Modular Grid Process Book

modular grid+ hierarchy of scale

Julia Kline Typography VISC 200 Linda Talleur

Paul Rand Paul Rand is an American graphic designer and art director best known for his iconic corporate logos such as IBM, ABC, and Yale University. He was an avid practitioner of Swiss Style of graphic designing in American advertising industry. He was born on August 15, 1914 in Brooklyn, New York as Peretz Rosenbaum. He embraced design at a very young age, painting signs for his father’s grocery store as well as for school events at P.S. 109.[4]Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s High School while taking night classes. He has taken an interest in art from a young age and attended multiple art schools, but has developed his graphic sense through self-education. He started working in page design and working with magazine layouts for fashion brands. In his early twenties, he was producing work that began to garner international acclaim, notably his designs on the covers of Direction magazine, which Rand produced for no fee in exchange for full artistic freedom.

Then during the late 1950s, he began working to design logos for corporate businesses. His most famous logo was IBM, and this defined his identity and reputation. He revised the logo a decade later to add the famous stripe pattern.

Emil Ruder Emil Ruder was a typographer and graphic designer well known for his Swiss style use with sans serif type faces and his concise typography. Born in Zurich, Switzerland in March of 1914, Ruder was an early culprit to establishing Swiss design. He began designing at age 15 as an intern for a compositor and soon after school he studied in Paris. His artwork can be distinguished from other designers due to his holistic approach to teaching and designing. His teaching involved practical methods based on theory and philosophy. He taught that typography’s purpose was to communicate ideas through writing. Among other methods Ruder conveyed in his artwork and taught to his students, one of them was contrast. He favored asymmetrical compositions, placing the counters of characters and the negative space of compositions. He worked alongside Armin Hofmann to establish the Basel School of Design and Swiss Design. After World War II, there was a pause in design and new forms of expression. At this time, Ruder revolutionized the traditional typography by separating it from all the conventional rules that it followed. He pursued the craft of letterpress printing with utter dedication and devotion. His style has been looked upon by many designers, and his use of grids in design has influenced the development of web design tremendously.

Rosemarie Tissi Rosemari Tissi was born in 1937 in Thayngen, Switzerland. She took classes at the Kunstgewerbeschule ZĂźrich School of Arts and Crafts. The she worked as a graphic design apprentice for four years with Siefried Odermatt - master of Swiss design. While she was still a student, her work was published in the Neue Grafik magazine in 1957, due to her strong typography work. Ten years after her apprenticeship, her and Odermatt got in touch and set up a collective studio together. Clients from the cultural and public fields would go to the studio for Swiss style print matter, posters, and custom typefaces. They were a well-known partnership that created a long-standing career, Odermatt and Tissi.

She transitioned from a modernist approach towards functionality and neutrality during her career. She became more interested in individualistic graphic language that expresses her personality through layouts, colors, and type. Tissi became one of the most important female graphic designers of the 20th century and began lecturing and showcasing her work worldwide. She is a member of the Alliance Graphique Internationale and Art Director’s Club and has been awarded a Swiss Grand Award for Design in honor of her influence to women in graphic design.

Josef Muller-Brockman Josef Müller-Brockmann is considered one of the most famous designers of the Swiss style Design. Müller-Brockmann was born on May 9, 1914 in Rapperswil, Switzerland. He lived through World War II near the destruction and fear and the Cold War and in that time, he influenced graphic design on a global scale. It was a time of rebirth for many nations that were rebuilding and rethinking centuries of tradition that were forced to change due to the brutality of war and cruelty. He started his path in design by attending high class schools of architecture, art, and design, such as the University of Zurich.

He was one of Keller’s students who was heavily focused around the grid system and Swiss typefaces. After graduating, he obtained an apprenticeship in 1936 for Wallter Diggleman, a designer and advertising consultant and later took over Keller’s teaching position at Kunstgewerbeschule. He then opened his own studio and design firm that specialized in photography, graphics, and exhibition design.

Over two decades, became Europe’s leading practitioner and theorist of Swiss Style, creating a universal graphic expression using a gridbased design and extraneous illustration. He published several books journals that helped spread the Swiss aesthetic across Europe and provided an in-depth analysis of his work practices and philosophies. He spent the rest of his life teaching young designers until his death in 1996.

Swiss Style Swiss Style can be summed up into cleanliness, readability, and objectivity. Also known as The International Typographic Style, it has had profound influence on graphic design as a part of the modernist movement, impacting many design-related fields including architecture and art It emerged from the modernist and constructivist ideals in the late 1930s and can be described as a simplistic, purposeful design.

Swiss style eliminates distractions and uses minimal elements for the viewer which allows the information to become the design rather than just be admired for embellishments, textures, and illustrations. The most well-known typefaces that make up Swiss style include Akzidenz Grotesk, Univers, and Helvetica. The grid systems wouldn’t be effective without the effects of the sans serif typeface. Ernest Keller, the “father of Swiss design,” got his name for his teachings and use of the grid system. He believed that design should adapt to content placed and focus on the importance of typefaces. Some of his students went on to become runners in the creation of the International Typographic Style movement. One of the first American designers to integrate Swiss design with his own was Rudolph de Harak. Swiss style design is a “socially useful and important activity... the designers define their roles not as artists but as objective conduits for spreading important information between components of society.”

Modular Grid Notes Text Alignments Justified Text: crisp, vulnerable to awkward hyphens and rivers (gaps Flush Left: easiest to read, most common Flush Right: nice break but hard to read, used for small captions and callouts Centered: prim and poetic passages, not large amts. of text Parts of the Grid Margin: area between main content and edges , line of text ends and begins Gutter: space between columns of type, determined by number and width of columns Column: one or more vertical blocks of content, separated by gutters and rules Module: govern the placement, cropping of pictures, text Font Family Styles Traditional: roman, italic, bold, small cap Super: serif, sans serif, every style in between, typographic systems Extended: can brand out, hairline, black, extended, condensed Line Spacing/Leading

• Amount of horizontal space between two texts

• Measured from baseline to baseline

• Balance between point size and leading can keep things together and moving ahead Tracking: overall spacing between letters in a block of text; larger the type the less spacing needed Kerning: adjusting the space between individual letters Hierarchy=rank=order of importance

Ellen Lupton Notes What are things you want to avoid?

• Don’t center everything or float out to edges; try not to be static What does Ellen mean by anchoring elements?

• Creating a mix of uniformity and variety; content is together when blocks of text have an internal structure Can you find good and bad examples?

• Yes, depending on content; some are darker and some are lighter What is line spacing/leading?

• Creates texture; create open and closed fields of type that are lighter and darker How do you use it creatively?

• Allows you to mix and match forms; expressive How do you create emphasis in design?

• Make things bold or use symbols and colors to show importance; too much can create chaos

Modular Grid Notes Thinking with Type Grid Chapter Golden Section

• Ratio between 2 numbers

• Formula a : b = b : (a + b)

• Smaller of two elements related to larger element in the same way that the larger element relates to the two parts combined

• 1 : 1,618 Multicolumn Grid: provide flexible formats for publications that have complex hierarchy (text and illustration) Designing with Hang Line

• In addition to vertical zones with columns, you can also divide the page horizontally

• In graphic design its called hang line, in architecture its called datum Modular Grid

• Consistent horizontal divisions from top to bottom and vertical divisions from left to right

• Govern placement, cropping of pictures, text

• Created by positioning guidelines Baseline Grid

• Governs the whole document

• Serves to anchor all layout elements to a common rhythm Scale and Tension When do designers talk about scales?

• Element seem larger or smaller in context

• Conveys meaning

• Scale relationships ca be conceptual, importance Things to Avoid

• Don’t use big bold loud type What can scaling do?

• Convey meaning

• Create tension

• Create depth

• Tells a story

• Show importance

• Give design energy and excitement Asymmetry Why is symmetry is good?

• Many natural organisms are symmetrical

• Symmetrical layouts are inherently balanced Why is asymmetry good?

• Distributes elements and moves them around until they feel balanced

• Design that moves and changes Dynamic using asymmetry and symmetry

• Suggest tension, movement and growth

• Can be through shapes and patterns

modular grid ROUND ONE

font: Aktiv Grotesk

Julia Kline

Typography:

A Manual of Design

1967

Emil Ruder

1967 Niggli Verlag

Typography:

A Manual of Design Niggli Verlag Emil Ruder

Round 1

Due March 3

Julia Kline

Typography: A Manual of Design

1967

1967

Niggli Verlag

Typography:

A Manual of Design

Niggli Verlag

Emil Ruder

Emil

Ruder

Due March 3

Julia Kline

Emil Ruder

Typography:

Niggli

A Manual of Design

Verlag

1967

Niggli Verlag

1967

Typography:

A Manual of Design

Emil

Ruder

Round 1

Due March 3

Julia Kline

Emil

Typography:

Typography:

Ruder

A

A

Manual of Design

Manual of Design Niggli Verlag

Niggli Verlag

Round 1

1967

1967

Emil Ruder

Due March 3

Julia Kline

Emil Ruder

Typography:

Niggli Verlag

A

Manual of Design 1967 Typography:

A Manual of Design 1967 Round 1

Niggli Verlag

Emil Ruder

Due March 3

Julia Kline

Typography:

Niggli Verlag

Emil Ruder

A 1967

Manual of Design Typography:

A Niggli Verlag

Emil Ruder

Round 1

1967

Manual of Design Due March 3

Julia Kline

1967

Emil Ruder

Typography:

Niggli

A Manual of Design

Verlag

T y p o g r a p h y:

A

Manual

Emil Ruder

Niggli Verlag

Round 1

of

D e s i g n 1967 Due March 3

Julia Kline

EMIL

RUDER

typography:

EMIL RUDER

NIGGLI VERLAG

A

1967

MANUAL OF DESIGN

T Y P O G R A P H Y:

A Manual of Design

Niggli Verlag

1967

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

Due March 3

Julia Kline

EMIL

Niggli Verlag

Emil Ruder

RUDER

1967

NIGGLI VERLAG

T Y P O G R A P H Y:

a

manual

A

of

d e s i g n 1 9 6 7

Round 1: Part Two

T y p o g r a p h y:

MANUAL OF DESIGN Due March 3

Julia Kline

NIGGLI

VERLAG

1967

Niggli Verlag

EMIL

RUDER

Typography:

A MANUAL OF DESIGN

TYPOGRAPHY:

A Manual of Design 1967 Round 1: Part Two

EMIL

RUDER

Due March 3

modular grid ROUND TWO

ROUND 1

font: Aktiv Grotesk

Julia Kline

1967

1967

Typography:

Typography:

A Manual of Design

A Manual of Design

Niggli Verlag Emil Ruder

Round 2

Niggli Verlag Emil Ruder

Julia Kline

1967

1967

Typography:

Typography:

A Manual of Design

A Manual of Design

Niggli Verlag Emil Ruder

Niggli Verlag Emil Ruder

Julia Kline

1967

1967

Typography:

Typography:

A Manual of Design

A Manual of Design

Niggli Verlag Emil Ruder

Round 2

Niggli Verlag Emil Ruder

Julia Kline

1967

1967

Niggli Verlag

typography:

typography:

A MANUAL OF DESIGN

A MANUAL OF DESIGN

EMIL

EMIL

RUDER

RUDER

Round 2

Niggli Verlag

Julia Kline

1967

1967

Niggli Verlag

typography:

typography:

A MANUAL OF DESIGN

A MANUAL OF DESIGN

EMIL

EMIL

RUDER

RUDER

Round 2

Niggli Verlag

Julia Kline

1967

1967

Niggli Verlag

typography:

typography:

A MANUAL OF DESIGN

A MANUAL OF DESIGN

EMIL

EMIL

RUDER

RUDER

Round 2

Niggli Verlag

Julia Kline

EMIL RUDER

EMIL RUDER

Typography:

Typography:

a

a

manual

manual

of

of

design

design

Niggli Verlag

Round 2

1967

Niggli Verlag

1967

Julia Kline

EMIL RUDER

EMIL RUDER

Typography:

Typography:

a

a

manual

manual

of

of

design

design

Niggli Verlag

Round 2

1967

Niggli Verlag

1967

Julia Kline

EMIL RUDER

EMIL RUDER

Typography:

Typography:

a

a

manual

manual

of

of

design

design

Niggli Verlag

1967

Niggli Verlag

1967

modular grid ROUND THREE A

font: Aktiv Grotesk

Julia Kline

emil ruder 1967 Niggli Verlag

typography: a manual of design

Round 1

1967 Niggli Verlag

Emil Ruder

typography:

A Manual of Design Due March 3

typography:

A Manual of Design

1967

1967

Julia Kline

Typography:

emil ruder Niggli Verlag

Emil Ruder

A Manual of Design Niggli Verlag Emil Ruder

Due March 3

Julia Kline

NIGGLI

1 9 6 7 NIGGLI VERLAG

TYPOGRAPHY:

a manual of design EMIL RUDER

VERLAG

1967

emil ruder TYPOGRAPHY: A MANUAL OF DESIGN

Round 1

Due March 3

1967 Typography:

A Manual of Design Emil

Ruder

Niggli

Julia Kline

EMIL RUDER Niggli Verlag

1967

typography: A Manual of Design

Verlag

Round 1

Due March 3

Julia Kline

niggli verlag Typography:

A Manual of Design Emil Ruder

Round 1

1967

typography:

1967

A Manual of Design

Emil Ruder

Niggli Verlag

Due March 3

Julia Kline

TYPOGRAPHY: A MANUAL OF DESIGN

niggli verlag

NIGGLI VERLAG Typography:

a manual of design

Emil Ruder

Round 1

1967

Emil Ruder

1967 Due March 3

Julia Kline

1 9 6 7 n i g g l i ve r l a g

1967 Emil

Ruder

emil ruder

typography: Typography:

A MANUAL OF DESIGN

A MANUAL OF DESIGN Niggli Verlag

Round 1

Due March 3

Julia Kline

Emil

NIGGLI

Ruder

VERLAG

1967

TYPOGRAPHY: A MANUAL

OF DESIGN

Niggli

Verlag

1967

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

T y p o g r a p h y:

A Manual of DESIGN

EMIL RUDER

Due March 3

Julia Kline

emil ruder niggli verlag

Niggli Verlag

Emil Ruder

1967

T y p o g r a p h y:

Typography:

A MANUAL OF DESIGN

1 9 6 7

Round 1: Part Two

A MANUAL OF DESIGN Due March 3

Julia Kline

niggli verlag emil ruder

1967

Typography:

A MANUAL OF DESIGN

TYPOGRAPHY:

A Manual of Design

1967

Round 1: Part Two

NIGGLI VERLAG

EMIL RUDER

Due March 3

modular grid ROUND THREE B

font: Aktiv Grotesk

Julia Kline

emil ruder 1967 Niggli Verlag

typography: a manual of design

Round 1

Niggli Verlag

1967 Emil Ruder

typography:

A Manual of Design Due March 3

EMIL

RUDER Emil Ruder

T y p o g r a p h y:

A MANUAL OF DESIGN NIGGLI

VERLAG

Niggli Verlag

19 67

Julia Kline

TYPOGRAPHY:

a manual of design

Due March 3

Julia Kline

Niggli Verlag Emil Ruder

TYPOGRAPHY: A MANUAL OF DESIGN

19 67 Round 1

1967

emil ruder NIGGLI

VERLAG

TYPOGRAPHY: A MANUAL OF DESIGN

Due March 3

Julia Kline

emil ruder niggli verlag

EMIL RUDER Niggli Verlag

1967 TYPOGRAPHY: A MANUAL OF DESIGN

Round 1

1967 Typography:

A MANUAL OF DESIGN

Due March 3

1967 typography: a manual of design emil ruder

NIGGLI VERLAG Round 1

Julia Kline

typography:

a manual of design

19 67

n i g g l i ve r l a g emil ruder Due March 3

modular grid ROUND FOUR

ROUND 1

typography:

a manual of design

19 67

n i g g l i ve r l a g

Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.

EMIL RUDER

Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design.

He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction

a manual of design

a manual of design

EMIL RUDER

typography: typography:

n i g g l i ve r l a g

EMIL RUDER

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.

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

TYPOGRAPHY: A MANUAL OF DESIGN

Niggli Verlag Emil Ruder

TYPOGRAPHY: A MANUAL OF DESIGN

19 67

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

VERLAG

RUDER

NIGGLI

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

T y p o g r a p h y:

EMIL

RUDER

T y p o g r a p h y:

A MANUAL OF DESIGN NIGGLI

VERLAG

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

Niggli

typography: a manual of design

typography:

Verlag

Emil Ruder

emil ruder

emil ruder 1967 Niggli Verlag

typography:

a manual of design

A Manual of Design

Emil Ruder

A Manual of Design

typography:

Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.

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.

1967

Niggli Verlag

Emil Ruder typography:

A Manual of Design