dgdfsbdfbdfb by andrea herstowski

Modular Grid

Andrea Herstowski

David Obadare - VISC 200 Text Alignments Justified Text - The contents of the text box/container will have whatever text touch both sides of the container, no matter the spacing required. Spacing may be different/inconsistent between lines. Flush Left - The contents of the text box/container will align the beginning type with the left side of the container. If a word does not fit within the space remaining on the line, it will be pushed to the next line. Flush Right - The contents of the text box/container will align the beginning type with the right side of the container. If a word does not fit within the space remaining on the line, it will be pushed to the next line. Parts of the Grid Margin - Defined as the empty space, or set space between the edge of an object on the page, or the page itself, and another set point on the page. For example, 8.5 X 11 documents usually have a 1-inch border. Gutter - The space over the spine in a book spread. Usually content is not put there; only for continuity’s sake. Column - A section divided vertically on a page. Module - A fixed element within a larger system (the grid). Font Family/Styles - A typeface is a single set of characters that share stylistic unity. A typeface usually comprises an alphabet of letters, numbers, punctuation and diacritical marks. A complete character set of a particular typeface in one size. When type made the leap to the digital realm, a font became an electronic file that rendered the typeface in all sizes. In a font family, there is usually a Normal style, an italic style, and a bold style. There are also other variations that typeface designers can choose to add (semi bold, thin, etc.). - Line Spacing/Leading - This is the space between each baseline in lines of text. - Tracking - The distance between each character in text, different for every font family. - Kerning - Similar to tracking, this adjusts the space between letters on a proportional basis. - Hierarchy - Sizing, and scaling, alignment, positioning, and symmetry all sway your audience’s perspective of hierarchy, but the overuse of these elements can lead your audience nowhere.

Scale, Symmetry, Alignment, and Grids. Where one places their content, and the sizing choice for it is part of how the content is communicated to their audience. Scale, is not just size. Scale is an object’s size in relation to its context. We won’t know if something is big if we don’t see something else in the frame that is small, or vice versa. The use of symmetry and asymmetry can direct your audience’s organic way of going through your layout. Symmetry is what we are comfortable with (we ourselves are symmetrical), therefore when symmetry is used, we subconsciously see it has structurally sound, and stable. When asymmetry is used, we will pay more attention to the exact placement of the content, and the natural flow of the hierarchy presented. Alignment is how your text aligns with its container. Center alignment can usually feel bland or “dead”. Left alignment has a hard left edge, with a “soft” right edge. Justified text fills up the whole space, and is visually pleasing, just watch out for “rivers”, or unintentional holes in the justified text. Right alignment can lead the reader to the next page, as it trails off into the right side of the page. Design Research Examples - https://drive.google.com/open?id=11B7CqlcjG6vlltUdHEm3aBoF2MCSkqP8 Swiss Style What distinguishes Swiss-style from all other design styles is its genius use of asymmetry. Swiss style’s play on the way an audience observes design is what sets them apart, and their minimalistic approach to it is why Swiss Style design is one of my favorite types of design. So much of what swiss design contains sometimes meshes with design in general, since it has been so influential in the way the world designs now. One of the things swiss design is the most popular for is Neue Haas Grotesk, otherwise known as Helvetica. Despite the controversy surrounding its use, there is no denying its importance in the design world. I believe they have been included in this project to illustrate the fact that design does not have to have a lot of content to be meaningful, or profound. Good design does need a bunch of flashy lights. Good design comes from the motivation behind objects placement in empty space, and how one object on a page relates to one another. You can create gorgeous designs with thousands of elements, and you can create gorgeous designs with just 3 elements. It all depends on what you do with these elements, and how you portray, which is what I think Swiss-style does so well, hence their inclusion in this project. Swiss Style is described as an authentic pursuit of simplicity, “the beauty in the underlines of a purpose, not beauty as a purpose in itself”. The phrase “form follows function” is idiosyncratic of the nature of swiss design.

Rosmarie Tissi Rosmarie Tissi is a graphic designer and typographer that took the preliminary course at the Kunstgewerbescule Zurich, and then completed a 4-year apprenticeship as a graphic designer with Siegfried Odermatt, a master of Swiss graphic design. During her career, she focused more on functionality and neutrality in her design through “dynamic layouts, vivid colors, and type experiments”. Looking at her design and reading about her philosophy, it makes sense for her to be included in this project. For perspective. She wanted her designs and typography to be as functional and accessible as possible, which can be a challenge for most designers. Instead of trying to come up with a specific style, she kept that same swiss design philosophy and made sure her designs spoke paragraphs with mere sentences. Rosmarie Tissi is my favorite designer out of the patch we’ve had to study, because her work stands out to me. Although these designers take from their Swiss roots in design, I feel like Tissi pulls the philosophy through to its full potential. Her work is so separated from each other, that if you did not she made these pieces, you would not know they were made by the same person. Most of her designs are asymmetrical, with a high density in one area. In doing this, she creates a flow with the graphics she makes, giving the text shown more intention, and importance. Josef Müller-Brockmann One of the most famous graphic designers associated with swiss design. He was born in Rapperswil, Switzerland, and he attended prestigious schools to study architecture, art, and design, including the University of Zurich. He did an apprenticeship with Walter Diggleman, and in 1936 he opened up his own design studio that specialized in photography, graphics, and exhibition design. His style is very representative of Swiss design in general, showcasing Swiss philosophy in all of his designs; he rarely deviates from it. I see his design as very consistent, and not too unique. I would say he is included in this project as a baseline for what design is, has been, and what it should be. One who does not deviate from an idea, knows that idea very well, so perhaps Josef Müller-Brockmann’s mastery of swiss design philosophy is what grants him a spot in this project. As previously stated, design does not have to be flashy and ever-changing, in fact, good design rarely is. Good design is stable, and consistent. Maybe not content-wise, but the stagnate nature of one’s design can always be observed by any audience. Josef Müller-Brockmann showcases this truth all throughout his work. Paul Rand Paul rand was a very influential art director and graphic design, and he was a pioneer in meaningful corporate logo designs for major firms, including ABC, Morningstar, ABC, Enron, and more. He was another practitioner of Swiss design, and used it efficiently in the American advertising industry. The source of his reputation, though, is from his initial

work on layout/page design. He has done jobs for Apparel Arts (GQ), Esquire-Coronet, Esquire, and more. Paul Rand himself became a “brand name” for logo designing in the corporate industry. Paul Rand’s unique ability with layout design and branding design put him at the top of the list of designers in the 1930s, and rightfully so. His play with symmetry makes one turn their head to look for it. His layout designs and logo designs both play with alignment in a way that draws attention to the correct content, organically. New York movement of design. Emil Ruder Emil was another prominent designer rooted in the Swiss design philosophy. His methods of design involved a more systematic practical method of teaching that involved both theory and philosophy. He grew up in Zurich, and begin his formal education in design when he took up an apprenticeship at 15 years old. He received training as a typesetter and later went on to study in Paris. Despite his inclination towards pictured based thinking, he never really invested his time into “playful” designs. According to Ruder, “such indulgences result in losing the actual purpose of printing that is legibility”. Ruder’s methodology in layout structure, in my opinion, is the reason she is in the project. She messes with the rules of alignment throughout her covers, and uses symmetry “against” itself in order to drive meaning to the audience.

Round 1 2 sizes: 14pt and 36pt

Typography: A Manual of Design

1967

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

Niggli Verlag

Emil Ruder

David Obadare 3/3

Typography: A Manual of Design Niggli Verlag

Emil Ruder

Niggli Verlag

Emil Ruder

1967

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

Typography: A Manual of Design David Obadare 3/3

Niggli Verlag

Emil Ruder

Niggli Verlag

Emil Ruder

1967

Typography: A Manual of Design

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

David Obadare 3/3

Niggli Verlag

Emil Ruder

emil ruder

1967

Typography: A Manual of Design

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

niggli verlag

1967

typography: a manual of design

David Obadare 3/3

Emil Ruder

Niggli Verlag

1967

Typography: A Manual of Design

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

1967

Niggli Verlag

Typography: A Manual of Design

David Obadare 3/3

1967

Emil Ruder

Niggli Verlag

Emil Ruder

Niggli Verlag

Typography: A Manual of Design

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

Typography: A Manual of Design David Obadare 3/3

Emil Ruder

1967

Niggli Verlag

1967

Typography: A Manual of Design

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

Emil Ruder

Niggli Verlag

Typography: A Manual of Design

David Obadare 3/3

Round 1.2 explore typographic color

1967

Emil Ruder

Niggli Verlag

N ig g l i Ve r l a g

Typography: A Manual of Design

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

Typography: A Manual of Design

David Obadare 3/3

1967

EMIL RUDER

emil ruder

NIGGLI VERLAG

niggli verlag

Typography: A Manual of Design

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

typography: a manual of design

David Obadare 3/3

1967

EMIL RUDER

emil ruder niggli verlag

NIGGLI VERLAG

typography: a manual of design

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

David Obadare 3/3

Round 2 adding rules and color

Typography: A Manual of Design Niggli Verlag

1967

Round Two

Emil Ruder

Typography: A Manual of Design Niggli Verlag

1967

David Obadare 3/5

Emil Ruder

Typography: A Manual of Design Niggli Verlag

1967

Round Two

Emil Ruder

Typography: A Manual of Design Niggli Verlag

1967

David Obadare 3/5

Emil Ruder

Typography: A Manual of Design Niggli Verlag

1967

Round Two

Emil Ruder

Typography: A Manual of Design Niggli Verlag

1967

David Obadare 3/5

Emil Ruder

emil ruder

niggli verlag

1967

typography: a manual of design

Round Two

emil ruder

niggli verlag

1967

typography: a manual of design

David Obadare 3/5

emil ruder

niggli verlag

1967

typography: a manual of design

Round Two

emil ruder

niggli verlag

1967

typography: a manual of design

David Obadare 3/5

emil ruder

niggli verlag

1967

typography: a manual of design

Round Two

emil ruder

niggli verlag

1967

typography: a manual of design

David Obadare 3/5

emil ruder

niggli verlag

1967

typography: a manual of design

Round Two

emil ruder

niggli verlag

1967

typography: a manual of design

David Obadare 3/5

1967

emil ruder niggli verlag

typography: a manual of design

Round Two

David Obadare 3/5

1967

emil ruder niggli verlag

typography: a manual of design

Round Two

David Obadare 3/5

1967

emil ruder niggli verlag

typography: a manual of design

Round Two

David Obadare 3/5

1967

emil ruder niggli verlag

typography: a manual of design

Round Two

David Obadare 3/5

Round 3 go big: use scale

typography: a manual of design

1967 niggli verlag

emil ruder

emil ruder niggli verlag

typography: a manual of design

1967

Round Three

David Obadare 3/17

typography: a manual of design

emil ruder

niggli verlag 1967

Round Three

emil ruder

niggli verlag 1967

David Obadare 3/17

typography: a manual of design

Round Three

em il nig gl i

ruder verlag 1967

emil

ruder

nig gli

verlag

1967

David Obadare 3/17

typography: a manual of design

emil ruder Round Three

niggli verlag 1967

emil ruder

niggli verlag 1967

typography: a manual of design David Obadare 3/17

emil ruder

niggli verlag

1967

typography: a manual of design typography: a manual of design Round Three

David Obadare 3/17

typography: a manual of design

typography: a manual of design 1967 emil ruder niggli verlag

Round Three

David Obadare 3/17

TYPO GRAPHY A MANUAL OF DESIGN

1967

Round Three

emil ruder

e m i l n i g g l i

r u d e r v e r l a g 1 9 6 7

typography: a manual of design

niggli verlag

David Obadare 3/17

emil ruder

1967

niggli verlag

1967

typography: a manual of design Round Three

typography: a manual of design David Obadare 3/17

typography: a manual of design

emil ruder

niggli verlag

emil ruder niggli verlag 1967

1967 Round Three

David Obadare 3/17

typography: a manual of design

niggli verlag

1967

emil ruder

niggli verlag 1967

Round Three

emil ruder

David Obadare 3/17

Round 3.b whatever this is

1967 emil ruder

emil ruder niggli verlag

typography: a manual of design

niggli verlag

1967

typography: a manual of design

David Obadare 3/26

1967

typography: a manual of design

emil ruder

niggli verlag

ruder

1967

verlag

typography: a manual of design

David Obadare 3/26

ruder verlag

typography: a manual of design

1967 emil ruder + niggli verlag

1967

typography: a manual of design

David Obadare 3/26

typography

emil ruder

emil ruder niggli verlag

1967

a manual of design

niggli verlag 1967

typography: a manual of design David Obadare 3/26

emil ruder niggli verlag 1967

typography: a manual of design

typography a

m a n u a l

o f

emil ruder niggli verlag

David Obadare 3/26

d e s i g n

1967

Round 4

adding the spine and backcover

:yhpargopyt fo launam a ngised 7691 galrev ilggin + redur lime

typography: a manual of design 1967 emil ruder + niggli verlag

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-se rif 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

typography: a manual of design

1967 emil ruder + niggli verlag

emil ruder

emil ruder + niggli verlag

score and fold

verlag

typography: a manual of design

1967

ruder

typography: a manual of design

ruder

score and fold

verlag

typography: a manual of design

verlag

typography: a manual of design

ruder

typography: a manual of design

ruder

1967 score and fold

verlag

typography: a manual of design

typography

emil

emil ruder

a manual of design

niggli verlag

score and fold

1967

ruder

niggli verlag

typography

emil ruder

a manual of design

typography a manual of design

emil

niggli verlag

ruder

emil ruder

emil ruder niggli verlag

score and fold

1967

typography

a manual of design

typography

a manual of design

redur lime galrev ilggin

:yhpargopyt fo launam a ngised

emil ruder niggli verlag 1967

typography: a manual of design

emil ruder

typography: a manual of design

score and fold

niggli verlag

1967

typography: a manual of design

emil ruder niggli verlag

emil ruder

typography: a manual of design

emil ruder

score and fold

m a n u a l

o f

emil ruder niggli verlag

d e s i g n

typography

emil ruder

typography

typography a

m a n u a l

o f

d e s i g n

a m a n u a l o f d e s i g n

emil ruder niggli verlag

score and fold

1967

typography

emil ruder niggli verlag

emil ruder

o f

m a n u a l

o f

d e s i g n

m a n u a l

o f

typography

m a n u a l

typography

emil ruder niggli verlag

d e s i g n

score and fold

1967

:yhpargopyt fo launam a ngised 7691 galrev ilggin + redur lime

typography: a manual of design 1967 emil ruder + niggli verlag

typography

emil

1967

typography

ruder

niggli verlag

typography

emil ruder

a manual of design

emil ruder

a manual of design

niggli verlag

typography a manual of design

emil

emil ruder niggli verlag

1967

typography

niggli verlag

ruder

emil ruder

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-se rif 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.

emil ruder

redur lime galrev ilggin

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.

typography: a manual of design

:yhpargopyt fo launam a ngised

emil ruder niggli verlag 1967

typography: a manual of design

niggli verlag

1967

typography: a manual of design

emil ruder niggli verlag

emil ruder

typography: a manual of design

emil ruder

m a n u a l

o f

emil ruder niggli verlag

d e s i g n

typography

emil ruder

typography

typography a

m a n u a l

o f

d e s i g n

a m a n u a l o f d e s i g n

emil ruder niggli verlag

1967

d e s i g n

emil ruder niggli verlag

emil ruder

o f

d e s i g n

m a n u a l

o f

m a n u a l

typography

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-se rif 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

emil ruder niggli verlag

1967

typography: a manual of design 1967

7691

emil ruder

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

emil ruder + niggli verlag

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

emil ruder niggli verlag

through writing, as well as placing a heavy importance on sans-se rif 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.

emil ruder

typography: a manual of design

1967 emil ruder niggli verlag

typography: a manual of design

1967

typography a manual of design

a manual of design

typography

emil ruder niggli verlag

emil ruder

typography

a manual of design

emil ruder niggli verlag

niggli verlag

typography: a manual of design

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.

emil ruder

typography: a manual of design

emil ruder

emil ruder niggli verlag 1967

typography: a manual of design

m a n u a l

o f

emil ruder niggli verlag

d e s i g n

typography a

m a n u a l

o f

d e s i g n

m a n u a l o f d e s i g n

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.

typography

emil ruder

emil ruder niggli verlag

1967