Modular Grid Process Book by natalie_0422

Project 3 VISC 200 Natalie Nagel

Swiss Style Design International Typographic Style more commonly referred to as “Swiss Style”, is a modern design style based in a grid, and can be described with words like clean, readable, and simplistic. Swiss style was originally developed in the 1940’s and 50’s in Switzerland, and is based on a mathematical grid, which is considered to be “the most legible and harmonious means for structuring information”, according to Phillip B. Meggs in his book, History of Graphic Design. Grids are consistent and easy to adhere to and are very efficient in creating hierarchy in a design. The father of Swiss Style design is Ernst Keller, who was among the first to teach design using the grid in the early 20th century. A few of Keller’s students would go on to become some of the foremost designers famous for Swiss style, such as Armin Hoffman, Emil Ruder, and Josef Müller-Brockman. Swiss style of design was popularized outside of the borders of Europe by the Neue Grafik journal, which was originally created by Brockman, who co-edited the publication with a few other notable designers of the era. As far as typography, Swiss style largely makes use of sans serif fonts, valued for their clean, modern look and their readability. Among the most notable Swiss style typefaces are Univers, the first typeface to form an entire font family and was created by Adrian Frutiger in 1954, and the ever-famous Helvetica, designed by Max Miedinger and Eduard Hoffman in 1957. The contributions of Swiss style are, among others, the popularization of the use of sans serif typography, asymmetrical layouts, and using a mathematical grid to organize and build a design. Other things stressed by Swiss design were the use of both photography and typography as a means to visually communicate information. Much of Swiss style exists on posters, which were considered one of the most effective means of relaying information.

Emil Ruder Before he was a prominent Swiss designer and typographer extraordinaire, Emil Ruder was born in March of 1914 and spent his adolescence in Zurich, Switzerland. Emil Ruder began his design career at the early age of fifteen when he began an apprenticeship as a compositor. He also learned to be a typesetter in Basil and studied in Paris for a year, and his education continued even further when he enrolled in the Zurich School of Arts and Crafts while in his late 20’s. It was here he learned much of what would become formative l earning for the rest of his career: the principles of Bauhaus and Tschichold’s typography. Emil Ruder would later be appointed a member of the teaching staff at Allgemeine Gewerbeschule, another Swiss design school. While teaching, Ruder encountered Armin Hofmann, a fellow teacher and designer with whom Ruder would collaborate on projects for many years, earning the two of them an international renown for their work. In addition to design work, Ruder also served as a writer and editor for Typographic Monthly, a famous design and typography publication of the time. Emil Ruder’s greatest contributions to the world of design came after the second world war, when Ruder completely renewed and revolutionized the ways of traditional typography. Ruder created new rules of composition that seemed better suited to the modern era. Ruder believed that the primary goal of typographic design and printing is legibility above all else, however, he asserted that aesthetic elements were not to be disregarded! Ruder’s work featured stunning contrast, and he also wrote books on the subject of typography and design, such as Typographie, an introduction to the grammar and rules of typography published in 1967, as well as Typographie: A Manual for Design, which was a largely illustrated book that showcased Ruder’s methods, ideas, and years and years of professional know-how.

Paul Rand

Paul Rand was an incredibly influential Jewish-American designer, who was internationally renowned for both his page designs and his logo and brand work. Paul Rand was born Peretz Rosenbaum, born in Brooklyn in August of 1914. He began his work with art and design young, painting signs for his father’s grocery store and school events. Despite his huge interest in design and painting, his father believed it would not be able to support Rand as a career choice, so he enrolled Rand in Harren High School in Manhattan. While in attendance, Rand supported his passion for art and design by attending Pratt Institute for night classes, and several other art schools thereafter. Despite his substantial formal education, Rand’s graphic style was largely self-developed from his dedicated readings of European design publications, causing him to be heavily inspired with Swiss and European styles of design, particularly the work of Gustav Jensen’s work and the German advertising style. It was around this time, the start of his professional career, that Rand opted to change his name to Paul Rand, a shorter and less obviously Jewish name than the one he was born with. This decision came not a moment too soon, as just into his twenties, Paul Rand’s work gained international renown, and his page designs were featured in publications worldwide. He worked for several companies, such as Apparel Arts and Esquire-Coronet, designing publication layouts, and also worked as an art director and a professor at Yale University. Besides his page design, Rand garnered immense success from his work designing logos for companies such as ABC, UPS, IBM, and even collaborating with tech behemoth-in-the-making, Steve Jobs, on the corporate identity of NeXT Computer. Rand was also an author of several influential published works on design, such as: “Design, Form, and Chaos”, “Design and the Play Instinct”, and “Thoughts on Design”.

Rosmarie Tissi

Rosmarie Tissi is a widely acclaimed and celebrated Swedish designer. Tissi was born in 1937 in Thayngen, Switzerland, and at the age of 16 she took a preliminary course in design at the Zurich School of Arts and Crafts. After completion of this course, Tissi took an apprenticeship with a Swiss Master of Graphic Design, Siegfried Odermatt. Even early on in her career, Tissi was an excellent typographer, and her work was featured in the first issue of the internationaly renowned Neue Grafik, a legendary Swiss design publication started in 1957. In addition to being his apprentice, Odermatt and Tissi also worked side-by-side for many years, even beginning a collective design studio together, which they called O&T (for Odermatt and Tissi). O&T studio mainly focused on printed materials, designing posters and custom typefaces for clients, which came to them from both public and cultural fields. Tissi’s design style evolved somewhere from in between modern attitudes as well as neutrality and functionality, creating a unique graphic style that comes in the form of vivid colors and dynamic layouts and bold type experiments. In 1974, Tissi became a member of the Alliance Graphique Internationale (AGI), an organization of the world’s leading graphic designers. In 1992, she became a member of the Art Directors Club. As recently as 2018, Tissi was awarded the Swiss Grand Award for Design. In addition to her professional design work, Tissi also worked as a professor at Rhode Island School of Design and Yale University, and also served as a judge for several design competitions across multiple countries. Tissi believes that the main purpose of design is to “deliver an information or a message in a package as original and interesting as possible”.

Josef Muller-Brockman

Josef Müller Brockmann was a critically acclaimed and influential designer and teacher of the 20th century, who studied design, architecture, and history of art. Born in May of 1914 in Rapperswil, Switzerland, Müller Brockmann attended esteemed schools of design, including Zurich’s School of Arts and Crafts. The first stepping stone in Müller Brockmann’s professional career was an apprenticeship to Walter Diggleman, an advertising consultant and designer. After that, Müller Brockmann opened his own design studio in Zurich, which worked specifically in graphics, photography, and exhibit design. For the next two decades, Müller Brockmann established himself as a prominent figure in Swiss design, both as a practitioner and theorist. Müller Brockmann worked with grid-based design that shunned unnecessary illustration and subjectivity, creating a clean and clear design style. In addition to running his studio, Müller Brockmann co-created the legendary design publication Neue Grafik with a few other high-level designers, and he remained an editor on this journal from the time of its creation, up until 1965. In the late 1950’s, Müller Brockmann began his tenure as a design teacher, starting at the School of Arts and Crafts in Zurich, and also filling rolls as guest instructor/lecturer in several other schools. He was also offered a position as a European design consultant at IMB. Müller Brockmann’s work has been featured in exhibitions in several countries worldwide, and in addition, he has penned numerous influential books on the topic of design. Among the most recognized of his books are: “The Graphic Artist and His Designing Problems”, “History of Visual Communication”, “Grid Systems in Graphic Design”, and “History of the Poster”, the latter of which was co-authored by another prominent designer, Shizuko Müller Yoshikawa. Josef Müller Brockmann’s contributions to the field of design continue to inspire generations of aspiring designers today with his clean, minimalistic designs and use of typography and color.

Type Terms - Definitions Alignment: Centered Lines of uneven length on a central axis Flush Left All lines are aligned to the left side of the page. Left edge is hard and right edge is soft/ragged Flush Right All lines are aligned to the right side of the page. Right edge is hard while left edge is soft/ragged. Justified In justified text, both the left and the right sides are even, hard lines. Though it makes a clean shape on page, it can also cause unsightly gaps when the column with text is too narrow.

Parts of Grid Margin – the space between the body of a page and the edges Gutter – the space between the columns of the page Column – a vertical block of content separated by the grid Module – individual units of space divided at even intervals that make up columns and rows

Font Family: Styles

Traditional – includes roman, italic, bold, Extended – condensed, hairline, black Super – Serif, Sans Serif

Leading The distance from one line of text to another is called leading or line spacing

Tracking Tracking is adjusting the overall spacing of a group of letters

Kerning

Kerning is the adjustment of space between letters

Hierarchy Hierarchy expresses organization of content, guiding your audience by emphasizing some elements and subordinating others. The bold headers on this page are an example of hierarchy!

Meet Your Type Notes -

Typeface: single set of characters that share stylistic unity. Usually comprised of an alphabet of letters, numbers, punctuation and diacritical marks

Font: an electronic file that rendered the typeface in all sizes

Point system: using points and picas to measure typographic dimensions

Fonts: Serif, Sans Serif, and slab serif

o Blackletter, display, non-western, script, symbols -

Traditional – includes roman, italic, bold, and small cap styles

Extended – hairline, black, extended and condensed styles

Super – serif, sans serif, and every style between

Selecting a Typeface involves knowing what your audience wants and will be appealed by o Display Face – outspoken and fun, set a mood, potentially over the top o Text face – classic, not too flashy, simple, good for the long haul o Screen font – fonts that look much better on screen, don’t quite measure up irl

Simplicity – one font at a time, maybe two. Contrast – if your fonts are too similar, it rarely works. Consider mix of a display face and a text face

Hierarchy (order of importance) – gets people to look where you want them to look, when you want them to. Emphasis can be created by size, weight, color, style, and/or placement

Leading – amount of horizontal space between two lines of text. A good balance between point size and leading can keep things together nicely

Kerning – adjusting the space between individual letters

Letterspacing/Tracking – the spacing between letters in a block of text. Larger type = less letterspacing needed (usually)

Don’t try to widen, shorten, or outline type! It’s better to just find a new one that works better

Ligatures – an elegant expression, ligatures create a single character out of two

Numbers – Old style figures are designed to work in text, while lining figures are better in charts/graphs

Smart quotes – activate smart quotes and standard ligatures in application preferences

Swash characters – characters with a bit more style/flourish, use in moderation

Thinking With Type - The Grid -

Golden Section o The golden section is a ratio that has been used in art and architecture in the west for over two thousand years o a : b = b : (a+b) is the formula, and it means the smaller of two elements relates to the larger element in the same way that the larger element relates to the two parts combined §

side a is to side b is to the sum of both sides

Multicolumn Grid o Provide flexible formats for publications that have a complex hierarchy or that integrate test and illustrations §

Use grid to articulate hierarchy by creating different zones for different kinds if content

o Hang line – pages can also be divided horizontally. An area across the top can be reserved for images and captions, and body text can hang from a common line -

Modular grid – has consistent horizontal divisions from left to right o Baseline grid – modular grids are created by positioning horizontal guidelines in relation to a baseline grid that governs the whole document. Baseline grids anchor all layout elements to a common rhythm

Ellen Lupton Video -

What are things you want to avoid? Avoid rivers in justified type. Avoid a layout where nothing is anchored, and everything is jus floating away. Centering all elements can become static and dull.

What does Ellen mean by anchoring elements?

Aligning elements to one another, which creates an internal structure. -

What is line spacing/ leading and how do you use it creatively? Line spacing creates texture, makes text more readable and creates contrast and lightness. Can be used to allow you to mix and match different lines of type.

Can you create emphasis in design? How does it go wrong? Emphasis can absolutely be created in typography and is important. However, too much emphasis in too many places and several different types of emphasis are confusing and make it so you don’t even know where to look or what’s most important.

Scale and Tension -

Scale – all about relationship (elements will seem larger than they are near a smaller element, or smaller than they are in a larger field). Scale can also convey meaning o Can be conceptual – a larger object might be more important

Contrast and scale can bring life to a piece of work – when you change the scale of an object your audience wouldn’t expect, it can energize a design

Asymmetry -

Symmetry and asymmetry – one of the most basic and important tools for a designer

Radial symmetry – symmetrical elements radiate from a center point (think starfish)

Asymmetry – distributing elements until they feel balanced o A mountain has balance, even though it is not symmetrical

Dynamic asymmetry – design that moves and changes

Dynamic symmetry – shift and expand elements on a way that suggests tension and movement o Layouts in publications are symmetrical because of the strong central axis

Symmetry vs Asymmetry – is it the same left, and right? o Symmetry needs to be harnessed in a creative way as to not become boring

Typography: A Manual of Design Emil Ruder Niggli Verlag 1967

Project 3: Modular Grid Round One Round 1: 2 sizes: 14pt + 36pt Reg + Black

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 perA W A layout and donâ&#x20AC;&#x2122;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:

Typography: A Manual of Design

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

Your Name

Typography: A Manual of Design Typography: A Manual of Design

1967

Emil Ruder Niggli Verlag

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

Emil Ruder Niggli Verlag

1967

Emil Ruder Niggli Verlag

Emil Ruder Niggli Verlag 1967

Typography: A Manual of Design Typography: A Manual of Design Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps

Emil Ruder Niggli Verlag

Emil Ruder

Typography: A Manual of Design

1967

Round 1:

Niggli Verlag

1967

Typography: A Manual of Design 1967

Emil Ruder Niggli Verlag

Niggli Verlag Emil Ruder

Round 1:

Typography: A Manual of Design

1967

Typography: A Manual of Design

Emil Ruder Niggli Verlag Emil Ruder

Round 1:

Niggli Verlag

Emil Ruder

Niggli Verlag

1967 Typography: A Manual of Design Round 1:

Typography: A Manual of Design

Emil Ruder

1967

Niggli Verlag

Typography: A Manual of Design

1967

Emil Ruder Niggli Verlag

Emil Ruder Niggli Verlag Round 1:

1967

Typography: A Manual of Design

1 9 6 7

Typography: A Manual of Design Emil

Rud er

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Verl a g

EMIL RUDER NIGGLI VERLAG

1967 TYPOGRAPHY: A Manual of Design

TYPOGRAPHY: A MANUAL OF DESIGN

typography: a manual of design 1967

1967

Round 1:

emil ruder niggli verlag

niggli verlag emil ruder

Typography:

A MANUAL OF DESIGN 1967

Emil Ruder Niggli Verlag

emil ruder niggli verlag

1967

Round 1:

TYPOGRAPHY: A MANUAL OF DESIGN

Typography: A Manual of Design

Project 3: Modular Grid Round Two Round 2: 2 sizes: 14pt + 36pt Reg + Black Color and Rules

1 9 6 7

Typography: A Manual of Design Emil

Rud er

Niggli

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Verl a g

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Typography: A Manual of Design E m i l

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Typography: A Manual of Design Emil

E m i l

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1 9 6 7

Ve r l ag

Rud er

Niggli

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Typography: A Manual of Design 1 9 6 7

Emil

Rud er

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1 9 6 7

Verl a g

Typography: A Manual of Design Typography: A Manual of Design

E m i l

R ude r

N i ggl i 1 9 6 7

Ve r l ag

1967 Emil Ruder

Niggli Verlag

Emil Ruder

1967 typography: A Manual of Design Round 2:

typography: A Manual of Design

1967

Niggli Verlag

Emil Ruder

typography: A Manual of Design

Round 2:

typography: A Manual of Design

1967 Emil Ruder

Niggli Verlag

1967 typography: A Manual of Design Round 2:

Emil Ruder Niggli Verlag

typography: A Manual of Design

Typography: A Manual of Design

1967

Round 2:

EMIL RUDER niggli verlag

Typography: A Manual of Design

1967

EMIL RUDER niggli verlag

Typography: A Manual of Design

EMIL RUDER niggli verlag EMIL RUDER 1967

Round 2:

Typography: A Manual of Design

niggli verlag

1967

EMIL RUDER

niggli verlag

Typography: A Manual of Design

1967

Round 2:

a manual of design

TYPO

GRAPHY

SC ALE Project 3: Round 3

EMIL RUDER 1967

Niggli Verlag

Typography: A Manual of Design

1967 Niggli Verlag

EMIL Typography: A Manual of Design

RUDER Round 3

EMIL 1967

1967 Niggli Verlag

ruder

EMIL RUDER Typography: A Manual of Design

niggli verlag

Typography: A Manual of Design

emil ruder niggli verlag

1967

a manual of design

TYPO

GRAPHY

typo

-graphy

A MANUAL OF DESIGN Emil Ruder

1967 niggli verlag emil ruder

niggli verlag

1967 niggli verlag 1967

TYPO a manual of design

GRAPHY Round 3

A Manual o f D e sign

TYPOG RAPHY

manual a

TYPOGRAPHY

of design

1967

EMIL RUDER NIGGLI VERLAG

t ypography

A Manual of

EMIL RUDER NIGGLI VERLAG

Round 3

1967

design

A Manual of

design TYPOGRAPHY

1967

niggli verlag EMIL RUDER

Round 3

1967 niggli verlag emil ruder

t ypography a

MAN UAL of design

Typography: A Manual of Design

niggli verlag emil ruder

Round 3

19 67

niggli verlag emil ruder

Typography: A Manual of Design

1967

t ypography

niggli verlag emil ruder

a manual of design

1967 19 67 Typography: A Manual of Design

niggli verlag

emil ruder

Round 3

NIGGLI

VERLAG

TYPOGR APHY: A MANUAL OF DESIGN

1967

T YPOGR APHY: A MANUAL OF DESIGN

emil ruder 1967

Round 3

NIGGLI verlag

emil ruder

t ypography : a manual of design

Niggli

VEREMIL RUDER

1967

Niggli

VER LAG t ypography a manual of design EMIL RUDER

Round 3

1967

Typography: A Manual of

Project 3: Round 3b

design SCALE & color

typo TYPO

graphy

A MANUAL OF DESIGN

GRAPHY A MANUAL OF DESIGN Emil Ruder

Emil Ruder

1967

niggli verlag

emil ruder

Round 3b

Typography: A Manual of Design

1967 1967 Typography: A Manual of Design

niggli verlag

emil ruder

niggli verlag

emil ruder

Typography: A Manual of Design niggli verlag

1967

EMIL RUDER NIGGLI VERLAG

typography

A Manual of

design

EMIL

ruder

1967

typography EMIL RUDER NIGGLI VERLAG 1967

EMIL 1967

ruder

A Manual of

design Round 3b

Typography: A Manual of Design niggli verlag

1967

VER MAN LAG UAL Niggli

t ypography a manual of design

EMIL RUDER

Round 3b

1967

niggli verlag

emil ruder

t ypography

of design

Final 10

Covers

TYPOGRAPHY: A Manual of Design

Project 3: Modular Grid Round Four

Back Cover

Emil Ruder Niggli Verlag Emil Ruder

Round 4: v1

1967

Emil Ruder Niggli Verlag

typography: A Manual of Design

Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced. Emil Ruder (1914â&#x20AC;&#x201C;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 typographyâ&#x20AC;&#x2122;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

Spine

score and fold

Back Cover

Spine

Emil Ruder (1914â&#x20AC;&#x201C;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 typographyâ&#x20AC;&#x2122;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 Verlag Emil Ruder

Round 4: v1

E MIL RUDER

TYPOGRAPHY: A MANUAL OF DESIGN

T Y PO GR APHY: A M ANUAL OF DESIGN

Front Cover

VER LAG Niggli

t ypography a manual of design EMIL RUDER

score and fold

Back Cover

Front Cover

Emil Ruder

TYPOGRAPHY: A MANUAL OF DESIGN

Spine

Round 4: v1

ruder

Typography: A Manual of Design

niggli verlag emil ruder

EMIL 1967

Typography: A Manual of Design niggli verlag

score and fold

Back Cover

Spine

Front Cover

Typography: A Manual of Design

typography: a manual of design

emil ruder

1967

niggli verlag

Typography: A Manual of Design emil ruder

Round 4: v1

score and fold

niggli verlag

emil ruder

Back Cover

TYPOGRAPHY: A Manual of Design Emil Ruder

EMIL RUDER NIGGLI VERLAG

Spine

Front Cover

Typography: A Manual of Design

1967

Round 4: v1

score and fold

EMIL RUDER niggli verlag

Back Cover

EMIL RUDER NIGGLI VERLAG

Typo graphy: A Manual of Design

1967

Emil Ruder

Front Cover

Typography: A Manual of Design

Spine

niggli verlag

typography a manual of design

Round 4: v1

score and fold

emil ruder

Back Cover

Spine

Front Cover

Emil Ruder

N i g g l i Ve r l a g

Round 4: v1

Typography: A Manual of Design

Typography A manual of Design

Emil Ruder

EMIL RUDER NIGGLI VERLAG

Typography:

A Manual of

design score and fold

Back Cover

Spine

Typography: A Manual of Design E m i l

EMI L R UDE R

Typo graphy: A Manual of Design

T y p o g rap hy : A M anu al of D esign

EMIL RUDER

Front Cover

N i ggl i 1 9 6 7

Niggli Verlag Round 4: v1

R ude r

score and fold

Ve r l ag

Back Cover

Spine

typography

A MANUAL OF DESIGN Round 4: v1

Typography: A Manual of Design

Emil Ruder

Emil Ruder Niggli Verlag

Front Cover

typo

graphy

A MANUAL OF DESIGN Emil Ruder

1967 niggli verlag emil ruder

score and fold

Back Cover

Spine

EMIL Ruder

Typography: A Manual of Design

Emil Ruder

Niggli Ruder

Front Cover

Emil Ruder

Niggli Verlag

Typography: A Manual of Design Round 4: v1

1967 typography: A Manual of Design score and fold

TYPOGRAPHY: A MANUAL OF DESIGN

PROJECT 3 FINAL FIVE LAYOUTS

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 Emil Ruder

Niggli Verlag

Emil Ruder Niggli Verlag

1967

typography: typography A Manual of Design

A Manual of Design

EMIL RUDER NIGGLI VERLAG

Typography: A Manual Of Design

Emil Ruder

Typography: A Manual of Design

Typo graphy: A Manual of Design

1967 NI GGLI VERL AG

EMI L RUDER

TYPOGRAPHY: A Manual of Design EMIL RUDER

EMIL RUDER niggli verlag

TYPOGRAPHY: A Manual of Design

TYPOGRAPHY: A Manual of Design Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced. Emil Ruder (1914â&#x20AC;&#x201C;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 typographyâ&#x20AC;&#x2122;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

EMIL RUDER niggli verlag

EMIL ruder

Typography: A Manual of Design

ruder

Typography: A Manual of Design

NIGGLI verlag EMIL ruder

EMIL 1967

Typography: A Manual of Design 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

NIGGLI VERL AG EMIL RUDER

E MIL RUDER

TYPOGRAPHY: A MANUAL OF DESIGN

T Y POGR A P HY: A MA NUA L 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.

VER LAG NIGGLI

T YPOGR APHY A MANUAL OF DESIGN EMIL RUDER

1967