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經歷

2022 :

2002/6/22

楊梅國中美術班

保持開放性的態度去思考

台灣 . 桃園楊梅

內壢高中美術班

快樂的去享受學習

高雄師範大學視覺設計學系

更積極的去實現想法 更理性地去看待缺點 , 接受批評

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攝影作品 thousand._photos 編輯作品 thousand.design

細胞 (2020)

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GREEN ( 2 0 2 1 )

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In grid we trust:

Emil Ruder aka the iconic pioneer of Swiss Style

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“Emil Ruder was already teaching typography for fifteen years at the Gewerbeschule Basel, when the first article in the cycle Wesentliches appeared in TM” writes Helmut Schmid who designed “Emil Ruder: fundamentals.”

“With fundamentals (Wesentliches), Ruder set creative typography on fundamental ground. The plane, the line, the word, rhythm, the four articles published between 1957 and 1959 in the Swiss TM, appeared also in the German Druckspiegel in 1959 and in 1972 in the Swedish grafisk revy.”

“In this series of articles, free of the confines of any single, narrow, specialized field, Ruder discusses at will the formation principles of typography in relation to the cultures, natural sciences, politics and societies of all times and places” adds Idea magazine’s Kiyonori Muroga, who translated the texts in Japanese.

The text was published in German, English and French, by Swiss publisher Arthur Niggli in 1967.

“In addition, Ruder's fundamental thinking always sheds light on the relationship between human life and technology. Half a century has passed since this work was published. It is precisely because historic styles are today consumed superficially that it is worthwhile to review afresh the attitude the author takes in this work dealing with the principles of the creation of typography in terms of the relationshiptypography on fundamental ground. The plane, the line, the word, rhythm, the four articles published between 1957 and 1959 in the Swiss TM, appeared After twenty-five years of teaching, Ruder published his “Typographie: A Manual for Design”, a heavily illustrated book capturing his ideas, methods and approach. The book represents a critical reflection on Ruder’s teaching and practice as well as a lifetime of accumulated knowledge.

Through a perusal of other

“Emil Ruder was already teaching typography f or fifteen years at the Gewerbeschule Basel, when the first article in the cycle Wesentliches appeared in TM ” writes Helmut Schmid who designed “Emil Ruder: fundamentals.”

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1.

“The only mandate in logo design is that they be distinctive, memorable and clear.”

As Rand puts it: “Surprising to many, the subject matter of a logo is of relatively little importance, and even appropriateness of content does not always play a significant role.

“This does not imply that appropriateness is undesirable. It merely indicates that a one-toone relationship between a symbol and what it symbolized is very often impossible to achieve and, under certain conditions, objectionable. Ultimately, the only mandate in the design of logos, it seems, is that they be distinctive, memorable, and clear.”

“A logo derives meaning from the quality of the thing it symbolizes, not the other way around.”

Left: Logo for IBM, 1956; right: 8-bar version 1972 (via Paul Rand) Designers sometimes talk about logos as if they were responsible for conveying meaning by themselves and, hence, the success or failure of a logo is a factor of Rand never assigned such importance or responsibility to a logo:“It is only by association with a product, a service, a business, or a corporation that a logo takes on any real meaning. If a company is second rate, the logo will eventually be perceived as second rate. It is foolhardy to believe that a logo will do its job immediately, before an audience has been properly conditioned.”

This doesn’t mean that logos are insignificant — it means logos are free. They bear the burden only of marking, not meaning. This brings us to the second principle.

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“Typography has one plain duty before it and that is to convey information in writing” once noted Emil Ruder, one of the pillars of what is called International Typographic Style movement, destined to conquer graphic design ever since it was emerged from Switzerland, back in the 1950’s.A friend and associate of Armin Hofmann, Adrian Frutiger (whose Univers sans-serif typeface was Ruder’s favorite) and Müller Brockmann, he is regarded one of the most important figures in design and it is his grid-obsessed philosophy that influenced web design as we experience it. A Swiss Style visionary Ruder taught that typography's purpose was to communicate ideas through writing, especially in sansserif mode, and he was totally committed to the discipline of letterpress typography.

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teaching achieved an tional reputation by the midnd by the mid-1960s their s were maintaining lengthy lists.

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der what matters the most in sign is precision, proportions g i b i l i t y. Ty p e i s h e r e t o nicate and that is all for Ruder.

of asymmetry himself, Ruder’s d concise designs “developed ity to negative or unprinted including the spaces between ide letterforms” per Philip A contributing writer and for he then-popular trade tion Tyfische Monatsblätter aphic Monthly) he was one of neers to discard ore in accord e post war era.

Emil Ruder: Typographie, published by Niggli Verlag. 7th ed., 2001 via twitter.com/standardsmanual

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