Niggli Verlag

A Manual of Design

Niggli Verlag 1967

1967

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

Hallie Pope

2/27/2020

1967

1967 Niggli Verlag

Emil Ruder

Emil Ruder

Typography: A Manual of Design

Typography: A Manual of Design

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

Niggli Verlag

Hallie Pope

2/27/2020

1967

Typography: A Manual of

Niggli Verlag

Design

Emil Ruder

Typography: A Manual of Design

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

Niggli Verlag

Emil Ruder 1967

Hallie Pope

2/27/2020

Typography:

1967

A Manual of

Niggli Verlag

Emil Ruder

Design

Niggli Verlag Typography:

Emil Ruder

A Manual of Design Round 1: 2 sizes 14pt + 36pt Reg + Black

1967

Hallie Pope

2/27/2020

1967

1967 Niggli Verlag

Niggli Verlag

Emil Ruder

Typography:

Emil Ruder

Typography: A Manual of Design

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

A Manual of Design

Hallie Pope

2/27/2020

Typography: A Manual of Design

Typography: A Manual of Design

Emil Ruder

Emil Ruder

Niggli Verlag

Niggli Verlag

1967

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

1967

Hallie Pope

2/27/2020

Typography:

1967

A Manual

of Design

Typography: A Manual of Design

Niggli Verlag

Emil Ruder Niggli Verlag

Emil Ruder

1967

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

Hallie Pope

2/27/2020

Typography: A Manual of Design

1967

EMIL RUDER

Emil Ruder

NIGGLI VERLAG

1967

Round 1: Caps, Tracking, + Leading

Niggli Verlag

Typography: A Manual of Design

Hallie Pope

2/27/2020

1967

TYPOGRAPHY: A MANUAL OF DESIGN

NIGGLI VERLAG

EMIL RUDER

Typography:

Emil Ruder

Niggli Verlag

a MANUAL of DESIGN

1967

Round 1: Caps, Tracking, + Leading

Hallie Pope

2/27/2020

1967

TYPOGRAPHY: A MANUAL OF

NIGGLI VERLAG

de s i g n Emil Ruder T Y P O G R A P H Y: A Manual of Design

NIGGLI VERLAG

emil ruder 1967

Round 1: Caps, Tracking, + Leading

Hallie Pope

2/27/2020

round 1

PEER FAVORITES

r ound 2

RULES + COLORS

TYPOGRAPHY: A MANUAL OF DESIGN

TYPOGRAPHY: A MANUAL OF DESIGN

Niggli

Emil Ruder

Verlag 1967 Emil Ruder

Niggli Verlag

1967

Round 2: Rules + Color

Hallie Pope

3/3/2020

TYPOGRAPHY: A MANUAL OF DESIGN

TYPOGRAPHY: A MANUAL OF DESIGN Emil Ruder

Emil Ruder

Niggli Verlag

Niggli Verlag

1967

1967

Round 2: Rules + Color

Hallie Pope

3/3/2020

TYPOGRAPHY: A MANUAL OF DESIGN

TYPOGRAPHY: A MANUAL OF DESIGN Emil Ruder

Emil Ruder

Niggli Verlag

Niggli Verlag

1967

1967

Round 2: Rules + Color

Hallie Pope

3/3/2020

T YPOGR APHY: A Manual of Design

T YPOGR APHY: A Manual of Design

Emil Ruder

Emil Ruder

Round 2: Rules + Color

1967

1967

NIGGLI VERLAG

NIGGLI VERLAG

Hallie Pope

3/3/2020

T YPOGR APHY: A Manual of Design

T YPOGR APHY: A Manual of Design

Emil Ruder

Emil Ruder

Round 2: Rules + Color

1967

1967

NIGGLI VERLAG

NIGGLI VERLAG

Hallie Pope

3/3/2020

T YPOGR APHY: A Manual of Design

T YPOGR APHY: A Manual of Design

Emil Ruder

Emil Ruder

Round 2: Rules + Color

1967

1967

NIGGLI VERLAG

NIGGLI VERLAG

Hallie Pope

3/3/2020

1967

1967

Niggli Verlag

Niggli Verlag

Emil Ruder

Emil Ruder

Typography: A Manual of Design

Round 2: Rules + Color

Typography: A Manual of Design

Hallie Pope

3/3/2020

1967

1967

Niggli Verlag

Niggli Verlag

Emil Ruder

Emil Ruder

Typography: A Manual of Design

Round 2: Rules + Color

Typography: A Manual of Design

Hallie Pope

3/3/2020

1967 Niggli Verlag Emil

1967

Ruder Niggli Verlag Emil Ruder

Typography: A Manual of Design

Round 2: Rules + Color

Typography: A Manual of Design

Hallie Pope

3/3/2020

r ound 2

PEER FAVORITES

r ound 3 A

SCALE

TYPO GRAPHY A MANUAL OF DESIGN

TYPO GRA PHY

A

Manual of

Design

Emil Ruder

Niggli Verlag

19 67

Emil Ruder

1967

Niggli Verlag

Round 3A: Scale

Hallie Pope

3/17/2020

TYPOGRAPHY A MANUAL OF DESIGN

niggli verlag 1967

EMIL RUDER Round 3A: Scale

1 9 6 7 Hallie Pope

Typography: A Manual of Design

emil ruder niggli verlag

3/17/2020

1967 niggli

emil

verlag

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

A Manual of Design

Typography:

NIGGLI VERLAG 1967

Emil Ruder

Round 3A: Scale

ruder

Hallie Pope

3/17/2020

1 9 6 7

1967

typography:

NIGGLI VERLAG EMIL RUDER

a manual

of design

emil

ruder

niggli

verlag

Round 3A: Scale

A MANUAL OF DESIGN T Y P OG R A P HY:

Hallie Pope

3/17/2020

TY PO GR AP HY A MANUAL OF DESIGN

Round 3A: Scale

EMIL RUDER

EMIL RUDER NIGGLI VERLAG 1967

NIGGLI VERLAG

1967

A MANUAL OF DESIGN

TYPO GRAPHY Hallie Pope

3/17/2020

EMIL RUDER

TYPOGRAPHY a

m a n u a l

D E S I G DESIGN N

o f

NIGGLI VERLAG

1967

emil ruder

TYPOGRAPHY

A

M A N UA L

Round 3A: Scale

niggli verlag

O F

Hallie Pope

1967

3/17/2020

1 9 6 7 NIGGLI VERLAG

EMIL RUDER

typography

A MANUAL OF DESIGN

Round 3A: Scale

EM I L typography R U D E R a manual of design

n ig g l i

ve r l a g

1967

Hallie Pope

3/17/2020

typography a manual of design

typo

graphy

a manual of design

emil ruder EMIL RUDER

niggli verlag 1967

NIGGLI VERLAG

1967

Round 3A: Scale

Hallie Pope

3/17/2020

a manual of design

a manual of design

TYPOGRAPHY

typography

emil ruder niggli verlag 1967

EMIL RUDER NIGGLI VERLAG 1967

Round 3A: Scale

Hallie Pope

3/17/2020

typography

typography

a manual of

design

a manual of design

emil ruder

EMIL RUDER

N I G G L I 1 9 6 7

Round 3A: Scale

V E R L A G

1967 niggli verlag

Hallie Pope

3/17/2020

r ound 3 A

PEER FAVORITES

r ound 3 B

SCALE + COLOR

typography 1967

a manual of design

niggli verlag

19 67 Round 3B: Scale + Color

emil ruder

TYPOGRAPHY

emil ruder niggli verlag

A MANUAL OF DESIGN Hallie Pope

3/24/2020

T Y P O Round 3B: Scale + Color

emil ruder

niggli verlag

EMIL RUDER niggli verlag

1967

1967

t y p o g r a p h y a manual of design

GRAPHY A MANUAL OF DESIGN

Hallie Pope

3/24/2020

typography

1967 TYPOGRAPHY a manual of design

EMIL RUDER

emil ruder niggli verlag 1967

amanual of d e s i g n NIGGLI VERLAG

Round 3B: Scale + Color

Hallie Pope

3/24/2020

ama nua lof des ign TYPOGRAPHY

emil ruder

EMIL RUDER

typography a manual of design

NIGGLI VERLAG

niggli verlag 1967

1967

Round 3B: Scale + Color

Hallie Pope

3/24/2020

typography emil ruder

a manual of design

niggli verlag 1967

emil

ruder verlag niggli

typography

1967

a manual of design

Round 3B: Scale + Color

Hallie Pope

3/24/2020

r o u nd 3 B

PEER FAVORITES

r ound 4

FULL COVERS

Back Cover

Spine

niggli verlag

TYPOGRAPHY

A MANUAL OF DESIGN

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 (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: Full Covers

emil ruder

T Y P O

GRAPHY

A MANUAL OF DESIGN

Front Cover

T Y P O

emil ruder

niggli verlag

1967

GRAPHY A MANUAL OF DESIGN

Back Cover

A MANUAL OF DESIGN

Round 4: Full Covers

GRAPHY

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.

emil ruder

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.

TYPO

emil ruder

Spine

Front Cover

T Y P O

emil ruder

niggli verlag

1967

GRAPHY A MANUAL OF DESIGN

Back Cover

Spine

TYPOGRAPHY a manual of design emil ruder 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.

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.

Front Cover

emil ruder

Round 4: Full Covers

1967 TYPOGRAPHY a manual of design

emil ruder niggli verlag

Back Cover

Spine

Round 4: Full Covers

emil ruder niggli verlag

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

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.

Front Cover

1967 TYPOGRAPHY a manual of design

emil ruder niggli verlag

Back Cover

Spine

emil ruder niggli verlag

Round 4: Full Covers

a manual of design

a manual of design

emil ruder

typography

graphy

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.

typo

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

typo

graphy

a manual of design

emil ruder niggli verlag 1967

Back Cover

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.

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

typo graphy

Front Cover

typo

graphy

a manual of design

emil ruder

a manual of design

emil ruder niggli verlag 1967

emil ruder niggli verlag

Round 4: Full Covers

Back Cover

Front Cover

NIGGLI VERLAG

NIGGLI VERLAG

EMIL RUDER

EMIL RUDER

typography A MANUAL OF DESIGN

EMIL RUDER

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

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: Full Covers

1 9 6 7

Spine

typography

A MANUAL OF DESIGN

Back Cover

NIGGLI VERLAG EMIL RUDER

typography

Front Cover

NIGGLI VERLAG

EMIL RUDER

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

A MANUAL OF DESIGN

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: Full Covers

1 9 6 7

Spine

typography

A MANUAL OF DESIGN

Back Cover

emil 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

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: Full Covers

T Y 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

emil

Spine

ruder

Front Cover

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

NIGGLI VERLAG 1967

ruder

Back Cover

T Y P O G R A P H Y: 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

T Y P O G R A P H Y: 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

Spine

NIGGLI VERLAG EMIL RUDER

ruder Round 4: Full Covers

Front Cover

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

NIGGLI VERLAG 1967

ruder

r ound 4

PEER FAVORITES

Back Cover

Spine

Front Cover

final 5

BEST COVERS

Final 5: Best Covers

Hallie Pope 4/2/2020

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

Typography:

Final 5: Best Covers

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

Niggli Verlag Ruder

Niggli Verlag

Typography: A Manual of Design

Hallie Pope 4/2/2020

Back Cover

Spine

Front Cover

TYPOGRAPHY

emil 1967 ruder

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

Final 5: Best Covers

TYPOGRAPHY

emil ruder

a manual of design

niggli verlag

niggli verlag

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 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

typography a manual of design is the legacy of

TYPOGRAPHY a manual of design

Hallie Pope 4/2/2020

Back Cover

Spine

TYPOGRAPHY

TYPOGRAPHY

niggli verlag

E m i l R u d e r (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.

A MANUAL OF DESIGN

emil ruder

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

Ty p o g r a p hy A M a n u a l o f D e s i g n is the legacy of

Front Cover

emil ruder

niggli verlag

1967

TYPOGRAPHY

A MANUAL OF DESIGN

Final 5: Best Covers

A MANUAL OF DESIGN

Hallie Pope 4/2/2020

Back Cover

Spine

typography

a manual of design

typography a manual of design

niggli verlag

typo

graphy

a manual of design

emil ruder

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 impor tance 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.

Front Cover

emil ruder niggli verlag 1967

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, ina the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inser ted types. Today, fifty years after this book was first published, it is still widely used and referenced.

Final 5: Best Covers

Hallie Pope 4/2/2020

Back Cover

Spine

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

TYPOGRAPHY A MANUAL OF DESIGN

Front Cover

TYPOGRAPHY: A MANUAL OF DESIGN Niggli Verlag 1967

Final 5: Best Covers

Emil Ruder

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.

Hallie Pope 4/2/2020

Back Cover

Final 5: Best Covers

Spine

Front Cover

Hallie Pope 4/2/2020