Modular GRID PROCESS BOOK Kaylee Cart
Modular GRID DESIGNER RESEACH Kaylee Cart
DESIGN TERMS Flush Left Flush left is a very common form of text alignment. It is when the text is aligned perfectly to the left but is not justified to also align with the right. Instead, the lines of text end on the right at different points. The spacing between words and letters is not changed.
DESIGN TERMS
TEXT ALIGNMENTS Justified Text
Flush Right
Justified text is alligned with the left margin and the spacing between words and letters is adjusted so that it also lines up with right margin. This is also known as fully justified or full justification. It is a common type of text alignment in print media as it is often used in newspapers.
Flush right is when the text is aligned perfectly to the right margin and not justified to the left margin. Instead, the left text ends at different points. This makes it slightly harder to read because we read left to right. However, it looks good when used sparingly as an extra touch.
Center
Center alignment is when the text is aligned to the center of the text box. Meaning, neither side of the text is perfectly aligned. Instead, both sides end at different points. But, the text box will be vertically symmetrical.
THE GRID
Margin
Gutter
Column
The margin is the buffer of a page. It is the space between the page size and the content so that nothing will get cut off when the design is printed. Images that extend past the margin will bleed off the page when printed. This can create a sense of importance for that image.
The gutter is the space that is closest to the spine in a spread. It is important to not put any text or important parts of images in this area because it might end up covered due to the spine when the spread is printed. The gutter is in the center of the spread.
A column is created by the vertical lines in a grid. They hold type or images and limit them to a certain width for consistency. Columns are an important thing to design with. It creates intention on a page. A designer can double the size of the column for hierarchy.
FONT FAMILIES & STYLES
Styles
Roman
Italic
Bold
Most fonts are organized into families. In the sixteenth century, letter makers began organizing roman and italic typefaces into font families. In the twentieth century, the concept began to include styles such as bold, semibold, book, bold italic, and small.
Roman is the core in which a font family comes from. It is the most basic form of a font and is often used for body text. It is also referred to as plain or regular. A roman typeface is the standard, upright, most basic form of a font. It normally is the parent of a font family.
Italic letters are based on cursive writing. They are very distinct and create an emphasis on words when they are used. It is especially used on serif typefaces. Italic letters were one of the first styles to develop from roman type. Today it is commonly used to distinguish titles.
Bold letters are used for emphasis within a hierarchy. They take the roman letters and thicken the stroke in order to make the type stand out on a page much more. It is eyecatching because it makes it look important or worth reading.
SPACING IN DESIGN
Module
Leading
Tracking
Kerning
Hierarchy
A module is the individual divisions on a grid. It is one section of the space that the rows and columns make up when they intersect. Multiple modules will create a full grid. When designing, the designer can combine multiple modules to create space and a layout on the page.
Leading describes the distance between each line of text in a paragraph. A designer can strategically change this to alter their design and layout. The name comes from when typesetting was done by hand and actual pieces of lead separated the lines of type.
Tracking is the space between each letter in a word. It is also referred to letter-spacing. Tracking creates visual density in a line or block of text.
Kerning is the spacing of characters in a proportional font. It is a similar concept to tracking however the two have differences. Kerning is the adjustment of space between each letterform where tracking will uniformly over a range of characters.
Visual hierarchy is a very important concept in design. It is when the designer emphasizes where the viewer’s eyes should travel to first. Without hierarchy, a design can look muddled and boring. The headings should always look more important.
RESEARCH NOTES THINKING WITH TYPE
THE GRID
This article explains many types and forms of grids. Grids are a very important and vital part of designing because it gives the design order. The golden section is a form of a grid that is made up of rectangles in which the sides follow the ratio a:b+b:(a+b). The multicolumn grid provides flexible formats so the designer can use text, images, illustrations
This video covers the topic of grids. Graphic design is all about alignment and the rules of alignment. Grids create uniformity in design and also variety. There are many good and bad ways to layout a page and it is important for a designer to understand them all. Centered layouts are a very old school, classic layout. They are often disliked in today’s time due to the static
on the spread. Images can span several columns but it creates a set width that creates consistency. The hang line grid will add a horizontal line to a multicolumn grid. This will reserve a space at the top for images or headings. The modular grid has consistent divisions from top to bottom and left to right. It is a very common form of a grid.
and boring feel that they can have. However, when done right, centered layouts can be very good. A common mistake when designing is not having anchor points for the spread. If each element of a page is floating to the corners and is not grounded in relation to the other elements, there is a problem.
SCALE & TENSION
ASYMMETRY
This video explains how scale is not purely size. There is much more to it. Scale is relative. An element will seem bigger or smaller depending on its context. When done right, size can and will convey meaning. It is conceptual and will show an element’s importance. Additionally, scale can tell a visual story depending on the composition. the larger an image, the closer it is. The
This video discusses asymmetry and symmetry. Symmetry can enhance a designer’s work. It is important to work with symmetry unless you intentionally are trying to go against it by making a design asymmetrical. Symmetrical designs are balanced and even. They are harmonious and are easier for the viewer to understand because of all the things in nature that
smaller, the further away it is. Scale can mean size but really it is the relationship it has between the other elements of a page. If everything is the same size, the viewer will not know what is the most important element of a layout. Their eyes will not know where to look first. It is important to highlight aspects with scale.
are also symmetrical. On the other hand, asymmetry can still be balanced if it is done right. It is important to not overdo asymmetry because then it loses its importance. Asymmetry can give the design life and will make it dynamic because the viewer’s eyes are forced to move around the spread based on the asymmetry of it all.
SWISS DESIGN Swiss design is a highly praised style of design that is also referred to as international style. The style is not only for design, but it has also influenced architecture, art, and culture. The design style is characterized by crisp, blocky layouts, minimalist design, grids, and sans serif typefaces. A major part of Swiss design is Helvetica. Helvetica is an insanely popular font that is consistently used in Swiss design. The name Helvetica literally translates to the word, ‘Swiss’. The movement originated in Switzerland in the 1950s at two Swiss art schools, kunstgewerbeschule in Zurich, led by Josef MüllerBrockmann, and the Allgemeine Gewerbeschule in Basel, led by Armin Hofmann. The style is inspired by the idea that design should be as invisible as possible. The design should serve the content, not the other way around. This idea is similar to the architectural modernism where form should follow function.
What set Swiss design so apart from all design that had come before it was the asymmetric layouts. Additionally, the text aligned flush left and ragged right with sans serif typefaces were major contributors to developing this style. But most importantly was the development of a mathematically defined grid to determine placement. The grid system helped designers make meaningful, logical, and consistent organization of information on a page. Most of these features have become so ingrained in modern-day design that it is hard to think of them as distinctively Swiss. The Swiss movement developed a lot during both world wars. This, mainly, could be because Swiss stayed neutral throughout both wars so it became almost a haven for all intellectuals and became a gathering place for ideas from people across the world. This uncommon crossroad allowed for the birth of this impactful movement that still inspires designers to this day.
ROSMARIE TISSI Rosmarie Tissi is a critically acclaimed Swiss graphic designer who specializes in typography. She was born in 1937 in Thayngen, Switzerland. Tissi began her career taking courses at the Swiss design school, Kunstgetwerbeschule in Zurich. She then moved on to work as a graphic design apprentice for designer Siegfried Odermatt who is considered a master of graphic design. After 10 years of working together, the pair set up a studio together called O&T. The studio specialized in print matter, posters, and custom typefaces. Tissi defines design as a combination of functionality and aesthetics. She believes the purpose of graphic design is to deliver a message in an original and interesting package. Her style of design is simplistic, reduced,
JOSEF MĂœLLERBROCKMANN minimal design. She tends to reduce her designs to the essentials and play with the empty space to make the white space part of her composition. When asked about the differences between art and design, Tissi said that design must serve a purpose and can not be art for it. She believes that there can be exceptions in the case of illustrations. However, the design must serve a function of any sort. Tissi has taught and lectured at the Rhode Island School of Design and at Yale University. She has also won countless awards for her work, including the 1st prize gold medal at the 11th International Poster Biennal in Warshaw in 1986. She also has served on several juries at design competitions in Germany, Japan, Switzerland, and the United States of America.
Josef MĂźller-Brockmann was a Swiss graphic designer who studied architecture, design, and history of art at the Swiss design school, Kunstgetwerbeschule in Zurich. He was born on May 9, 1914, and died on August 30, 1996. He specialized in graphic design, photography, and exhibition design. He created concert posters, was an editor for the New Graphic Design, and in 1966 he was appointed European design consultant to IBM. At the age of 43, he became a teacher at Kunstgetwerbeschule, the Zurich school of arts and crafts which is the same school in which he attended. He is recognized for his simple, clean designs and his tight use of typography. He liked to use shapes and
color that now inspires many graphic designers in the 21st century. He is most likely the most well known and recognized Swiss designer and his name is frequently said when discussing the Swiss design movement. MĂźller-Brockmann is also the author of several books on design and visual communications including The Graphic Artist and His Problems and Grid Systems in Graphic Design. His books have in-depth analysis of his practices, and philosophies that he discovered through his work. These books are great foundations for young potential graphic designers to learn the principals of design. Most of his life was spent learning, working, or teaching.
PAUL RAND
EMIL RUDER Paul Rand is an American graphic designer and art director. He was born on August 15, 1914, and died on November 26, 1996. He is best known for his work with logos, especially corporate logo designs including work for IBM, Ford, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT. He was greatly influenced by the Swiss style of graphic design and was one of the first American designers to bring this school of thought overseas to the United States of America. Rand was a professor of graphic design at Yale University from 1956 to 1974 and in 1972 was inducted to the New York Art Directors Club Hall of Fame. Rand’s work began with a part-time job working for Syndicate creating stock images that supplied graphics to various newspapers and magazines. He was influenced by
German advertising and the work of Gustav Jensen. Eventually, he began to be largely influenced by Swiss design. He is most known for his work and contribution to corporate identities. Many logos and identities he created are still in use today with only slight alterations. He was able to act almost like a salesman and present why the company needs the identity, this made him very effective and likable. Rand had a large staff of people working for him at his studio, however, he preferred to do much of his work alone. He worked best creatively when he was alone and invested much of his time to documenting his creative process. He devoted his final years of life to his design work and writing a memoir. He died of cancer at the age of 82 in Connecticut.
Emil Ruder is a Swiss graphic designer and typographer. He was born in Zurich, Switzerland on March 20, 1914, and died March 13, 1970. He was a trained typesetter in Basil and studied in Paris from 1938 to 1939. Ruder published a grammar of typography titled Typographie. His book was published in German, English, and French. This text helped to spread and popularize the Swiss style of design. It also became a classic text for aspiring graphic designers and typography programs
teaching. He wanted to “promote the good and the beautiful in word and image and to open the way to the arts.” He majorly contributed to the Swiss style of design and was a big factor in how the style came together.
who was part of the faculty at the Allgemeine Gewerbeschule in Basel and worked in the Basel School of Design. He specialized in the field of typography for developing a holistic approach to designing and
Ruder worked a lot on the grid system. He worked hard developing the system and utilized it in all of his designs. He used in his Swiss style designs as well as in his poster designs.
Ruder firmly believed that the primary aim of typography is communication but this belief did not exclude the need for aesthetics. He utilizes the methods of contrast and was devoted to the craft of letterpress printing.
Modular GRID ROUND ONE PART ONE Kaylee Cart
Typography: A Manual of Design
Emil Ruder 1967 Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Typography: A Manual of Design
Emil Ruder
1967
Niggli Verlag
Typography: A Manual of Design
Typography: A Manual of Design
Emil Ruder
1967
Niggli Verlag 1967
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Emil Ruder
Niggli Verlag
Typography: A
Manual of
Design
Emil Ruder 1967 Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Typography: A Manual of Design
Emil Ruder
1967 Niggli Verlag
Typography: A
Manual
Typography: A Manual of Design
of
Design
Emil Ruder
Emil Ruder
1967
1967
Niggli Verlag
Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Typography: Manual Design
A
of
Emil Ruder
1967 Niggli Verlag
Emil Ruder Typography: A Manual of Design Niggli Verlag 1967
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Typography Manual Design :A
of
Emil Ruder 1967
Emil Ruder Typography: A Manual of Design
Niggli Verlag
1967 Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Typography: A Manual of Design
Typography:
Emil Ruder Niggli Verlag 1967
A Manual of Design
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Emil Ruder 1967 Niggli Verlag
Modular GRID ROUND ONE PART TWO Kaylee Cart
TYPOGRAPHY:
Emil Ruder Niggli Verlag 1967
A Manual of Design
TYPOGRAPHY: A MANUAL OF DESIGN
Emil Ruder
1967
Niggli Verlag
Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps
Typography Manual Design Emil Ruder :A
of
TYPOGRAPHY:
1967
A
Manual
Niggli Verlag
of
D E S I G N
Emil Ruder Niggli Verlag 1967
Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps
TYPOGRAPHY MANUAL DESIGN emil ruder
1
:a
9
6
7
of
1
9
6
7
Typography: A Manual of Design
niggli verlag
EMILRUDER Niggli Verlag
Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps
Modular GRID ROUND TWO Kaylee Cart
TYPOGRAPHY: a MANUAL of DESIGN emil ruder 1
9
6
7
niggli verlag
Round 2: Color and Rules
TYPOGRAPHY: a MANUAL of DESIGN emil ruder 1
9
6
7
niggli verlag
Kaylee Cart
TYPOGRAPHY: a MANUAL of DESIGN emil ruder 1
9
6
7
niggli verlag
Round 2: Color and Rules
TYPOGRAPHY: a MANUAL of DESIGN emil ruder 1
9
6
7
niggli verlag
Kaylee Cart
TYPOGRAPHY: a MANUAL of DESIGN emil ruder 1
9
6
7
niggli verlag
Round 2: Color and Rules
TYPOGRAPHY: a MANUAL of DESIGN emil ruder 1
9
6
7
niggli verlag
Kaylee Cart
TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
Niggli Verlag
Niggli Verlag
Emil Ruder
1
Round 2: Color and Rules
9
6
7
Emil Ruder
1
9
6
7
Kaylee Cart
TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
Niggli Verlag
Niggli Verlag
Emil Ruder
1
Round 2: Color and Rules
9
6
7
Emil Ruder
1
9
6
7
Kaylee Cart
TYPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN
Niggli Verlag
Niggli Verlag
Emil Ruder
1
Round 2: Color and Rules
9
6
7
Emil Ruder
1
9
6
7
Kaylee Cart
emil ruder
emil ruder
TYPOGRAPHY: a Manual of Design
TYPOGRAPHY: a Manual of Design
Niggli Verlag 1 9 6 7
Niggli Verlag 1 9 6 7
Round 2: Color and Rules
Kaylee Cart
emil ruder
emil ruder
TYPOGRAPHY: a Manual of Design
TYPOGRAPHY: a Manual of Design
Niggli Verlag 1 9 6 7
Niggli Verlag 1 9 6 7
Round 2: Color and Rules
Kaylee Cart
emil ruder
emil ruder
TYPOGRAPHY: a Manual of Design
TYPOGRAPHY: a Manual of Design
Niggli Verlag 1 9 6 7
Niggli Verlag 1 9 6 7
Round 2: Color and Rules
Kaylee Cart
Modular GRID ROUND THREE PART ONE Kaylee Cart
Emil Ruder Niggli Verlag
Typography: A Manual of Design
1 9 6 7
Emil Ruder Niggli Verlag
Typography: A Manual of Design Round 3: Scale
Kaylee Cart
1 9 6 7
Emil Ruder Niggli Verlag
TYPOGRAPHY:
a MANUAL of D E S I G N 1967 Emil Ruder Niggli Verlag
Round 3: Scale
Typography: A Manual of Design
Kaylee Cart
TYPOGRAPHY: a
MANUAL
of
DESIGN Niggli Verlag Emil Ruder 1967
1 9 6 7
Typography: A Manual of Design
Emil Ruder Niggli Verlag
Round 3: Scale
Kaylee Cart
EMIL RUDER Typography: A Manual of Design 1967
NIGGLI VERLAG
Round 3: Scale
TYPOGRAPHY:
a MANUAL of D E S I G N Emil Ruder Niggli Verlag
Kaylee Cart
EMIL RUDER
1967 Niggli Verlag
1967 Niggli Verlag
Round 3: Scale
Kaylee Cart
NIGGLI VERLAG Typography: A Manual of Design
Round 3: Scale
1967
Niggli Verlag
1967
Emil Ruder
Kaylee Cart
Niggli Verlag Emil Ruder 1967
Niggli Verlag Emil Ruder
Typography: A Manual of Design
Round 3: Scale
Kaylee Cart
1967 Niggli Verlag Emil Ruder
TYPOGRAPHY: A MANUAL OF DESIGN NiggliVerlag EmilRuder
Round 3: Scale
Kaylee Cart
1967 EmilRuder NiggliVerlag
Round 3: Scale
Kaylee Cart
TYPOGRAPHY: A MANUAL OF DESIGN
1967 EmilRuder NiggliVerlag
Round 3: Scale
Kaylee Cart
Modular GRID ROUND THREE PART TWO Kaylee Cart
niggliverlag
emilruder
TYPOGRAPHY:
a MANUAL of D E S I G N
niggli verlag e m i l r
1
Round 3: Scale
9
u
d
6
e
r
7
Kaylee Cart
niggliverlag 1
9
6
7
emilruder
emil ruder 1
9
6
7
niggli verlag
Round 3: Scale
Kaylee Cart
1 9 6 7
Emil Ruder Niggli Verlag
niggliverlag 1
9
6
7
emilruder
Typography: A Manual of Design
Round 3: Scale
Kaylee Cart
niggliverlag
emilruder
TYPO GRAPHY: 1
a manual of design
Round 3: Scale
9
6
7
Emil Ruder 1
9
6
7
Niggli Verlag
Kaylee Cart
1
9
6
7
1 9 6 7
Typography: A Manual of Design Typography: A Manual of Design
Emil Ruder Niggli Verlag
Round 3: Scale
Kaylee Cart
Modular GRID ROUND FOUR Kaylee Cart
Back Cover
Spine
Niggli Verlag
Round 4: v1
1
9
6
7
Emil Ruder
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Typography: A Manual of Design
Typography A Manual of Design
Front Cover
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction
Typography: A Manual of Design
Emil Ruder
score and fold
Back Cover
Spine
Typography 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: v1
1
9
6
7
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.
Front Cover
score and fold
Back Cover
Spine
Emil Ruder
Typography A Manual of Design
Typography: A Manual of Design Niggli Verlag 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
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.
Niggli Verlag
Round 4: v1
1 9 6 7
Front Cover
score and fold
Back Cover
Spine
Emil Ruder
Niggli Verlag
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught
that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities
and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Typography: A Manual of Design
Round 4: v1
Typography: A Manual of Design
Emil Ruder
1 9 6 7
Front Cover
Typography: A Manual of Design Niggli Verlag Emil Ruder
score and fold
Back Cover
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction
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.
Spine
Emil Ruder 1
Typography: A Manual of Design Niggli Verlag
6
7
Niggli Verlag
Emil Ruder
Emil Ruder
Round 4: v1
9
score and fold
Back Cover
Spine
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction
Typography: A Manual of Design
Typography: A Manual of Design
Front Cover
Emil Ruder
Emil Ruder 1
Niggli Verlag
6
7
Niggli Verlag
Emil Ruder
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Round 4: v1
9
score and fold
Back Cover
Niggli Verlag
Spine
Front Cover
Emil Ruder
Emil Ruder
Typography: A Manual of Design
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Typography: A Manual of Design
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
niggliverlag 1
9
6
7
emilruder
Round 4: v1
score and fold
Back Cover
Spine
Front Cover
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.
niggliverlag
Typography: A Manual of Design
1
9
6
7
emilruder 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: v1
score and fold
Back Cover
Round 4: v1
Niggli Verlag
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
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Typography: A Manual of Design
Typography: A Manual of Design
Spine
1 9 6 7 Front Cover
Emil Ruder Niggli Verlag
Typography: A Manual of Design
score and fold
Back Cover
Niggli Verlag
Emil Ruder
Typography: A Manual of Design
Round 4: v1
Emil Ruder
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction
TYPOGRAPHY: A MANUAL OF DESIGN
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
1 9 6 7 Front Cover
Emil Ruder Niggli Verlag
Typography: A Manual of Design
score and fold
Modular GRID FINAL Kaylee Cart
Back Cover
Spine
T
niggli verlag
niggli verlag
1
E
mil 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
9
emil ruder
Round 4: v1
6
7 Typography: A Manual of Design
emil ruder
ypography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Typography: A Manual of Design
Typography: A Manual of Design
Front Cover
score and fold
Back Cover
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 A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Typography: A Manual of Design
Typography: A Manual of Design
Spine
Typography: A Manual of Design Niggli Verlag Emil Ruder
No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction. Emil Ruder
Round 4: v1
1 9 6 7
Front Cover
score and fold
Back Cover
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction
Front Cover
TYPOGRAPHY: A MANUAL OF DESIGN
T
ypography 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 1
TYPOGRAPHY: A MANUAL OF DESIGN
Round 4: v1
Emil Ruder
6
7
Niggli Verlag
Emil Ruder
Niggli Verlag
9
score and fold
Back Cover
Spine
Front Cover
E
niggliverlag
emilruder
Typography: A Manual of Design
mil 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
niggliverlag 1
9
6
7
emilruder
Round 4: v1
emilruder
T
ypography 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.
score and fold
Back Cover
Spine
E
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 Niggli Verlag
Typography: A Manual of Design
mil 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
1 9 6 7 Front Cover
Emil Ruder Niggli Verlag
Typography: A Manual of Design
Round 4: v1
score and fold
Back Cover
Spine
T
niggli verlag
niggli verlag
1
E
mil 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
9
emil ruder
Round 4: v1
6
7 Typography: A Manual of Design
emil ruder
ypography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Typography: A Manual of Design
Typography: A Manual of Design
Front Cover
score and fold
Back Cover
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 A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Typography: A Manual of Design
Typography: A Manual of Design
Spine
Typography: A Manual of Design Niggli Verlag Emil Ruder
No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction. Emil Ruder
Round 4: v1
1 9 6 7
Front Cover
score and fold
Back Cover
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction
Front Cover
TYPOGRAPHY: A MANUAL OF DESIGN
T
ypography 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 1
TYPOGRAPHY: A MANUAL OF DESIGN
Round 4: v1
Emil Ruder
6
7
Niggli Verlag
Emil Ruder
Niggli Verlag
9
score and fold
Back Cover
Spine
Front Cover
E
niggliverlag
emilruder
Typography: A Manual of Design
mil 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
niggliverlag 1
9
6
7
emilruder
Round 4: v1
emilruder
T
ypography 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.
score and fold
Back Cover
Spine
E
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 Niggli Verlag
Typography: A Manual of Design
mil 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
1 9 6 7 Front Cover
Emil Ruder Niggli Verlag
Typography: A Manual of Design
Round 4: v1
score and fold
Modular GRID MOCK UPS Kaylee Cart