Modular Grid Project Process Book

r t a c l e u j d o r o M id P r G Kate Schmidt, VISC 200

e i r a

m s o R si s i T Rosmarie Tissi is a renowned Swiss graphic designer.

She was born in Thayngen, Switzerland in 1937. Her initial design education was at Zurich School of Arts and Krafts. After her time at Zurich, she became an apprentice under master graphic designer, Siegfried Odermatt. In partnership with Odermatt, Tissi opened a design studio in 1968. Her studio was very successful and she specialized in the creation of posters, prints, and custom typefaces for a variety of clients. Many of Tissi’s best pieces are contributors to the Swiss Style of graphic design.

Her approach to graphic design appears to have morphed over her career, beginning with a more functional and neutral approach, before eventually leaving Modernism for a more

individualistic and expressive style in her later years. Many of her pieces are applauded for their dynamic layouts, vivid colors, and type experiments.

Rosmarie Tissi was very obviously a part of the required list of designers to research for Principles of Typography 200 project, because of her energetic and uniquely asymmetrical compositions, along with her ability to utilize grids in new and effective ways. One part of Tissi’s work that really stands out to me is her affinity for messing with the size contrast of letters to create emphasis or rhythm. Tissi pays close attention to how the stacking of either different letters or the stacking of a repeated logotype can be used to draw the audience’s eye around a poster.

One example of this is her display of the letters of the word “offset” as overlapped shapes. Stacked in various ways and all with different sizes and colors, her letters remain effective in communicating the word “offset” to the audience without much trouble. Another example of her experiments with type is her poster that reads “Lichstatz” with extremely bold black letters that are horizontally aligned and in descending size order.

The rhythm created by this composition and the angle at which the word ascends is the very essence of Swiss Design.

*designculture.it

s s i w S le y t S Swiss Style design, also known as International Typographic Design, originated in the 1940’s in Switzerland after World War II. The movement to Swiss Style was pushed by modernist designers who wanted to deemphasize the expression of the individual artist and instead neutralize the materials to make communication of the message as simple as possible. Many people claim that the reason Switzerland was the birth place of International typographic Style- and not any of the other countries who were headed in the same direction- is that Switzerland remained neutral during the conflict of WWII, allowing the country to be a safe haven for thinkers and a mixing pot of different cultural influences.

This iconic Swiss Style served to inspire the development of graphic design for many decades. Swiss Style is known mainly for its simple, legible, and easily understood posters.

Sans-serif fonts are the hallmark of Swiss Style posters, along with adherence to grids and asymmetrical layouts.

Designers like Josef MullerBrockmann of Zurich School of Arts and Krafts and Armin Hoffmann of the Basel School of Design were pioneers of this style. Erbst Keller is ultimately hailed as the grandfather of Swiss design because of his influence on designers like Brockmann and Hofmann as a professor at Zurich School of Arts and Krafts. *99designs.com *designishistory.com

Die Neue Haas Grotesk, now known as Helvetica, was the go-to typeface for Swiss designers. Typical Swiss design-inspired posters have very large and bold words running across the page, often at 60 degree angles. Hierarchy of size is what allows the audience to comfortably read the text on the posters, even when the text is oriented in an odd way. Color schemes are usually quite simple, blacks, off-whites, and saturated reds are the most popular choices.

Blocky layouts are common manifestations of the underlying grids that defined the Swiss Style movement. Gestalt principles of proximity, closure, and similarity serve to unify the shapes and text into satisfying compositions.

l u a P nd a R Paul Rand is a renowned graphic designer and art director of the 20th Century.

Many people know Rand for his masterful creation of logos for companies like IBM, ABC, Morningstar Inc., NeXT Computer, and Yale University, many of which are still in use today. Rand was able to bring a strong and positive reputation to the field of design that had not previously been there.

His emphasis on simplicity and minimalism translated into extremely innovative and striking corporate logos. Rand was influenced by a variety of movements, including modernism, International Typographic Design, and German advertising styles.

His work with the International Typographic Style is still present today in his signage

designs for the New York Subways Advertising Company.

Paul Rand was born in 1914 in Brooklyn, New York as Peretz Rosenbaum. Rand grew up painting signs for his father’s store and after high school he jumped around at multiple design institutions including, the New School for Design, the Art Students League and Yale University in Connecticut.

Despite his exposure to many different institutions, a lot of Rand’s inspiration comes from his self-education by reading European magazines that displayed the work of designers Cassandre and Laszlo MoholyNagy. He applied many elements of European style design to his advertisements and logos. It was a strategic choice of Rand to use a name

other than his birth name, Rand chose to undertake a pseudonym when he began his design career because he didn’t want his traditional Jewish name to influence how he was perceived in the field.

Paul Rand is included as a “designer to know” for the Principles of Typography 200 course because of his iconic usage of lines, shapes, and patterns to communicate lively and clear messages to his audience. He shows masterful use of a gridded format to arrange objects within his compositions and is therefore able to achieve balance even in the most asymmetrical compositions. *famousgraphicdesigners.org *thefamouspeople.com

l i m E der u R Emil Ruder is a Swiss typographer and designer and an early establisher of the Swiss or International Typographic design style. Born in Zurich, Switzerland in 1914, Emil Ruder immersed himself in design from a young age, taking an apprenticeship as a compositor at the age of fifteen. His training took him to Paris for a few years before he returned hime to attend the Zurich School of Arts and Krafts. Ruder went on to teach typography at the Zurich School of Arts and Krafts and develop programs at the Basel School of Design with Armin Hofmann. Post World War II, the conventional principles of design were failing to satisfy modern designers and Ruder was one of the first individuals to abandon conventional design rules and

create new laws of composition that correspond ended with the modern times. This new style would develop over many years at both Zurich School of Arts and Krafts and the Basel School of Design to form what is known as the International Typographic Style, or Swiss Style.

Ruder’s legacy and design philosophy live through his publication of Typographie in 1967. His book became the primary text for graphic designers as it was translated to French, German, and English. Many years later, after Ruder’s death, a more comprehensive supplement to his first publication was compiled form his work and teachings, called: Typographie: A Manual for Design.

Emil Ruder is an important figure to study for the Principles in Typography 200 course because Ruder’s experience with and use of grids has had far reaching influences in the design field, most notably on principles of web design.

Above all else, Ruder stresses the importance on clear communication of messages through simple typography and sans-serif typefaces. In his asymmetrical designs, Ruder pays precise attention to the negative space between letters and the negative space of the counters within each letter.

*designishistory.com

f e rn s n o e J üll ma M ock r B Josef Muller-Brockmann is a twentieth century Swiss graphic designer and teacher. Brockmann has a diverse background in the arts, including experience with architecture and art history. Brockmann was born in 1914, in Rapperswil, Switzerland. He attended multiple design institutions including Rapperswil’s own Kunstgewerbeschule architecture school and the Zurich School of Arts and Krafts. To begin his professional career he had an apprenticeship under Walter Diggleman, an advertising consultant. By 1936, Brockmann opened his own studio and offered graphics, photography, and exhibition design. Along with Emil Ruder, he became a force for the

Swiss Style movement of the 1940s and 50s.

One of Brockmann’s most iconic designs is his poster “Music Viva” for the Tonhalle’s music concert. His design used a gridded layout and drew inspiration from the harmonies of the concert. There was not a position in the design world that Brockmann did not hold, he was a design consultant, professor, art director, and publisher of multiple books on graphic design, design history, and principles of grids in design. Brockmann’s work was exhibited all over the world, including in Paris, Berlin, Tokyo, Osaka, and Chicago.

Brockmann is an important “designer to know” for the Principles of Typography 200 course because his advocation

for objective and minimalistic grid-based designs has influenced graphic design and typography for decades.

Some people even consider Brockmann as the designer who invented the grid system for developing layouts. The breadth of his influence can be accredited to how thoroughly he documented and published his personal design philosophies, which allows his books to be used as references for designers far after his time.

Brockmann believes the goal of designing posters and other works should be to let the content and message of the design be the focus by using simple and neutral typography that allow the audience to interpret the information however they choose to. *famousgraphicdesigners.org

1

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pink box shows you the upper left of the module the only spots you can put your text box ROUND ONE: PART ONE Use the InDesign file and create 14 different designs (2 fit on a page = 7 pages) Use all this text for every layout. Use it just once per layout and don’t repeat text. You can use it in any order, in any hierarchy (it is best if you try to have different hierarchy in your explorations.)

Typography: A Manual of Design Emil Ruder Niggli Verlag 1967 RESTRICTIONS Fonts: using ONLY one Font Family for the entire project (see list above) Sizes: 2 sizes use only 14pt and 36pt (only 2 sizes for Round One) Styles: 2 weight we suggest using a regular/roman and black Color: All Black and White only: No color Grid: All type must lock up into the upper-left ROUND ONE: PART TWO (using part one solutions) Once you have your 14 explorations. Pick your favorite 6.

Copy your favorite 6 onto new layouts or into a new document for Round One: Part Two. EXPLORE Explore all cap options or all lowercase Explore tracking Explore Leading Same restrictions as above.

Same questions as above. *All layouts have to use the GRID: upper left only. *All layouts must have a clear hierarchy. *All layouts must be different from each other.

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

Typography: A Manual of Design

Typography: A Manual of Design

Emil Ruder

Emil Ruder

1967 1967 Niggli Verlag Niggli Verlag

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

Typography: A Manual of Design Typography: A Manual of Design Emil Ruder Emil Ruder 1967 1967 Niggli Verlag Niggli Verlag

Typography: A Manual of Design

Emil Ruder

Typography: A Manual of Design

Emil Ruder

1967 Niggli Verlag

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

Niggli Verlag

Kate Schmidt

1967

2.27.20

1967

Typography:

Niggli Verlag

A Manual of Design

Typography: A Manual of Design Emil Ruder Round 1: Part One: 2 sizes 14 + 36 Reg + Black

Emil Ruder 1967

Niggli Verlag Kate Schmidt

2.27.20

1967

Typography:

Typography: A Manual of Design

Emil Ruder

Emil Ruder

A Manual of Design

Niggli Verlag 1967 Round 1: Part One: 2 sizes 14 + 36 Reg + Black

Niggli Verlag

Kate Schmidt

2.27.20

1967

Typography: A Manual of Design

Typography: A Manual of Design

Emil Ruder

1967

Niggli Verlag

Emil Ruder

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

Niggli Verlag

Kate Schmidt

2.27.20

Niggli Verlag 1967

1967 Typography: A Manual of Design

Emil Ruder Typography: A Manual of Design

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

Emil Ruder Niggli Verlag

Kate Schmidt

2.27.20

Emil Ruder

Niggli Verlag

1967

Typography: A Manual of Design Emil

Ruder

Typography: A Manual of Design

1967

Niggli Verlag

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

Kate Schmidt

2.27.20

Niggli Verlag

1967

Typography: A Manual of Design

Typography: A Manual of Design

Emil Ruder

Niggli Verlag 1967

Emil Ruder

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

Kate Schmidt

2.27.20

1

9

6

7 Typography:

N i g g l i V e r l a g

A Manual of Design TYPOGRAPHY: A Manual of Design

E m i l

R u d e r

1 9 6 7

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

N i g g l i Verlag

Kate Schmidt

2.29.20

N i g g l i

V e r l a g

1 9 6 7

Niggli Ve r l a g 1

9

6

7

Typography: A Manual of Design

EMIL RUDER Typography: A

Manual of Design

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

Kate Schmidt

2.29.20

1967 T Y P O G R A P H Y: E M I L

R U D E R

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

N i g g l i

Kate Schmidt

V e r l a g

2.29.20

2

d n

u o R o w T

1

o w T d A n t u u o o R k a e r B

A

9

6

7

N i g g l i V e r l a g

TYPOGRAPHY: A Manual of Design Emil Ruder Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps 2.29.20

1

9

6

7

N i g g l i V e r l a g

9

6

7

N i g g l i V e r l a g

TYPOGRAPHY: A Manual of Design Emil Ruder Round 2:

1

TYPOGRAPHY: A Manual of Design Emil Ruder Kate Schmidt

3.3.20

1

9

6

7

9

6

7

N i g g l i V e r l a g

N i g g l i V e r l a g

TYPOGRAPHY: A Manual of Design Emil Ruder Round 2:

1

TYPOGRAPHY: A Manual of Design Emil Ruder Kate Schmidt

3.3.20

1

9

6

7

9

6

7

N i g g l i V e r l a g

N i g g l i V e r l a g

TYPOGRAPHY: A Manual of Design Emil Ruder Round 2:

1

TYPOGRAPHY: A Manual of Design Emil Ruder Kate Schmidt

3.3.20

1

9

6

7

N i g g l i V e r l a g

TYPOGRAPHY: A Manual of Design Emil Ruder Round 2 Refinements:

3.5.20

o w T d B n t u u o o R k a e r B

B

E M I L

R U D E R

Typography: A Manual of Design

1967

Niggli Verlag

Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps 2.29.20

EMIL

E M I L

RUDER

RUDER

Typography: A Manual of Design

Typography: A Manual of Design

1967 Round 2:

N i g g l i V e r l a g

1967 Kate Schmidt

N i g g l i V e r l a g

3.4.20

E M I L RUDER

E MI L RUDER Typography: A Manual of Design

1967 Round 2:

N i g g l i V e r l a g

Typography:

A

M a n u a l

o f

D e s i g n

1967

N i g g l i V e r l a g

Kate Schmidt

3.4.20

E M I L RUDER

EMIL RUDER T y p o g r a p h y :

A Manual of Design

1967 Round 2:

Niggli Verlag

T y p o g r a p h y :

A Manual of Design

1967 Kate Schmidt

N i g g l i V e r l a g

3.4.20

E M I L RUDER Typography:

Round 2 Refinements:

A

M a n u a l

o f

D e s i g n

1967

N i g g l i V e r l a g

3.5.20

1967

o w T d C n t u u o o R k a e r B

C

T Y P O G R A P H Y: A Manual of D e s i g n

Emil Ruder N i g g l i

V e r l a g

Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps 2.29.20

1967 T Y P O G R A P H Y: A Manual of De sign

Round 2:

1967 T Y P O G R A P H Y: A Manual of D e s i g n

Emil Ruder

Emil Ruder

N i g g l i

N i g g l i

V e r l a g

Kate Schmidt

V e r l a g

3.4.20

1967 T Y P O G R A P H Y: A Manual of De sign

Round 2:

1967 T Y P O G R A P H Y: A Manual of D e s i g n

Emil Ruder

Emil Ruder

N i g g l i

N i g g l i

V e r l a g

Kate Schmidt

V e r l a g

3.4.20

1967 T Y P O G R A P H Y: A Manual of De sign

Round 2:

1967 T Y P O G R A P H Y: A Manual of D e s i g n

Emil Ruder

Emil Ruder

N i g g l i

N i g g l i

V e r l a g

Kate Schmidt

V e r l a g

3.4.20

1967 T Y P O G R A P H Y: A Manual of D e s i g n

Emil Ruder N i g g l i

Round 2 Refinements:

V e r l a g

3.5.20

3

d n u o R ree h T

a

Typography: A Manual of Design

Emil Ruder Niggli Verlag

Round 3: GO BIG

1 96 7

b

Typography: E m i l R u d e r 1967

A MANUAL OF D E S I G N Niggli Ve r l a g Kate Schmidt

3.5.20

d

c

Niggli Verlag

1967 Niggli Verlag

Typography: Typography:

A Manual of Design

A Manual of Design

Emil Ruder Round 3: GO BIG

Emil Ruder

1967 Kate Schmidt

3.5.20

e

emil

ruder Typography: A Manual of Design

19 67 Niggli Verlag

Round 3: GO BIG

f

1 9 6 7

Typography:

A Manual of Design Emil Ruder Niggli Verlag

Kate Schmidt

3.12.20

g

h

Typography: A Manual of Design

Niggli Verlag

1967

EMIL R u d e r Round 3: GO BIG

typo graphy: a manual of design

emil RUDER niggli VERLAG 1967

Kate Schmidt

3.12.20

i

1

9

6

7

niggli verlag

emil ruder

typography:

a manual of

design Round 3: GO BIG

j

Typography: A Manual of Design

Ruder

EMIL 1967

N i g g l i Ve r l a g

Kate Schmidt

3.12.20

k

typography:

a manual of design

Emil Ruder

1 9 n i g g l i 6 7 v e r l a g Round 3: GO BIG

l

TY PO GR AP HY:

N i g g l i Ve r l a g

1 9 6 7

EMIL RUDER A Manual of Design Kate Schmidt

3.12.20

m

19

N i g g l i Ve r l a g

EMIL RUDER

n

Typography: A Manual of Design

Emil Ruder Round 3: GO BIG

67

1967 Niggli Verlag

Typography: A Manual of Design

Kate Schmidt

3.20.20

o

p

emil RUDER niggli VERLAG 1967

typo graphy: a manual of design

Round 3: GO BIG

Typography:

A MANUAL OF D E S I G N

E m i l R u d e r 1967 Niggli Verlag Kate Schmidt

3.20.20

q

EMIL ruder Ruder r

emil

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

Typography: A Manual of Design

Niggli Verlag

Niggli Verlag 1967

Round 3: GO BIG

19 67 Kate Schmidt

3.20.20

s

emil ruder

1

9

6

7

niggli verlag

t

Typography: a manual of design

typography: a manual of

design

Round 3: GO BIG

Niggli Verlag

Emil Ruder

19 67 Kate Schmidt

3.20.20

d n u B o R ree h T

b 3

a

emil

ruder

b

T YPOGR A PH Y : E m i l R u d e r 1967 Niggli Verlag

typography:

a manual of design

A MANUAL OF D E S I G N

19 67 niggli verlag

Round 3b: Exploring Scale, Color, & Rules

Kate Schmidt

3.25.20

d

c

1967

typography: a manual of design niggli verlag

Emil Ruder Round 3b: Exploring Scale, Color, & Rules

Kate Schmidt

TYPOGRAPHY

1967

Emil Ruder Niggli Ve r l a g

a

manual of design

3.25.20

f

e

typography::

Emil Ruder a manual of design

typo graphy: a manual of design

19 67 emil RUDER

1967

N i g g l i Verlag

Round 3b: Exploring Scale, Color, & Rules

niggli VERLAG

Kate Schmidt

3.25.20

lh

g

typography: a manual of design

TY PO GR AP HY:

n iggli ver l a g

Round 3b: Exploring Scale, Color, & Rules

Kate Schmidt

1967

EMIL RUDER

emil ruder

1967

N i g g l i Ve r l a g

A Manual Of Design

3.25.20

1967

j

i

typography: a manual of

design

D

er

emil

Round 3b: Exploring Scale, Color, & Rules

a manual of design 1967

niggli verlag

REDUR

ver l ag n i gg li

ru

typography:

Kate Schmidt

LIME

3.25.20

4

d n u o R ur o F

Back Cover

Spine

Front Cover

1.

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.

-readable body text in orange box -good use of bold E.R. on back cover -go smaller for title on back cover

typography: a manual of design niggli verlag

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: Front Cover, Spine, and Back Cover

Emil Ruder

Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the

typography: a manual of design

typography: a manual of design

Critiques and Comments:

1967

niggli verlag

Emil Ruder score and fold

Kate Schmidt 3.29.20

Back Cover

Spine

Front Cover

2.

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 & 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.

-previous composition preferred -don’t let title on back cover compete with front cover title

niggli verlag

(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: Front Cover, Spine, and Back Cover

niggli verlag

Emil Ruder

Emil Ruder

Emil Ruder

typography: a manual of design

typography: a manual of design

typography: a manual of design

Critiques and Comments:

1967

score and fold

Kate Schmidt 3.29.20

Back Cover

Spine

Front Cover

niggli verlag

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,

typography: a manual of design

typography: a manual of design

typography: a manual of design

1967

niggli verlag

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.

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 Refinements:

Emil Ruder

Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the

Emil Ruder score and fold

Kate Schmidt 4.1.20

Back Cover

Spine

Front Cover

3.

Critiques and Comments: -change up the hierarchy for the back cover -rearrange elements -make back cover title smaller

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

typography: a manual of design

typography:

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 imilarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was

first published, it is still widely used and referenced.

a

manual of design

N i g g l i Verlag

Round 4: Front Cover, Spine, and Back Cover

Emil Ruder a

Emil Ruder

1967

typography::

manual of design

1967

N i g g l i Verlag

score and fold

Kate Schmidt 3.29.20

Back Cover

Spine

Front Cover

4.

-make E.R. much much smaller -don’t let back cover take attention away from front cover -only use 5 point sizes -refine title style on back cover and spine

typography::

Emil Ruder

Critiques and Comments:

typography: a manual of design

typography: a manual of design

1967

Emil Emil Ruder 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

N i g g l i Verlag

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

Round 4: Front Cover, Spine, and Back Cover

a

manual of design

N i g g l i Verlag

score and fold

Kate Schmidt 3.29.20

Emil Ruder

Emil Ruder (1914–1970) was a Swiss typographer. He is

approach to designing and teaching that consisted of philosophy,

distinguishable in the field of typography for developing a holistic

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.

typography: a manual of design

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 imilarities and

contrasts, in the richness of the illustrations and the harmoniously inserted types.

Kate Schmidt 4.1.20 score and fold Round 4 Refinements:

1967 N i g g l i Ve r l a g

1 9 6 7

manual of design

a

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

N i g g l i Ve r l a g

Emil Ruder

typography:: typography:: a manual of design

Front Cover Spine Back Cover

Back Cover

Spine

Front Cover

5.

-nice job maintaining hierarchy -make sure to treat title same on back and front -switch up the 3 similar elements on lower half (too repetitive) -take advantage of color block for placement cues

typography: a manual of design

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

Emil Ruder (1914–1970)

was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.

Round 4: Front Cover, Spine, and Back Cover

er

emil

D

er

ru

D

emil

ver l ag n i gg li

ru

typography: a manual of

typography: a manual of design

Critiques and Comments:

design

ver l ag n i gg li

ru

D

er

emil score and fold

Kate Schmidt 3.29.20

Back Cover

Spine

Front Cover

6.

typography: a manual of

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.

design

design

-add publisher name to back cover -not enough differentiation between body text paragraphs --switch up the 3 similar elements on lower half (too repetitive) -take advantage of color block for placement cues -experiment with title on back cover

typography:

typography: a manual of

Critiques and Comments:

a manual of

design

D

er

Round 4: Front Cover, Spine, and Back Cover

ru

D

emil

em il ru er

ver l ag n i gg li

ru

D

er

emil score and fold

Kate Schmidt 3.29.20

Back Cover

Spine

Front Cover

Typography A Manual of Design is the legacy

masterpiece seen in its overall structure: in the themes presented, in the comparison of

typography: a manual of

similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first

design in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as

well as placing a heavy importance on Sansserif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.

Round 4 Refinements:

design

typography: a manual of design

was a Swiss typographer. He is distinguishable

typography: a manual of

published, it is still widely used and referenced.

niggli verlag

emil ruDer (1914–1970)

em il ru D er

of Emil Ruder. The volume is a comprehensive

niggli verlag e m il r ude r

1967 score and fold

Kate Schmidt 4.1.20

Back Cover

-consider changing E.R. on spine to grey not white -good use of 2 columns -consider using triangulation -Only break the grids with largest elements

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

niggli verlag

typography:

Critiques and Comments:

typography:

Front Cover

a manual of design

7.

Spine

typography:

a manual of design 1967

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

(revisit alignments)

EMIL

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.

REDUR

Round 4: Front Cover, Spine, and Back Cover

RUDER

EMIL L I M E score and fold

Kate Schmidt 3.29.20

Back Cover

8.

Critiques and Comments: -change type on spine to read down -remove tail on body text -make E.R. on spine the size to align with “R” -triangulation of red by rule or color block -revisit alignment -add indent & space betweene body text

Spine

typography:

a manual of design

Front Cover

typo graphy: a manual of design

typography:

a manual of design 1967

niggli verlag

niggli verlag

paragraphs

RUDER

Round 4: Front Cover, Spine, and Back Cover

EMIL

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.

REDUR

LIME score and fold

Kate Schmidt 3.29.20

Back Cover

Spine

Front Cover

typography:

1967

RUDER

Round 4 Refinements:

EMIL

Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types.

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

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:

niggli verlag

a manual of design

typography: a manual of design

a manual of design 1967 niggli verlag

REDUR

LIME score and fold

Kate Schmidt 4.1.20

Back Cover

Spine

9.

Critiques and Comments: -consider making spine vertical -revisit years on spine -need an element of contrast either by color or scale -make elements on back smaller, don’t want them to be the focus

Front Cover

19 1 N i g g l i

Ve r l a g

N i g g l i

9

6

7

Ve 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 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 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: Front Cover, Spine, and Back Cover

TYPOG RAPHY: A Manual of Design

TYPOGRAPHY: A Manual of Design

Emil Ruder

Emil Ruder

67 score and fold

Kate Schmidt 3.29.20

Back Cover

Spine

Front Cover

10.

Critiques and Comments: -make spine vertical, specifically the title -make title on back cover smaller or reposition -adjust position of year and publisher on back

E M I L RUDER

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

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.

E M I L RUDER

E M I L RUDER Typography:

A Manual of Design

Typography:

A Manual of Design

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

1967

1967

N i g g l i V e r l a g

Round 4: Front Cover, Spine, and Back Cover

score and fold

N i g g l i V e r l a g

Kate Schmidt 3.29.20

Back Cover

Spine

Typography: A Manual of Design

1967 N i g g l i

V e r l a g

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

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.

E M I L RUDER

E M I L RUDER

E M I L RUDER Typography:

Front Cover

Typography:

A Manual of Design

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

Round 4 Refinements:

1967 score and fold

N i g g l i V e r l a g

Kate Schmidt 4.1.20

l a n i d F un o R

b 4

Back Cover

Spine

Front Cover

N i g g l i V e r l a g

1967 Typography: A Manual of Design

E M I L 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.

E M I L RUDER Typography:

E M I L R U D E R

Round 4b: Five Twice-Refined Options

A Manual of Design

1967 score and fold

N i g g l i V e r l a g

Kate Schmidt 4.6.20

Back Cover

Spine

Front Cover

typography:

niggli verlag

Typography: A

EMIL RUDER (1914–1970)

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

illustrations and the harmoniously

Emil Ruder 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. Ruder 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.

inserted types.

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

Round 4b: Five Twice-Refined Options

RUDER

richness of the

1967

niggli verlag

EMIL

contrasts, in the

typography:

1967

a manual of design

typography: a manual of design

a manual of design

RUDER

EMIL

score and fold

Kate Schmidt 4.6.20

Back Cover

Spine

Front Cover

Typography A Manual of Design is the legacy

typography: a manual of

design 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.

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

niggli verlag

typography: a manual of

design

typography: a manual of design

emil ruder (1914–1970)

masterpiece seen in its overall structure: in

emil ruder

of Emil Ruder. The volume is a comprehensive

niggli verlag e m il r ude r

1967 Round 4b: Five Twice-Refined Options

score and fold

Kate Schmidt 4.6.20

Back Cover

Spine

Typography A Manual of Design is the legacy of Emil Ruder.

1967

typography: a manual of design

Emil Ruder

typography: a manual of design

Front Cover

The volume is a comprehensive masterpiece seen in its

overall structure: in the themes presented, in the comparison of

niggli verlag

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

typography: a manual of design

niggli ve r l a g 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 4b: Five Twice-Refined Options

score and fold

Kate Schmidt 4.6.20

Back Cover

Spine

Front Cover

typography: a manual of design

Emil Ruder (1914–1970) was a

Swiss typographer. He is distinguishable

in the field of typography for developing a

typography::

committed as Ruder to the discipline of letterpress typography or wrote about it

with such conviction.

holistic approach to designing and teaching

systematic practical methodology. Ruder

a comprehensive masterpiece seen in its

that consisted of philosophy, theory and a

Typography A Manual of Design

is the legacy of Emil Ruder. The volume is

overall structure: in the themes presented,

purpose was to communicate various ideas

contrasts, in the richness of the illustrations

importance on Sans-serif typefaces. No

fifty years after this book was first published, it

through writing, as well as placing a heavy

other designer since Jan Tschichold was as

in the comparison of similarities and

and the harmoniously inserted types. Today, is still widely used and referenced.

Round 4b: Five Twice-Refined Options

typography: manual of design

1967

a

Niggli Ve r l a g

Emil Ruder

was one of the major contributors to Swiss

Style design. He taught that typography’s

Emil Ruder a

manual of design

1967 N i g g l i Ve r l a g

score and fold

Kate Schmidt 4.6.20