Swiss Style
Swiss Style roots lie in
designers to use Swiss design
1896, when the Berlin-based
in combination with his own,
Berthold Type Foundry came
was Rudolph deHarak. He
out with its Akzidenz Grotesk
designed book jackets with a
Typeface. Also known as the
grid and a title flush left. This
International Style emerged
style sees the use of a grid,
Russia, the Netherlands,
sans-serif fonts, and flush
and Germany in the
left text. Another feature of
1920s. In 1918 Ernst Keller
fonts within Swiss design are
became a professor at the
their varying sizes. White
Kunstgewerbeschule Zürich,
space allows the elements
and while he did not teach this
in the Swiss style space to
style he taught the philosophy
breathe. This style is included
that “the solution to the
in the research for the project
design problem should emerge
because it was the birth of
from its content.” By the
modern design and the idea of
1950s designers in Switzerland
using a grid in design. Without
had developed it further.
this style, design would likely
It is part of the modernist
still be prominently centered
movement. Designers Josef
text because symmetry is in
Müller-Brocken at the Zurich
nature. Swiss Design
School of Arts and Krafts
influenced Helvetica, which
and Armin Hofmann at the
is everywhere now days and
Basel School of Design led the
many other easy to read type
movement. The style leaned
faces. Swiss Style made design
toward simplicity, legibility,
easier to follow. Designers
and objectivity. Max Miedinger
can now get their message to
and his collaborator, Edouard
viewer is simple, modern, and
Hoffman, took inspiration
easy to comprehend ways.
from it and came up with
Swiss style was a major
Helvetica. The end of World
improvement on all layout and
War II helped spread the style.
design that came before.
One of the first American
Rosmarie Tissi
Born in 1937, in
and from New York to Warsaw.
Thayngen Switzerland,
Some of her most notable
Rosmarie Tissi studied at the
work was second prize in the
School of Applied Art in
competition for new Swiss
Zurich. She was still a student
banknotes in 1989 and 2007
in 1957 when her first poster
she designed the official
was published in first issue
poster for the FIFA Women’s
of the Neue Grafik. The
World Cup in China. In 2018
publication was about a new
she was granted the Swiss
generation of Swiss designers.
Grand Award for Design. Tissi
She apprenticed under Sigi
was included in this list of
Odermatt at his art studio.
designers for her abstract
After ten years she became
take on the Swiss Style. She
a partner and the studio was
used the grids but in fun,
renamed O&T. She never
bright, and
turned down a job but looked
new ways. This makes her
for work that was interesting.
work unique and inspiring. Her
Her style evolved though
work draws the
her career and included grid
eye with vibrant colors and
based designs with bright
shape and size variations. The
colors, different proportions,
posters she creates may look
and interesting layouts. It was
abstract at the first glance but
a bit more abstract than most
behind the shapes, the grid
Swiss Designers. She traveled
is evident. The posters are
all over the world, visiting
balanced and easily readable,
about 70 countries with
making the design well planed
lectures and workshops. She
and successful. Rosmarie Tissi
taught at the Yale University
is important to design and
and the Rhode Island School
women in design because of
of Design. But her posters
her achievement and style.
went even further — they have been exhibited across the world, from Tokyo to Essen
Josef Müller-Brockmann
Born on May 9, 1914,
Müller-Yoshikawa, 1971) and
Müller-Brockmann grew up in
Grid Systems in Graphic
Rapperswil, Switzerland. He
Design (1981). Brockmann
went to study architect, art
held one-man exhibitions all
and design at both the
across the world. In 1987 he
University and
was awarded a gold medal for
Kunstgewerbeschule Zürich.
his cultural contribution by
After school he had an
the State of Zurich. In 1996, in
apprenticeship with Walter
Unterengstringen,
Diggleman, a designer and
Switzerland, Brockmann died
advertising consultant.
at the age of eighty-two.
In 1936, he opened his
Brockmann is known for
own Zurich studio which
his Swiss style, simple
specialized in photography,
designs and his clean use of
graphics and exhibition
typography, shapes and colors.
design. By the 1950s he was
Josef Müller-Brockmann
established as the leading
is included in this list of
practitioner and theorist of
designers because of his use
Swiss Style, which sought
of the Swiss style and the grid
a universal graphic design
system. All of his posters are
expression through a grid-
simple, hold meaning and
based designs. His ‘Musica
stick to the grid. The type
viva’ poster series for the
on many of the posters is
Zurich Tonhalle used the
not the biggest thing on the
language of Constructivism
page but it is easy to read
to create a visuals that
and important in placement.
corresponded to the structural
He draws the eye of the
harmonies of the music.
audience to the type not
He wrote four books on
using its size, but using other
design: The Graphic Artist
design elements such as lines
and his Design Problems
and hierarchy. Josef Müller-
(1961), History of Visual
Brockmann is an influential
Communication (1971), History
Swiss designer who’s style still
of the Poster (with Shizuko
looks modern today.
Paul Rand
Paul Rand, born
He incorporated the Swiss
Peretz Rosenbaum on
style with his own to create
August 15, 1914 Brooklyn,
his posters using both pictures
New York City. He was largely
and type. The posters are
self taught, but did attend
abstract but use a universal
attended Parsons The New
language to get their point
School for Design and the Art
across. Paul Rand is included
Students League of New York.
on this list of designers
Rand began his art career with
because of his modernist,
part-time position creating
abstract style and because he
stock images for newspapers a
convinced big companies to
s magazines. He is best known
start using good design. Some
for the corporate identies he
of the logo he designed are
created, some of which are
still in use today, meaning his
still in use today. Some of
design was good enough to
the companies include IBA,
stand the test of time and and
ABC, UPS, and Enron. He
not look out of place today.
convinced these companies
His designs are different from
that good design would sell
the
more products, this idea would
previous designers with his
change design. Rand was a
use of actual images and more
professor of graphic design
playful illustrations. Yet his
at Yale University where he
posters are simple and easy
taught from 1956 to 1969, and
to understand. He uses bright
from 1974 to 1985. Rand used
colors, shapes, and different
his final years on design work
sizes to catch the viewers eye.
and to write his memoirs. In
Paul Rand was and influential
1996, he died of cancer at age
designers who’s style is still in
82 in Norwalk, Connecticut.
use today.
Rand style is modernist. He beloved logos neede to be distinctive, memorable and clear and presentation his key.
Emil Ruder
Emil Ruder, born on
and North America. He liked
March 20, 1914, in Zürich,
asymmetrical compositions,
Switzerland. He took a
placing importance on
compositor’s apprenticeship
characters and the negative
at fifteen and in his late
space of compositions. He
twenty’s, he attended
used a grid, lines, shapes,
the Kunstgewerbeschule
and size contrast to make his
Zürich. Here, he learned the
poster designs. He combined
foundation for the Swiss style
both images and type in
and would continue to use it
his posters to show visual
through is his life. After the
communications. His posters
World War II, Ruder discarded
are both modern and easy to
the old rules of design and
read. Emil Ruder included on
moved towards the modern
this list of designers because
times. He was appointed
of his contribution to the the
as a full-time teacher of
development of Swiss Style
typography at the Schule
and his grid based posters.
für Gestaltung Basel in 1942
Ruder is a nice combinations
and became Head of the
of all the designers on this list
Department of Apprentices
with the subtle use of images
in Applied Arts there. He
and text in his posters. He
startled the specialized class
used less color but played with
for letterpress printing in 1947.
placement, sizes, and shapes
Ruder helped Armin Hofmann
to make his designs stand
form the Basel School of
out. It was important for hi,
Design and really establish the
to use a grid and continue to
style of Swiss Design. Ruder
make his posters readable.
published a basic grammar of
Emil Ruder was an influential
typography titled Typographie.
designer who was a driving
This book helped spread
force in the creation and
the idea of Swiss Style and
spread of the Swiss Style.
became a common text for graphic designers in Europe
ROUND ONE PA RT O N E & PA RT TWO
Ivy Tompkins
03/03/20
Emil Ruder
Typography: A Manual of Design
1967
Typography: A Manual of Design
1967 Emil Ruder Niggli Verlag
Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Ivy Tompkins
03/03/20
Typography: A Manual of Design
Emil Ruder 1967
1967
Emil Ruder Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Typography: A Manual of Design
Ivy Tompkins
03/03/20
Niggli Verlag
1967
Typography: A Manual of Design
Emil Ruder
Typography: A Manual of Design
1967
Emil Ruder
Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Niggli Verlag
Ivy Tompkins
03/03/20
1967
Niggli Verlag
Niggli Verlag
1967
Emil Ruder
Typography: A Manual of Design
Emil Ruder
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Typography: A Manual of Design Ivy Tompkins
03/03/20
1967 Typography: A Manual of Design Typography: A Manual of Design
1967
Emil Ruder
Emil Ruder
Niggli Verlag
Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Ivy Tompkins
03/03/20
1967 Niggli Verlag
1967
Emil Ruder
Typography: A Manual of Design Emil Ruder
Typography: A Manual of Design
Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Ivy Tompkins
03/03/20
Emil Ruder
1967
1967
Typography: A Manual of Design
Typography: A Manual of Design
Emil Ruder Niggli Verlag
Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Ivy Tompkins
03/03/20
emil ruder Niggli Verlag
1967
1967
EMIL RUDER TYPOGRAPHY: A MANUAL OF DESIGN
Typography: A Manual of Design Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps
niggli verlag
Ivy Tompkins
03/03/20
1967 typography: a manual of design
NIGGLI VERLAG
EMIL RUDER
1967
emil ruder niggli verlag
TYPOGRAPHY: A MANUAL OF DESIGN Ivy Tompkins
03/03/20
niggli verlag
TYPOGRAPHY: A MANUAL OF DESIGN
Emil Ruder 1967
1967
typography: a manual of design emil ruder
Niggli Verlag
Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps
Ivy Tompkins
03/03/20
ROUND TWO ADDING RULES + COLOR
Round 2: adding rules + color
Ivy Tompkins
03/05/20
niggli verlag
niggli verlag
Niggli Verlag
1967
1967
typography:
typography:
a manual of design
a manual of design
emil ruder
emil ruder
Round 2: adding rules + color
Ivy Tompkins
03/05/20
niggli verlag
niggli verlag
1967
1967
typography:
typography:
a manual of design
a manual of design
emil ruder
emil ruder
Round 2: adding rules + color
Ivy Tompkins
03/05/20
niggli verlag
niggli verlag
1967
1967
typography:
typography:
a manual of design
a manual of design
emil ruder
emil ruder
Round 2: adding rules + color
Ivy Tompkins
03/05/20
emil ruder
emil ruder
1967
1967
typography: a manual of design
typography: a manual of design
niggli verlag
Round 2: adding rules + color
niggli verlag
Ivy Tompkins
03/05/20
emil ruder
emil ruder
1967
1967
typography: a manual of design
typography: a manual of design
niggli verlag
Round 2: adding rules + color
niggli verlag
Ivy Tompkins
03/05/20
emil ruder
emil ruder
1967
1967
typography: a manual of design
typography: a manual of design
niggli verlag
Round 2: adding rules + color
niggli verlag
Ivy Tompkins
03/05/20
TYPOGRAPHY: A MANUAL OF DESIGN
Emil Ruder
Round 2: adding rules + color
TYPOGRAPHY: A MANUAL OF DESIGN
Emil Ruder 1967
1967
Niggli Verlag
Niggli Verlag
Ivy Tompkins
03/05/20
TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
Emil Ruder
Round 2: adding rules + color
Emil Ruder 1967
1967
Niggli Verlag
Niggli Verlag
Ivy Tompkins
03/05/20
TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
Emil Ruder
Round 2: adding rules + color
Emil Ruder 1967
1967
Niggli Verlag
Niggli Verlag
Ivy Tompkins
03/05/20
THREE ROUND
SCALE
Round 3: scale
Ivy Tompkins
03/24/20
DESIGN Typography: A Manual of
1967 Typography: A Manual of Design
Emil
Ruder
Niggli
1967
Verlag
Round 1: 3: Part scaleOne: 2 sizes 14 + 36 Reg + Black
Emil
Ivy Tompkins
03/24/20
Ruder
Niggli
Verlag
1967
Typ o g ra p h y :
NIGGLI VERLAG
A Manual of Design
RUDER EMIL
Round 3: scale
19 67 TYPOGRAPHY: A MANUAL OF DESIGN
Ivy Tompkins
03/24/20
Emil
Niggli
Ruder Verlag
TYPOGRAPHY:
Manual of Design Typography:
A MANUAL OF DESIGN
A
1967 Niggli Verlag
Round 3: scale
Emil
Ruder
1967
Niggli Verlag
Emil
Ivy Tompkins
RUDER
03/24/20
Emil
1967
RUDER VERLAG
Niggli Verlag
Niggli
E mil Ru d e r Ty p o g r a p h y : A M a n u a l o f D e s i g n
DESIGN Typography: A Manual of
1 9 6 7
Round 3: scale
Ivy Tompkins
03/24/20
Niggli Verlag
1967
Typography: A Manual of Design
EMIL Round 3: scale
1967 EMIL RUDER Typography: A Manual of Design
RUDER
Niggli Verlag
Ivy Tompkins
03/24/20
19 67
1967
Typography: A Manual of Design
Emil Ruder
Round 3: scale
Niggli Verlag
Emil Ruder Ty p o g r a p h y : A
Manual o f
D e s i g n
Niggli Verlag
Ivy Tompkins
03/24/20
EMIL RUDER
1967 Typography: A Manual of Design
Niggli Verlag
Round 3: scale
1967
TYPOGRAPHY: A MANUAL OF DESIGN
RUDER
EMIL
VERLAG
NIGGLI
Ivy Tompkins
03/24/20
EMIL RUDER Niggli Verlag
1967
typography:
a manual of design
1967
emil
ruder niggli
verlag
Typography: A Manual of Design Round 3: scale
Ivy Tompkins
03/24/20
EMIL TYPOGRAPHY: A MANUAL OF DESIGN
1967
typography: a manual of
design
1967
emil ruder
NIGGLI VERLAG
RUDER
Round 3: scale
niggli verlag
Ivy Tompkins
03/24/20
Ruder Emil
Niggli Verlag
typography: a manual of design
1967
emil
ruder
TYPOGRAPHY: A
MANUAL
OF
niggli
verlag
DESIGN
1967 Round 3: scale
Ivy Tompkins
03/24/20
THREE ROUND
S C A L E + CO LO R
Round 3 B: scale + color
Ivy Tompkins
03/26/20
1967
design typography: a manual of
emil ruder
Round 3 B: scale + color
niggli verlag
E R Ivy Tompkins
03/26/20
1967
NIGGLI VERLAG
TYPOGRAPHY: A MANUAL OF DESIGN
Emil
19 67
RUDER VERLAG
Niggli
Ty p o g r a p h y : A M a n u a l o f D e s i g n
1 9 6 7
Round 3 B: scale + color
TYPOGRAPHY: A MANUAL OF DESIGN
Ivy Tompkins
03/26/20
Emil
Ruder
Niggli
Verlag
19 67
1967
typography: a manual of design
emil ruder
Round 3 B: scale + color
niggli verlag
EMIL RUDER Ivy Tompkins
Niggli Verlag
Ty p o g r a p h y : A M a n u a l o f D e s i g n
03/26/20
1 9 6 7
emil ruder
niggli verlag
Typography: A Manual of Design
Emil Ruder
typo graphy : a manual of design
Niggli Verlag
Round 3 B: scale + color
1967
Ivy Tompkins
03/26/20
A MANUAL
T YPOGRAPHY:
OF DESIGN
EMIL RUDER
NIGGLI VERLAG
1967
Round 3 B: scale + color
1967
NIGGLI VERLAG
RU DER TYPOGRAPHY: A MANUAL OF DESIGN
Ivy Tompkins
03/26/20
Back Cover
S P I N E
+
Spine
B A C K
FOUR ROUND
Round FOUR SPINE + BACK
FOUR ROUND
Round 4: v1
Front Cover
S P I N E
+
B A C K
Back Cover
typographer. He is distinguishable in
Emil
Ruder
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
TYPOGRAPHY: A MANUAL OF DESIGN
Round 4: v1
Ruder
or wrote about it with such conviction.
Verlag
Emil
discipline of letterpress typography
Niggli
Front Cover
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
19 67 Spine
TYPOGRAPHY: A MANUAL OF DESIGN
Emil
Ruder
Niggli
Verlag
Back Cover
NIGGLI VERLAG
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
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
1967
NIGGLI VERLAG
RU DER TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
discipline of letterpress typography or wrote about it with such conviction.
Front Cover
EMIL RUDER
EMIL RUDER
Spine
Back Cover
emil ruder
Spine
emil ruder
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.
Round 4: v1
typography: a manual of design
1 9 6 7
niggli verlag
typo graphy
: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.
Front Cover
1 9 6 7
Back Cover
Spine
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
illustrations and the harmoniously
Typ o g ra p h y :
A Manual of Design
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in
inserted types. Today, fifty years
the field of typography for developing a holistic approach to designing and
after this book was first published, it
teaching that consisted of philosophy, theory and a systematic practical
is still widely used and referenced.
Emil
Ruder
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
A Manual of Design
richness of the
well as placing a heavy importance on Sans-serif typefaces. No other designer
Front Cover
1 9 6 7
Typ o g ra p h y :
Emil
Ruder
since Jan Tschichold was as committed as Ruder to the discipline of letterpress
Niggli
Verlag
typography or wrote about it with such conviction.
Niggli Emil
Ruder
Round 4: v1
Verlag
A Manual of Design
Back Cover
Spine
Front Cover
t y p o g r a p h y :
n i g g l i
v e r l a g
a m a n u a l
a
m a n u a l
d e s i g n
A Holistic Approach To Designing And Teaching That
niggli verlag
Consisted Of Philosophy, Theory And A Systematic Practical
Typography A Manual of Design is the legacy of Emil
Methodology. Ruder Was One Of The Major Contributors
Ruder. The volume is a comprehensive masterpiece
To Swiss Style Design. He Taught That Typography’s
seen in its overall structure: in the themes presented,
Purpose Was To Communicate Ideas Through Writing,
in the comparison of similarities and contrasts, in
As Well As Placing A Heavy Importance On Sans-Serif
the richness of the illustrations and the harmoniously
Typefaces. No Other Designer Since Jan Tschichold Was
inserted types. Today, fifty years after this book was
As Committed As Ruder To The Discipline Of Letterpress
first published, it is still widely used and referenced.
Typography Or Wrote About It With Such Conviction.
t y p o g r a p h y : a
e m i l
r u d e r
r u d e r
Round 4: v1
1 9 6 7
Distinguishable In The Field Of Typography For Developing
d e s i g n
e m i l
o f
Emil Ruder (1914–1970) Was A Swiss Typographer. He Is
o f
t y p o g r a p h y :
m a n u a l
o f
e m i l
d e s i g n
r u d e r
Back Cover
Spine
FOUR
ROUND FOUR REVISIONS
Round 4: v1
FOUR ROUND
ROUND
R E V I S I O N S
Front Cover
R E V I S I O N S
Back Cover
Emil Ruder (1914–1970) was a Swiss Emil
Ruder
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
TYPOGRAPHY: A MANUAL OF DESIGN
Round 4: v1
Ruder
or wrote about it with such conviction.
Verlag
Emil
discipline of letterpress typography
Niggli
Front Cover
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.
typographer. He is distinguishable in
19 67 Spine
TYPOGRAPHY: A MANUAL OF DESIGN
Emil
Ruder
Niggli
Verlag
Back Cover
NIGGLI VERLAG
T YPOGRAPHY: 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
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
1967
NIGGLI VERLAG
RU DER T YPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
discipline of letterpress typography or wrote about it with such conviction.
Front Cover
EMIL RUDER
EMIL RUDER
Spine
Back Cover
emil ruder
Spine
emil ruder
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.
Round 4: v1
niggli verlag
typo graphy a manual of design
typography: a manual of design
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Front Cover
1 9 6 7
Back Cover
Spine
Typography: A Manual of Design is the
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,
Typ o g ra 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
A Manual of Design
it is still widely used and referenced.
Typ o g ra p h y :
legacy of Emil Ruder. The volume is a
approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder Emil
Ruder
was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas
Front Cover
1 9 6 7
Typ o g ra p h y :
Emil
Ruder
through writing, as well as placing a heavy
Niggli
Verlag
importance on Sans-serif typefaces. No other designer since Jan Tschichold was
Niggli
as committed as Ruder to the discipline of
Round 4: v1
Ruder
such conviction.
Emil
letterpress typography or wrote about it with
Verlag
A Manual of Design
Back Cover
v e r l a g 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 m e t h o d o l o g y.
Ruder
to Swiss Style design. He taught
is
masterpiece
that typography’s purpose was to
seen in its overall structure: in the
communicate ideas through writing,
themes presented, in the comparison
as well as placing a heavy importance
of similarities and contrasts, in the
on Sans-serif typefaces. No other
richness of the illustrations and the
designer since jan tschichold was as
harmoniously inserted types. Today, fifty
committed as Ruder to the discipline
years after this book was first published,
of letterpress typography or wrote
it is still widely used and referenced.
a b o u t i t wi t h s u c h co n vi c t i o n .
a
comprehensive
t y p o g r a p h y : a
m a n u a l
d e s i g n
r u d e r
r u d e r
Round 4: v1
t y p o g r a p h y : a
e m i l
e m i l
o f
1 9 6 7
d e s i g n
the legacy of Emil Ruder. The volume
o f
was one of the major contributors
v e r l a g
m a n u a l
Typography: A Manual of Design is
n i g g l i
a
practical
Front Cover
t y p o g r a p h y :
n i g g l i
Spine
m a n u a l
o f
e m i l
d e s i g n
r u d e r
Back Cover
Emil Ruder (1914–1970) was a Swiss Emil
Ruder
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
Round 4: v1
Ruder
TYPOGRAPHY: A MANUAL OF DESIGN
Verlag
Emil
or wrote about it with such conviction.
Niggli
Front Cover
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.
typographer. He is distinguishable in
19 67 Spine
TYPOGRAPHY: A MANUAL OF DESIGN
Emil
Ruder
Niggli
Verlag
Back Cover
NIGGLI VERLAG
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 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
1967
NIGGLI VERLAG
RU DER TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
Tschichold was as committed as Ruder to the discipline of letterpress typography or
Front Cover
EMIL RUDER
EMIL RUDER
Spine
Back Cover
emil ruder
Spine
emil ruder
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.
Round 4: v1
niggli verlag
typo graphy a manual of design
typography: a manual of design
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Front Cover
1 9 6 7
Back Cover
Spine
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,
Typ o g ra 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
A Manual of Design
it is still widely used and referenced.
Typ o g ra p h y :
Typography: A Manual of Design is the legacy of Emil Ruder. The
consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Emil
Ruder
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
Front Cover
1 9 6 7
Typ o g ra p h y :
Emil
Ruder
other designer since Jan Tschichold was as committed as Ruder to the discipline of Niggli
Verlag
letterpress typography or wrote about it
Niggli
with such conviction.
Emil
Ruder
Round 4: v1
Verlag
A Manual of Design
Back Cover
v e r l a g 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 m e t h o d o l o g y.
Ruder
to Swiss Style design. He taught
is
masterpiece
that typography’s purpose was to
seen in its overall structure: in the
communicate ideas through writing,
themes presented, in the comparison
as well as placing a heavy importance
of similarities and contrasts, in the
on Sans-serif typefaces. No other
richness of the illustrations and the
designer since jan tschichold was as
harmoniously inserted types. Today, fifty
committed as Ruder to the discipline
years after this book was first published,
of letterpress typography or wrote
it is still widely used and referenced.
a b o u t i t wi t h s u c h co n vi c t i o n .
a
comprehensive
t y p o g r a p h y : a
m a n u a l
d e s i g n
r u d e r
r u d e r
Round 4: v1
t y p o g r a p h y : a
e m i l
e m i l
o f
1 9 6 7
d e s i g n
the legacy of Emil Ruder. The volume
o f
was one of the major contributors
v e r l a g
m a n u a l
Typography: A Manual of Design is
n i g g l i
a
practical
Front Cover
t y p o g r a p h y :
n i g g l i
Spine
m a n u a l
o f
e m i l
d e s i g n
r u d e r