Modular Grid and Hierarchy Process Book by Abigail Miles

MODULAR GRID AND HIERARCHY Book Cover Design

A B I G A I L

M I L E S

A n n

H o s s l e r V i s c

2 0 0 2 : 3 0

TABLE OF CONTENTS 1

SWISS STYLE

ROSMARIE TISSI

ROUND TWO

FINAL 5

ROUND THREE

FINAL COVERS

MOCK UP COVERS

Notes and Examples

EMIL RUDER

Notes and Examples

NOTES Meet Your Type

Parts of the Grid

Typography: A Manual

Thinking with Type:

of Design

Grid

Layout Essential

Making and Breaking

Ellen Lupton

the Grid

Asymmetry Scale and Tension

JOESF MULLERBROCKMANN

ROUND ONE

ROUND THREE: PART TWO

ROUND ONE: PART TWO

ROUND FOUR

Notes and Examples

PAUL RAND Notes and Examples

SWISS STYLE Swiss style or International style, was based in

The main pioneers of this simplistic yet engaging

Switzerland during the 1940’s and 50’s. It is based

design style were Josef Muller Brockmann at the

off the concept of cleanliness, readability and

Zurich School of Arts and Krafts and Armin Hofmann

objectivity which made the structure strong and

at the Basel School of Design. Ernest Keller was also

unified. The birth of this grid-based design captures

considered the “father of design” where he would

hierarchy and scale as the mathematical grids are

teach about the gird system which was replicated

placed with intention and prominence. Grids that are

into the design style. These schools also developed

placed within this Swiss style are compatible with

the main styles and traits that are still practiced today

various ratios like the rule of thirds and the golden

like the san serif type and use of grids. International

ratio, yet these gridded layouts can be found to be

style brought change to the design world, as justified

asymmetrical bringing dynamic balance, tension and

boxes shifted to left or right aligned and this large

depth.

array of movement within the design community was due to the fact that during WWII Switzerland needed

Along with the asymmetrical style of these designs;

to create income to grow the economy and the only

san serifs were always used instead of serifs because

way to do that was by providing services and selling

it enables readability, strength and focus on the most

craftsmanship. Through the spread of swiss style in

important parts of the design. In addition to typefaces,

a time where design wasn’t the main priority, people

Swiss style would mainly use photographs rather

still took notice in various countries, which it is still

than illustrations to provide context and background

used today for its clarity and functionality.

to have a cleaner and simpler design throughout. The use of layering type on top of pictures is also a key design element.

The main principles of swiss style are cleanliness, readability, objectivity. The 19th century is the birth of grid-based design. Mathematical grids are legible and unity for structuring information. Grids create hierarchy within content. Grids have compatibility with ratios like the rule of thirds and golden ratio. Swiss style also has an asymmetrical layout, san serif type faces and includes photography rather than illustrations. San serif type is integrated into the swiss style: eliminates distractions for the viewer and allows for readability. These include Univers, Helvetica. Ernest Keller is considered the “Father of Design” and taught about the grid system. He has the belief that design should adapt to the content and importance of typefaces. Armin Hofmann and Emil Ruder: founded the School of design. Much of Hofmann’s work focused on graphic form in which it was also simple and objective/had a purpose. Used typography over illustration. Josef Muller-Brockmann: was focused around the grid system and Akzidenz-Grotesk typeface. He helped spread the swiss aes-

thetic by establishing the New Graphic Design Journal. Style originated in the 40’s-50’s in Switzerland and was much of the development of graphic design during the 20th century. Josef Muller Brockmann at the Zurich School of Arts and Krafts and Armin Hofmann at the Basel school of Design, style favored simplicity, legibly and objectivity. These schools developed the use of san-serif type, grids and asymmetric layouts. Visual compositions changes because of the grid and this included asymmetrical compositions, design of text blocks changed: from justified to alighted flush left, ragged right. Changed from serif to san serif type because it “expresses the spirit of a more progressive age. Photography was preferred because of its objective qualities. Used to “balance and organically complement the typography.” Usually have type on top of a picture and fit in negative space. Because Swiss style rose in the 40’s and 50’s; after world war II international trade would increase and design would spread. Having the increase in Swiss style in many other countries. Still used today for clarity and functionality.

ROSMARIE TISSI Born in Switzerland in 1937 and would start her schooling at Zurich Arts and Crafts School. She would study under Odermatt and started the company O&T. would create works for “printing houses, companies of all kinds, cultural institutions, and the public sector.” These posters would allow her to create a name for herself and would develop her style. Wanted to stay away from the traditional swiss style by using dynamic letter transformations, vivid colors and many shapes in her designs (made them more complicated) She would be awarded with the Swiss Grand Award for Design and become a member of the Art Directors Club.

Rosmarie Tissi was born in Thaygen, Switzerland in 1937 and

a modern design take which was based on functionality to

would begin her design education at Zurich Arts and Crafts

individualistic designs and layouts.

and as she was still a student her work was published in the legendary magazine Neue Grafik. She would be trained by

Throughout her career she has created bank notes, commercial

Siegfried Odermatt for four years and would later come together

art, magazine covers and typefaces. Because of her large

and create the studio O&T. They would create various posters and

influence is simplistic, dynamic design, she has begun traveling

designs for cultural institutions and public sectors/companies.

the world to teach about design methods and was granted the

Their designs contained grid flexibility and a playful nature due

Swiss Grand Award for design as well multiple Swiss Federal

to the colors and the lack of a restriction of a grid. She began

Scholarship for Applied Arts. Tissi is a member of the Alliance

creating a name for herself with her creativity and uniqueness

Graphique Intertionale and the Art Directors Club.

in design. In an interview by Design Culture, Tissi states that she has Even though her style is very swiss influenced, she wanted to

decreased her design to only the essential and few elements that

stay away from the International style which was based on

have relationships with proportions and space. She also stated

organization and text that was aligned with key elements in

that she never really followed a popular trend which is illustrated

the design. She has a consistency of bright colors and shapes

through her designs that are influenced by swiss design but don’t

in her designs and in contrast to the swiss style interacts with

necessarily follow the rules it provides.

the transformation of each letter and shapes. Tissi shifted from

JOSEF MULLERBROCKMANN

Josef Muller-Brockmann was born in Switzerland in 1914 and would

Brockmann claims that he became a graphic designer by accident. He didn’t

also study at the Zurich School of arts and Crafts where he would study

like to write so he would being drawing instead. After being influenced by

architecture, art and design. Brockmann later would have an apprenticeship

his teacher he thought he would pursue a career as a designer. He would

under Walter Diggleman and later would open up his own graphic design

have many apprenticeships, but there were short as many of them didn’t

studio in 1934 which focused on photography, graphic design, illustration

work out so he would enroll at the Zurich School of Arts and Crafts.

and exhibition design.

He was one of the most influential graphic designers in history. As he

When opening up his design studio, Brockmann was a freelancer, but quickly

considered the “father of swiss design” and would also be influenced by

joined other designers and became a member of the Swiss Association of

Bauhaus and constructivism. Like the typical swiss design, his work was

Artists and Designers. He developed a constructivist approach to design. He

based off of strict grids, typography and geometry. Another important

co-founded Trilingual journal Neue Grafik which was a journal that mainly

part of his work and “rules” were objective photographs that would avoid

focused on Swiss design and targeted international readers. Because of

emotions and dramatic tones. Bockmann’s swiss would become lost during

this journal he would help spread the aesthetic of swiss design around

the Cold War as political climates changed, Swiss style would look too cold

various countries making international style popular and well known.

and authoritarian.

Brockmann would replace Ernst Keller at Zurich as a professor and later became a consultant for IBM and founded a communication agency called Muller-Brockmann & Co.

Was a graphic designer and teacher. He worked as a European Design consultant.

He co-founded the trilingual journal Neue Grafik which was a journal focusing on Swiss design and a publication for international readers.

He was born in 1914 in Switzerland and later would attend schools studying architecture, art and design.

He taught and was design consultant and wrote many books about graphic design.

He first has an apprenticeship to Walter Diggleman and then would open up his own studio which focused on photography, graphics and exhibition design.

Josef Muller-Brockmann: was focused around the grid system and Akzidenz-Grotesk typeface. He helped spread the swiss aesthetic by establishing the New Graphic Design Journal.

Pioneer of Modern Design in America in 1940’s. he developed complex grids to ensure continuity In such diverse media.

education. He started his career as a part-time stock image creator in addition to his schooling he would develop a portfolio.

Was a graphic designer and art director. Created various logos,

His reputation was mainly based off of his initial page designs. And would later manage fashion pages for Esquire.

He was born in August 1914 in New York. When he was younger he had interest in design and painting for his dad’s store.

He is best known for his simple designs and clean use of typography.

He attended many art colleges but learned mainly through self-

In contrast to swiss pioneers, Paul Rand was an American pioneer in the design

for companies including IBM, ABC, and UPS. Because of these identities

world. He was able to influence and create change within American design.

Rand would change communication between corporations and the business

He made many editorial designs and advertisements and many logo identities

industry, creating a powerful business tool. He wanted to create a universal

in which were influenced by European ideas also known as swiss style. He

language to support growth within a company, he thought design would be the

focused on complex grids which allowed for continuity throughout. He was

best way to visual communicate values and purpose.

born in New York in the year 1914 and was interested in design because of his

love of painting and designing his father’s store. He attended many colleges,

He is best known for his simple designs and clean use of typography that

yet he is mainly self-taught and later would start his first job as a part-time

illustrate dynamic and shift of depth. Another aspect of his designs was

stock image creator. With this job in addition to his school would allow him to

signing his name on all of his designs which was now uncommon. This gave

build his portfolio and take off.

his designs an artistic feel and portrayed them as works of art. Rand stated

that a logo is created from the meaning of what it symbolizes, as well as the

His first design job was designing fashion pages for Esquire and later would

design of a logo should be memorable and clear. Rand had a large influence on

create advertisements that were inspired by German Bauhaus School. Further

American design and still is influencing purposeful design.

into his career he began and Art Director and would create many logo identities

PAUL RAND

EMIL RUDER

Was a swiss graphic designer and typographer. His work was separated from other designers because of his holistic approach with teaching and designing. Born in 1914 and Switzerland. He had formal training and education to be a designer and would learn to be a type setter. He attended the Zurich School of Art and Krafts and would later teach at a swiss school where he was in charge of typography. Ruder would become the head of the department of apprentices in applied arts and this is also where he will meet Armin Hofmann. Ruder and Hofmann would collaborate and distinguish an international reputation. Also publishing books about skills and techniques with typography.

Emil Ruder, born in Switzerland in 1914, was a graphic

designer and specialized as a typographer. He had for-

signs as well as highlighting counters in characters and

mal training and education to at Zurich School of Arts and

negative space. Ruder also emphasized san-serif typefac-

Crafts where Ruder would later teach and manage typog-

es, making his work clear and concise. He also placed high

raphy classes. He also would become the head of the de-

importance on using grids in design, which would later ef-

partment of apprentices in applied arts where he would

fect web design greatly. These elements are the basis of

come to meet Armin Hofmann. Together they would es-

the international style.

tablish the well-known swiss design style and develop an

international reputation. Their international reputation

could have been caused by publishing books about var-

post war era, Ruder got rid of conventional rules in design

ious skills and techniques about typography that would

like serif fonts, and centered type/symmetric styles. He

lead to their success and create a an identity for Hofmann

wanted to focus of contrasting elements making the de-

and Ruder

sign dynamic, but he did not want to make them look play-

ful as it could lose the readability of the design.

One of his well-known publications was â&#x20AC;&#x153;Typogarphieâ&#x20AC;?

which highlighted his procedures, methods, designs and

Ruder was one of the designers that had a large role in the

communication with typography was the most popular of

creation of a new style during a time of static and confused

his publications. The book is a reflection of his teaching

design that needed to be simplified and renewed.

and style and described his grid well-known grid style that is shown in his designs.

His swiss style consisted of asymmetrical de-

Like many other swiss style designers during the

MEET YOUR TYPE Starting to notice different letterforms. Typeface: is a single set of characters that share stylistic unity. Usually comprises an alphabet of letters and numbers, punctuation and diacritical marks. Font: a complete character set of a particular type face in one size. Font became an electronic file that rendered the typefaces in all sizes. Little details will tell you a lot about the specific type face. Cap height: the distance between the baseline and the tip of a capital letter. Baseline: the imaginary, yet crucial line where all obedient letterforms sit.

Screen font: some fonts look better on screen than they do on print. Simplicity: using one or two typefaces. Contrast: pairing a display face with a text face. As well as considering the weight of the type face.

Ascender: lower case letter rises above the x-height. Set width: width of a character in relation to the height.

Flush Left: it’s the easiest to read because we read it the most.

Hierarchy: gets people to look where they want to look. Can be stressed by size, weight, color, style and placement.

Centered: not meant for large amounts of text.

Smart Quotes: always activate smart quotes and standard ligatures in application. Swash characters: having more flourish and style than boring type. Font license: having the ability to use someone else’s font.

Type designer should avoid idiosyncrasies./ the written character is and remains the basis of every typographical activity> date back to hieroglyphics.

Ligatures: create a single character out of two. Numbers: designed to work within text. Align better in charts and graphs.

Dependence on creating and using a type is that it is inconvenient and may not meet the requirements of the specific project.

When comparing the typefaces: adjust the x-heights to match> do this with points.

Reduce the point size of the numbers so they blend together. Counter: the enclosed negative space within a letter.

TYPOGRAPHY: A MANUAL OF DESIGN

Flush right: bit hard to read used for small captions and special callouts.

Justified: can have awkward hyphens and rivers.

Technology compels us to think differently and use different forms of expression during the time period we live in.

Typography is an expression of technology and order. Need designs that capture the audience’s eye.

Descender: lower case letter hangs below the baseline. 60-70 characters per line when in columns so they are easier to read. X-height: the height of a lower case x or the height of lower case letters.

Cutter: avoid busy backgrounds.

X-height can dramatically affect the types readability.

Point size: choose body copy size first.

Point-system: using points and picas, measuring the typographic dimensions.

Spacing issues: tighten up the letterspacing when using large type. Ex: headline

Point size: has little to do with type, measurement used.

Leading: bigger the body, the smaller the leading (more prominent in all caps)

Traditional Family: Roman, Italic, bold, small cap styles. Extended family: hairline, black, extended and condensed styles. Super Family: serif, sans serif. Knowing the audience so you can have a distinct font. Display font: setting a specific mood or tone when they are used. Text face: easy to read and can have consistency throughout the body text. Usually classic fonts and have simplicity.

Leading: horizontal space between two lines of text.

Widows and Orphans: don’t have stranded words at the end or beginning of paragraphs.

horizontals, sloping elements. Having ascenders and descenders and differing weights as well as the format of the paper.

Baseline to baseline The history of typesetting the possibilities of using the forms as well as Kerning: space between individual letters.

lithography that demonstrated art pieces.

Refrain from mixing writing and printing

Boredom: add graphic devices. Hierarchy: clear visual path for the viewer to follow, text should get the most attention.

Rhythmic values are shown in straights and curves, verticals and

Letterspacing: spacing between in a block of text known as tracking. Focused on a whole word rather than the space between two letters.

LAYOUT ESSENTIAL

ASYMMETRY Symmetry and asymmetry shows distinction. Symmetry is organic and shown In many living things.

Grid is used to organize space and information for the reader. Way to ordain and maintain order.

Gutter margin should be large enough where it keeps the text from getting lost in the binding. Depends on the length of the text or material.

Asymmetry distributing elements as they feel balanced.

Many associate the use of grids with Swiss Design in 1940 and then they were considered boring.

Chunk information into groups to help readability. (usually for instructions)

Intuitive perception.

Use all the space on the page to fill with information.

Ex: mountains are balanced yet still asymmetrical.

Successful typography defines clear and understandable zones.

Dynamic: design that moves and changes. Audiences eyes move through the design.

Spatial zones: are groups of modules or columns that can form specific areas for type, ads, images or other information. Flow lines: are alignments that break space into horizontal bands. Not actual lines, flow lines are a method for using space and elements to guide a reader across a page.

Successful grids have consistency, order, clarity and structure.

Markers: help a reader navigate a document. Indicating placement for materials that appears in the same location, markers include page numbers, running heads and feet and icons.

Have it be simple to support the material.

Single grid: used for continuous running text like books or reports. Main feature on the page is the text. Two-column grid: used to control a lot of text. Different kinds of information in columns. Ideal proportions: when one column is double the width of the narrow column. Multicolumn grids: greater flexibility than single or two column grids. Varying widths are good for websites and magazines. Modular grids: used for newspapers, calendars, charts and tables. Hierarchical grids: break the page into zones: horizontal columns. Have to know the projects complexity to know the grid that should be used. Determine the space that is needed for each element: text, heading, page number. More important information should be larger or bolder. Varying texts and weight also help to separate material. Text conveys information and images indicates the importance of an event or subject. Color allows modules and sections to stand out. Color defines space. Space communicates volumes. Grid must be strong and clear. Some grids are repeated, grids also allow lyrical movement for one block of information to the next spread or screen.

Columns may need to be altered so there is clarity and balance.

Avoid overcrowding.

Symmetrical designs can be dynamic with varying sizes. Centered type seems traditional, but can have drama with type faces and different elements. Symmetrical design with dynamic with color blocking, engages the reader. Introduces tension and movement with type and color.

ELLEN LUPTON Design is all about alignment. Centered alignment is formal shown in books and tombstones. Justified text is economical: can have rivers. Flush left: organic. Flush right: more unusual, hard edge allows type or ordinate around content on the design. What are things you want to avoid? Avoid rivers in Justified text. What does Ellen mean by anchoring elements? using grid lines and having elements all line up and have a purpose of why they are placed in a certain spot. Can you find examples on-line that both good and bad? Bad layout: text is either centered or spread out to the edges: text is floating in the corners. Elements are not anchored to anything. Good layout: aligning elements to another creates internal structure. Have an orientation to each other. What is line spacing/leading? Create texture, having open or closed fields of space that is either lighter or darker. How do you use it creatively? Allows you to mix and match type and size. Expressive. How do you create emphasis in design? How does it go wrong? Having limited elements that are a different color, size or font. This goes wrong when there is too much â&#x20AC;&#x153;highlightedâ&#x20AC;? information and the viewer cannot read or understand what is important.

SCALE AND TENSION

THINKING WITH TYPE: GRID Golden section: a ratio that has been used in Western art and architecture for more than two thousand years. Meaning, smaller of the two elements in the same way that the larger element relates to the two parts combined.

Single-grids work for simple documents. Multi column grids provide flexible formats for publications that have a complex hierarchy or that integrate text and illustrations.

Hang-line: creating horizontal column: reserved for captions and images.

Scale: is based on relation and context. How big is the circle compared to other circles in proximity to it. scale conveys meaning. Conceptual. A visual story.

bottom in addition to vertical divisions. Govern the

Large scale letter: cropping and creating depth, tension.

placement and cropping of pictures and text.

Scale is based on relationships. It energizes a page and design. Surprise your audience.

Baseline grid: created by positioning guidelines.

Modular grid: horizontal divisions from top to

Anchor all layout elements to a common rhythm.

PARTS OF THE GRID Margin: buffer zones, represent the amount of space between size and gutter and page content. Gutter: space between two facing pages. Column: vertical containers that hold type and images. Module: divisions separated by consistent space providing repeating, ordered grid.

Create with the type size.

Can do this in InDesign automatically: Object> text frame options> Baseline options-leading.

MAKING AND BREAKING THE GRID Typographic grid: an organizing principle in graphic design whose influence is simultaneously ingrained in current practice and fought over in design.

Problem solving at a visual and organizational level. Communication through text, headlines, pictures and data.

Grid development over the past 150 years the dramatic technological and social changes in Western Civilization and the response of philosophers, artists and designers to those changes.

Was instituted by modernism: sense of order and formalizing design.

The benefits of working with a grid are simple: clarity, efficiency, economy and continuity.

Invention of mechanical power induced people to seek living in cities.

Making and its organization are inextricably linked to the visual dissemination of information.

Grid brings order to a layout. To build a grid you have to assess the projects contents.

Grid renders the elements it controls into a neutral spatial that permits accessibility.

Placing line of type in blank landscape creates structure.

Fitness of Purpose: English Arts and Crafts movement in Architecture, painting and design; gained momentum and was transformed in a number of ways, evolving into an organic style known as Art Nouveau.

Alignment between masses and voids visually connects or separates fields.

The Architecture of Space: influenced by a trip to England. Frank Lloyd Wright began a systematic evolution.

Grid consists of distinct set of aligned-based relationships that act as guides for distributing.

An Expanding Influence: Peter Behrens German Architect.

Form making and its organization are inextricable linked to the visual disseminations of information.¬¬ Asymmetric design, san serif type, geometric organization were known to few. Creation of designs that gave priority to san serif type, compositions based on the function of the words and text. Design consideration was based on negative spaces and intervals between areas of text. Using hierarchal grid structure to create space in designs. During WWII, Switzerland depended on exporting services and craftsmanship for their economy. Able to clarify complex informational material. Able to form solid weight bands allowing the eye to direct itself to find information. Benefits of working in a grid are clarity, efficiency, economy and continuity. ¬ Depending on what the project and content is determines the graph and layout. Breaking the grid with proximity and structural qualities of the images and material. Able to design not just on a grid. Do this for emotional reactions or dynamic.

A grid is a closed system when it is created. Markers: placement indicators for subordinate or consistently appearing text: like headings or page numbers. Flowlines: alignments that break up the space into horizontal bands. Manuscript grid: the simplest structured grid. Accommodates long text like essays. Adjusting the margins to fit in visual elements. Column grid: information that is discontinuous benefits from being organized into an arrangement of vertical columns. Width of the column is determined by the running type size. Is a subordinate structure. Accommodate to unusual breaks. Modular Grid: complex degree of control with what the grid will provide. Each module defines a small chunk of information. Overall stress is created by the designer. The design of tabular information like charts. Hierarchical grid: grids conform to the needs of the information they organize. Begins by studying the various elements optical interaction.

Rationalism, The Machine Aesthetic, and the Search for Universal Culture: Werkbund sought to invent a universal culture through the design of everyday objects and furnishings. Constructivism: the new visual language and its philosophy were attracting students and designers from abroad, as well as finding sympathetic participants. Found a voice in abstraction: the pure geometry of a movement called supermatism merged with cubism and futurism. The Bauhaus students and faculty became influenced by the swiss painter Theo Van Doesburg. The use of asymmetric composition, san serif typefaces, and geometric organization of information were known to a relative few in the arts and education. Designers and artists who used the new visual language were arrest or forced to leave as the Nazis gained power and labeled them as degenerates. Gird was used to dominate European and American design during and after the 1960’s it was an especially effective way to orchestrate communications and programs for large organizations.

Incidences of grid use predate the Romans and the Greeks. Without a grid, space is forced into new relationships. Overlapping columns or modules.

The grid is used in Western Graphic design evolved during the Industrial Revolution.

In America, students of the Swiss schools and number of European emigrants were bringing the international style- and the grid- to a vase audience. Paul Rand was one of them.

Emphasizing the pragmatic rational aspects of design helps clients understand and trust the design industry as a resource. Just as the use of grids in modern design practice grew from developments in technology, aesthetic thought and industrialization, the use of alternate, intuitive methods of composition- prevalent in current design practice. Latter movements began as reactions to World War I. The new language of visual abstraction, the Dadaists applied it to verbal language to express the horrors of the war. Cubist and Symbolist poets in France also explored the syntactic portrayal of writing through typography based on its spoken or verbal attributes. Collage was another new visual analogy that built on the revisioning of form begun in Cubism, which juxtaposed found images in dynamic relationships where chance could play a role in the perception of meaning. By the 1960’s the international style was becoming entrenched as a design methodology in Europe and the United states. Corporations benefited from the unifying and cost-efficient aspects of the grid-based identity systems that these students advocated. In Basel, Emil Ruder’s students were engaged in studying fundamental typographic principles when a young typesetter’s apprentice from Stuttgart joined the school. Shift from traditional hand skills to digital designing and production introduced high-level digital editing and typesetting to a vast audience; in this way, the assimilation of vernacular modes of expression was complemented by a reverse assimilation of design craft by individuals who weren’t trained as graphic designers.

Modular Grid and Hierarchy

ROUND ONE a b i g a i l

m i l e s

Typography: A Manual of Design

Emil Ruder

1967

Typography: A Manual of Design

Emil Ruder

1967

Niggli Verlag

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

Niggli Verlag

ABIGAIL MILES

1967

Typography: A Manual of Design

Emil Ruder Typography: A Manual of Design Niggli Verlag

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

Emil Ruder

ABIGAIL MILES

Niggli Verlag

1967

Emil Ruder Niggli Verlag

Typography: A Manual of Design

Emil Ruder Niggli Verlag

1967

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

Typography: A Manual of Design ABIGAIL MILES

1967 1967

Typography: A Manual of Design Emil Ruder

Emil Ruder

Niggli Verlag

Typography: A Manual of Design

Niggli Verlag

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

ABIGAIL MILES

Emil Ruder

Typography: A Manual of Design

Niggli Verlag

1967

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

Emil Ruder Niggli Verlag

ABIGAIL MILES

1967

Typography: A Manual of Design 1967

Emil Ruder Niggli Verlag

Emil Ruder

Typography: A Manual of Design

Niggli Verlag

1967

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

ABIGAIL MILES

Emil Ruder 1967 Emil Ruder

Niggli Verlag

1967

Typography: A Manual of Design

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

Typography: A Manual of Design Niggli Verlag

ABIGAIL MILES

Emil Ruder

Niggli Verlag

Typography: A Manual of Design Emil Ruder

1967

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

1967

ABIGAIL MILES

Typography: A Manual of Design Niggli Verlag

Niggli Verlag

Typography: A Manual of Design Emil Ruder Niggli Verlag

Emil Ruder 1967 Typography: A Manual of Design 1967

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

ABIGAIL MILES

Modular Grid and Hierarchy

ROUND ONE: PART 2 a b i g a i l

m i l e s

1967

EMIL RUDER niggli verlag

TYPOGRAPHY: A MANUAL OF DESIGN Round 1: Part Two: Caps and lower case, leading and tracking

1967

typography: a manual of design EMIL RUDER

ABIGAIL MILES

NIGGLI VERLAG

1967

TYPOGRAPHY: A MANUAL OF DESIGN

Typography: A Manual of Design EMIL ruder EMIL RUDER 1967 NIGGLI VERLAG

Round 1: Part Two: Caps and lower case, leading and tracking

NIGGLI verlag

ABIGAIL MILES

Emil Ruder 1967 EMIL RUDER

NIGGLI VERLAG

1967

Typography: A Manual of Design

Round 1: Part Two: Caps and lower case, leading and tracking

TYPOGRAPHY: A MANUAL OF DESIGN niggli verlag

ABIGAIL MILES

T Y P O G R A P H Y : A M A N U A L O F D E S I G N

1967

EMIL RUDER N I G G L I

V E R L A G

1967

Typography: A Manual of Design EMIL RUDER NIGGLI VERLAG

Round 1: Part Two: Caps and lower case, leading and tracking REDO

ABIGAIL MILES

1967 TYPOGRAPHY: A MANUAL OF DESIGN

Typography: A Manual of Design

emil ruder niggli verlag

EMIL ruder

1967

NIGGLI verlag

Round 1: Part Two: Caps and lower case, leading and tracking REDO

ABIGAIL MILES

EMIL RUDER 1967 EMIL RUDER

NIGGLI VERLAG

1967

TYPOGRAPHY:

A MANUAL OF DESIGN TYPOGRAPHY:

NIGGLI VERLAG

a manual of design

Round 1: Part Two: Caps and lower case, leading and tracking REDO

ABIGAIL MILES

Modular Grid and Hierarchy

ROUND TWO a b i g a i l

m i l e s

EMIL RUDER N I G G L I

V E R L A G

Round 2: Adding Rules and Color

T Y P O G R A P H Y : A M A N U A L O F D E S I G N

1967

EMIL RUDER N I G G L I

ABIGAIL MILES

V E R L A G

EMIL RUDER N I G G L I

V E R L A G

Round 2: Adding Rules and Color

T Y P O G R A P H Y : A M A N U A L O F D E S I G N

1967

EMIL RUDER N I G G L I

ABIGAIL MILES

V E R L A G

EMIL RUDER N I G G L I

V E R L A G

Round 2: Adding Rules and Color

T Y P O G R A P H Y : A M A N U A L O F D E S I G N

1967

EMIL RUDER N I G G L I

ABIGAIL MILES

V E R L A G

TYPOGRAPHY: A MANUAL OF DESIGN

emil ruder niggli verlag

1967

Round 2: Adding Rules and Color

ABIGAIL MILES

TYPOGRAPHY: A MANUAL OF DESIGN

emil ruder niggli verlag

1967

Round 2: Adding Rules and Color

ABIGAIL MILES

TYPOGRAPHY: A MANUAL OF DESIGN

emil ruder niggli verlag

1967

Round 2: Adding Rules and Color

ABIGAIL MILES

1967

Typography: A Manual of Design

EMIL RUDER NIGGLI VERLAG

Round 2: Adding Rules and Color

ABIGAIL MILES

1967

Typography: A Manual of Design

EMIL RUDER NIGGLI VERLAG

Round 2: Adding Rules and Color

ABIGAIL MILES

1967

Typography: A Manual of Design

EMIL RUDER NIGGLI VERLAG

Round 2: Adding Rules and Color

ABIGAIL MILES

Modular Grid and Hierarchy

ROUND THREE: SCALE a b i g a i l

m i l e s

EMIL RUDER NIGGLI VERL AG EMIL RUDER NIGGLI VERLAG

TYPOGRAPHY: A MANUAL OF DESIGN Typography: A Manual of Design

Round 3: Scale

ABIGAIL MILES

NIGGLI V E R L AG 1967

EMIL RUDER 1

NIGGLI VERL AG

Typography: A Manual of Design

Round 3: Scale

RU DER EMIL

ABIGAIL MILES

Typography: A Manual of Design

19 67 Typography: A Manual of Design

Emil Ruder Niggli Verlag

TYPOGRAPHY: A MANUAL OF DESIGN 19 67

NIGGLI VERLAG EMIL RUDER Round 3: Scale

ABIGAIL MILES

TYPOGRAPHY:

A MANUAL OF DESIGN

1967

TYPO 1 9 6 7 GRAPHY: A Manual of Design

NIGGLI VERLAG EMIL RUDER

Round 3: Scale

ABIGAIL MILES

NIGGLI VERLAG EMIL RUDER TYPOGRAPHY: A MANUAL OF DESIGN 1967

TYPOGRAPHY: A MANUAL OF DESIGN

EMIL RUDER NIGGLI VERLAG

Round 3: Scale

ABIGAIL MILES

1967

Niggli Emil

TYPOGRAPHY: A MANUAL OF DESIGN 1967

Verlag

Ruder

TYPOGRAPHY: A MANUAL OF DESIGN

Emil

RUDER VERLAG Niggli

1967

Round 3: Scale

ABIGAIL MILES

19 67

TYPOGRAPHY:

A MANUAL OF DESIGN

TYPOGRAPHY: A Manual of Design Niggli VERLAG Round 3: Scale

Emil RUDER

NIGGLI VERLAG EMIL RUDER

1967 ABIGAIL MILES

1967 TYPOGRAPHY: A MANUAL OF DESIGN NIGGLI VERLAG

1967

emil Round 3: Scale

TYPOGRAPHY:

A MANUAL OF DESIGN Niggli Verlag Emil Ruder

RUDER

ABIGAIL MILES

NIGGLI VERLAG TYPOGRAPHY: A MANUAL OF DESIGN EMIL RUDER NIGGLI VERLAG

1967 Round 3: Scale

TYPO 1 9 6 7 GRAPHY: A MANUAL OF DESIGN

EMIL RUDER ABIGAIL MILES

TYPOGRAPHY: A MANUAL OF DESIGN

19 67

NIGGLI VERLAG

EMIL RUDER

Round 3: Scale

TYPOGRAPHY: A MANUAL OF DESIGN

EMIL RUDER

19 67

ABIGAIL MILES

NIGGLI VERLAG

Modular Grid and Hierarchy

ROUND THREE: PART 2 a b i g a i l

m i l e s

RU DER EMIL

T Y P O G R A P H Y: A MANUAL OF DESIGN

1967 TYPOGRAPHY:

A MANUAL OF DESIGN

NIGGLI VERLAG

EMIL RUDER NIGGLI VERL AG

Round 3: Part Two: Scale with color and rules

ABIGAIL MILES

EMIL RUDER NIGGLI VERLAG

TYPOGRAPHY: A MANUAL OF DESIGN

TYPO 1 9 6 7 GRAPHY: A MANUAL OF DESIGN

EMIL RUDER NIGGLI VERLAG

Round 3: Part Two: Scale with color and rules

ABIGAIL MILES

T Y P O G R A P H Y: A M A N UA L O F D E S I G N

EMIL RUDER T Y P O G R A P H Y: A M A N UA L O F D E S I G N

NIGGLI VERLAG

1967

Round 3: Part Two: Scale with color and rules

NIGGLI VERLAG EMIL RUDER

1967

ABIGAIL MILES

1967 TYPOGRAPHY:

TYPOGRAPHY:

A MANUAL OF DESIGN

EMIL RUDER NIGGLI VERLAG

EMIL RUDER

NIGGLI VERLAG

A MANUAL OF DESIGN

Round 3: Part Two: Scale with color and rules

ABIGAIL MILES

TYPOGRAPHY: A MANUAL OF DESIGN NIGGLI VERLAG

A MANUAL OF DESIGN

EMIL RUDER

NIGGLI VERLAG

Round 3: Part Two: Scale with color and rules

ABIGAIL MILES

Modular Grid and Hierarchy

ROUND FOUR a b i g a i l

m i l e s

Back Cover

Front Cover

EMIL RUDER NIGGLI VERLAG

EMIL RUDER

REDUR LIME GA L R E V I L G G I N

Spine

TYPOGRAPHY: A MANUAL OF DESIGN

TYPOGRAPHY: A MANUAL OF DESIGN 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.

Round 4: Full book cover

TYPOGRAPHY: A MANUAL OF DESIGN

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

Score and fold

Back Cover

Spine

Front Cover

EMIL RUDER

REDUR LIME GA L R E V I L G G I N

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.

Round 4: Full book 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 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.

Score and fold

Back Cover

Spine

Front Cover

EMIL RUDER NIGGLI VERL AG TYPOGRAPHY: A MANUAL OF DESIGN

T Y P O G R A P H Y: A MANUAL OF DESIGN 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.

T Y P O G R A P H Y: A MANUAL OF DESIGN

Ty p o g r a p h y A Manual of Design is the legacy of E m i l R u d e r.

Round 4: Full book cover

EMIL

EMIL RUDER

RUDER

NIGGLI VERLAG

Score and fold

Back Cover

Spine

EMIL RUDER

Front Cover

EMILRUDER

NIGGLI VERLAG

Ty p o g r a p h y A M a n u a l o f D e s i g n i s t h e l e g a c y o f E m i l R u d e r. 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 T Y P O G R A P H Y:

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

A MANUAL OF DESIGN

TYPO GRAPHY:

Round 4: Full book cover

A MANUAL

EMIL RUDER

OF DESIGN

NIGGLI VERLAG

Score and fold

Back Cover

Spine

TYPOGRAPHY: A MANUAL OF DESIGN 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 A MANUAL OF DESIGN

TYPOGRAPHY A MANUAL OF DESIGN IS THE LEGACY OF EMIL RUDER.

Front Cover

A MANUAL OF DESIGN EMIL RUDER

Round 4: Full book cover

1967

EMIL RUDER NIGGLI VERLAG

Score and fold

Back Cover

Spine

Front Cover

EMIL RUDER NIGGLI VERLAG

Round 4: Full book cover

RUDER E M I L

1967

TYPOGRAPHY: A MANUAL OF DESIGN

A MANUAL OF DESIGN EMIL RUDER NIGGLI VERLAG

Score and fold

Back Cover

Spine

Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. He taught that typography’s purpose was to communicate ideas through writingå, 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.

NIGGLI VEARLAG

RUDER WAS ONE OF THE MAJOR CONTRIBUTORS TO SWISS STYLE DESIGN.

Round 4: Full book cover

T Y P O G R A P H Y: A M A N UA L O F D E S I G N

EMIL RUDER

RUDER EMIL

T Y P O G R A P H Y: A MANUAL OF DESIGN

Front Cover

NIGGLI VERLAG EMIL RUDER

1967

Score and fold

Back Cover

Spine

Front Cover

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.

NIGGLI VERLAG

NIGGLI VERLAG EMIL RUDER

EMIL RUDER

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 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: Full book cover

TYPOGRAPHY: A MANUAL OF DESIGN

Score and fold

Back Cover

Spine

TYPOGRAPHY: A MANUAL OF DESIGN

Round 4: Full book cover

NIGGLI VERLAG

TYPOGRAPHY: A MANUAL OF DESIGN

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 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.

RUDER EMIL

NIGGLI VERLAG

Front Cover

A MANUAL OF DESIGN

TYPOGRAPHY

Score and fold

Back Cover

Spine

NIGGLI VERLAG

1967 Front Cover

EMIL RUDER

TYPOGRAPHY:

A MANUAL OF DESIGN

EMIL RUDER

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.

Typography

Manual

Design is the legacy of Emil Ruder.

The

volume

comprehensaive masterpiece seen in its overall structure:

A MANUAL OF DESIGN

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: Full book cover

TYPOGRAPHY: A MANUAL OF DESIGN

TYPOGRAPHY:

EMIL RUDER

NIGGLI VERLAG

Score and fold

Modular Grid and Hierarchy

FINAL 5 a b i g a i l

m i l e s

Back Cover

Front Cover

EMIL RUDER NIGGLI VERLAG

EMIL RUDER

REDUR LIME GA L R E V I L G G I N

Spine

TYPOGRAPHY: A MANUAL OF DESIGN

Round 4: Top 5

TYPOGRAPHY: A MANUAL OF DESIGN

Score and fold

Back Cover

Spine

T Y P O G R A P H Y: A MANUAL OF DESIGN

TYPOGRAPHY: A MANUAL OF DESIGN

EMIL RUDER NIGGLI VERL AG

Front Cover

T Y P O G R A P H Y: A MANUAL OF DESIGN

Ty p o g r a p h y A Manual of Design is the legacy of E m i l R u d e r.

Round 4: Full book cover

EMIL

EMIL RUDER

RUDER

NIGGLI VERLAG

Score and fold

Back Cover

Spine

EMIL RUDER

T Y P O

NIGGLI VERLAG

GRAPHY:

Front Cover

Ty p o g r a p h y A M a n u a l o f D e s i g n i s t h e l e g a c y o f E m i l R u d e r. 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

Round 4: Top 5

T Y P O G R A P H Y: A MANUAL OF DESIGN

A MANUAL

EMIL RUDER

OF DESIGN

NIGGLI VERLAG

Score and fold

Back Cover

Spine

Front Cover

T Y P O G R A P H Y: A MANUAL OF DESIGN distinguishable in the field of typography for developing a holistic

RUDER EMIL

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

T Y P O G R A P H Y: A M A N UA L O F D E S I G N

approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. He taught that typography’s purpose was to communicate ideas through writingå, 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 prese nted, 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

Round 4: Top 5

T Y P O G R A P H Y: A M A N UA L O F D E S I G N

RUDER WAS ONE OF THE MAJOR CONTRIBUTORS TO SWISS STYLE DESIGN.

NIGGLI VERLAG EMIL RUDER

1967

Score and fold

Back Cover

Spine

TYPOGRAPHY A MANUAL OF DESIGN

Round 4: Top 5

TYPOGRAPHY A MANUAL OF DESIGN

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 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.

RUDER EMIL

NIGGLI VERLAG

Front Cover

NIGGLI VERLAG

A MANUAL OF DESIGN

TYPOGRAPHY

Score and fold

Back Cover

Spine

Front Cover

EMIL RUDER NIGGLI VERLAG

Round 4: Top 5

RUDER E M I L

1967

TYPOGRAPHY: A MANUAL OF DESIGN

A MANUAL OF DESIGN EMIL RUDER NIGGLI VERLAG

Score and fold

Modular Grid and Hierarchy

FINAL COVERS a b i g a i l

m i l e s

Modular Grid and Hierarchy

MOCK UPS a b i g a i l

m i l e s