modular grid allie feigeles research
swiss design The phrase “Swiss design” triggers a mental image of minimalistic Gestalt-oriented layouts. The style is most recognizable for traits such as the use of the grid, which allows for flexible layouts and strong alignments. Innovations in Switzerland in the 1900s led typography and design to the simple and clean styles that are still appreciated today. The Swiss design style is a compilation of multiple artists’ work over time. Ernst Keller’s use of sans serif typefaces later inspired other designers such as Josef Müller-Brockmann to incorporate similar elements into their own work. Additionally, Brockmann is also credited for his use of the grid. Other important Swiss designers include Eduard Hoffmann and Max Miedinger, who together designed the iconic typeface Helvetica. These artistic decisions and layouts soon dominated in the design world because of their striking and unique layouts. Instructors at two Swiss schools introduced the design movement in the 1950s. They believed that design should emphasize content over everything else, and that the designer’s personal style was less important than the plain message of the poster. Use of hierarchy was crucial, along with scale, tension, and symmetry. Designers often aligned text flush left with a softer right edge. Important text is large, with less critical text taking up less space. Features were placed on a grid to ensure an anchored layout that did not distract viewers from the essential message. As design students, it is smart to learn about different ways to display information. While reactions to Swiss design vary, it is undeniably very aesthetically appealing and clean. Knowing about the origins of design and how it morphed into modern typography will help us create stronger compositions. This research was included with the project because we are all aspiring to be more conscious designers.
rosmarie tissi Rosmarie Tissi is a Swiss graphic designer who attended the Kunstgewerbeschule Zürich in Switzerland and quickly became widely known. She studied under master Siegfried Odermatt, who she established a collective studio with in 1968. Her typography and custom typefaces are highly influential to today’s design. Within her designs, she focuses on the essentials more than any decoration. She believes design is about functionality and aesthetics. Tissi’s designs demonstrate her experiments with scale, rotation, and color. She also places shapes and patterns in negative space to create more interest and visual appeal. Her clean designs show the Swiss influences of grid use and strong hierarchy. Tissi uses asymmetry and dynamic layouts in her work. In the poster on the top right, for example, the diagonal layout draws the viewer’s eye throughout the composition. The reflected symbols also add interest and unusuality. Further, the bright orange symbol draws attention to the poster from afar. Her style is recognizable for the high contrast shapes and grid structure. Additionally, Tissi’s designs utilize scale to create emphasis. In the poster on the top left, she has created a strong contrast between the names on the bottom half and the dates on the top. This suggests the extreme importance of the dates, rather than pushing the smaller details of the event. Emphasis in design quickly tells readers what is essential. In addition to designing posters and packaging, Rosmarie Tissi also designed a typeface called Sinaloa. It is geometric with a heavy overall stroke, intersected by thinner lines to give the characters interest. She designed Sinaloa in 1974. Its appearance is unique and professional, best suiting a logotype. Awareness of Tissi’s work will remind us to experiment with our layouts and compositions. Her rotations and reflections are inspiring and add a special flair to each design. It is also encouraging to study women who have been successful in design, especially in the late 1900s when most fields were male-dominated. Her exclusive style can give us ideas on where to start with our own designs.
josef mĂźller-brockmann Josef MĂźller-Brockmann is one of the most well-known Swiss designers due to his innovative use of the grid and his iconic poster designs. He founded the magazine Neue Grafik which documented and spread Swiss design principles. His minimalistic work was the basis of education for future generations in design. Brockmann established a studio in 1936, which specialized in graphics and exhibition design. He later became an instructor at the Kunstgewerbeschule in Zurich in the 1950s. His work was accessible for designers worldwide, and his education reached students of the next generation. His designs are recognizable due to their use of pattern and shape. Each element fits into a space on the grid in combination with size contrast and repeated patterns. The poster on the middle right is especially interesting to me because while the pattern does not line up flush, it draws the viewer's eye throughout the curve and suggests the Gestalt principle of closure. The size contrast between the poster's information and the curved pattern create visual interest. These elements provided the blueprint for what we see Swiss design as today. I also like the cool hues in the poster on the bottom left. Brockmann's sense of composition and color remain unmatched. Neue Grafik, Brockmann's magazine, was also co-founded by designers H. Neuburg, R.P. Lohse and C. Vivarelli. Its main focus was demonstrating effective ways to convey ideas and information with typography. The Swiss International style plotted in the publication set the stage for the future. Learning more about Josef MĂźllerBrockmann's achievements helps us build our knowledge about design techniques. The colors and layouts are inspiring and can help students plan their own compositions. The clean typefaces and strong sense of hierarchy are timeless and work for any event or project. Bright hues and sharp shapes make his work recognizable and important and design history.
paul rand Paul Rand is best known for his logo and magazine designs. Some of his most notable projects are with IBM and Esquire magazine. His style is both sketchy but Swiss-inspired as he works with both illustrative designs and gridbased layouts. His simple yet striking designs contribute to his legacy. Rand attended classes at the Pratt Institute in Brooklyn, but claims he is mostly self-taught. He developed an interest in Swiss design and Bauhaus projects, which led him to commercial design. Eventually he became a freelance designer and worked for the magazines Apparel Arts and Esquire. This experience inspired him to create his own magazine, Directions. He later became chief art director for Weintraub Agency, creating eye-catching and simplified advertisements. His style of advertising ensured people remembered the images and associated them with the product. He took this technique with him into the age of corporate branding and created minimalistic logos for companies such as IBM, ABC, and UPS that are still used today. I especially enjoy Rand's illustrative collages the most out of all of his work. His Dubonnet advertising is unique because of the collaged materials, which I'm really drawn to. I've always wanted to work more with collage and cut paper, and Rand has multiple effective advertisements using those techniques. Paul Rand's designs are important for design students to study because they demonstrate use of the Gestalt principles. His round logo designs feel symmetric and closed. Additionally, he experimented with the Swiss grid system and put his own personal flair into his posters. The way he used type within his designs creates a sense of harmony rather than isolation. He is memorable for his exploration in illustration and clean advertising.
emil ruder Emil Ruder is one of the founders of the Swiss design movement. His sleek designs feature strong hierarchy and exploration of the grid. Additionally, his layouts show the contrast between positive and negative space within asymmetrical compositions. He attended the Kunstgewerbeschule in Zurich and studied the principles of Bauhaus. Later, he became an instructor at the Allgemeine Gewerbeschule. Ruder believed that the primary goal of typography was legibility, but it should be conveyed in a way that is aesthetically pleasing. He executed this by utilizing great contrast in his designs. Differences in scale create hierarchy and emphasis. Ruder enforced these ideas as he taught, and later helped establish the International Center for the Typographic Arts that worked around the same ideals. Like the other designers discussed in the research, Emil Ruder was involved in the publication of Typografische Monatsblätter, or Typographic Monthly. The trade magazine showcased trendy Swiss designs, artists, and typefaces from 1960-1990. Typographic Monthly works as a visual timeline of changes throughout the Swiss design movement. I find Ruder's typographic layouts very intriguing because I personally would feel afraid to try anything that ambitious as of right now. He is a master of composition, and hopefully one day (soon) I will feel comfortable experimenting as extremely as he did with scale and the use of negative space within a composition. The "jazz" poster on the middle right is visually appealing because of the repetition and contrasting letter weights and point sizes. Changing the size and stroke weight creates a ripple effect across the composition, which is really visually interesting. We must study Emil Ruder because he is credited with establishing many important design principles and ideas. Understanding how Swiss design came to be and how we can incorporate the principles into our own design will help us become better designers.
Notes and definitions ● Flush left-easiest to read ● Centered- best for poems but hard to read longer than a short chunk ● Flush right- should be used for captions ● Justified- crisp but vulnerable to hyphens or rivers ● Leading- horizontal space between two lines, measured from baseline to baseline ● Kerning- adjusting space between two individual letters ● Letterspacing/tracking- overall spacing between letters ○ Larger type=less letterspacing, tighter kerning ● Module- individual unit of space created by columns and rows in combination with the gutters ● Column- vertical alignment Row- horizontal alignment ● Margin- negative space between edge of paper and content ● Font families: Traditional - roman, italic, bold, small caps styles; Extended - hairline, black, condensed, etc; Super- begin to work as full typographic systems, include sans serif and serif
Thinking with Type: Grid ● Golden section: Serves as a proportion for dividing space and picking formats ● Multi-column grids can help integrate images and create hierarchy through zoning out content ● Hang line: a horizontal line that reserves space for other content, and text hangs below ● Modular grid: Has both columns and rows that create separate modules, commonly used by Swiss designers ● Baseline grid: governs the whole document, select type size and leading to divide the number of lines evenly Ellen Lupton Videos ● Different text alignments create different effects- formal, organic, blocky, clean ● Elements should be anchored and have structure and feel harmonious ● Scale conveys meaning and depth, shows hierarchy ○ Yes scale is size, but it is also a relationship between elements on a page ○ Create more interest by playing with size relationships ● Symmetry creates natural balance, while asymmetry must be carefully laid out to feel balanced ● Symmetrical compositions can still be dynamic due to scale differences and tension Avoid rivers when justifying text. Anchoring elements means keeping them aligned and within a structure such as a grid
Bad Good Line Spacing and leading create open space and texture on a page. It is important to have space for legibility. Spacing can also help create emphasis and combine different kinds of type. Different leadings lead to different effects, creating an open or tightly closed box of text. Create emphasis using scale and hierarchy, but don’t abuse bold sections and size differences. Viewers can begin to read the message wrong if emphasis is not used correctly.
Allie Feigeles Modular Grid Readings 2-27 Making and Breaking the Grid pages 22-31 ● Modular grid- divides sections in a square format ○ On page 25 the designer “cheats” the grid to ensure legibility but its structure is still there ● Hierarchical grid- helps allot space for important elements like pictures ● Column grid- helps incorporate tables and data ● The modified column grid on 27 shows interesting ways to break up text ● Breaking the page into parts creates hierarchy ● Columns and rows (flowlines) create modules 3-3 Making and Breaking: Making the Grid: Coming to Order. A Brief History of the Grid in Modern Graphic Design (14-22) ● The Arts and Crafts movement and ideas at Bauhaus resulted in widespread use of the grid ● Publication with grids spread with Neue Grafik and its popularity and importance ● “The benefits of working with a grid are simple: clarity, efficiency, economy, and continuity” ● It establishes a strong visual program ○ Breaks the page into parts and introduces changes ● The types of grids include column, modular, manuscript, and hierarchical ○ They are variable and each emphasize different information stronger 3-24 Making and Breaking the Grid- Historical Interlude (112-120) ● Typography became a way to spread messages of all kinds ● Wars isolated designers and shifted global conditions ● Designers started branching out and experimenting more- see Wolfgang Weingart ● Images became a larger part of typographic messages ○ Cranbrook in particular became controversial for its experimental designs ● Computers were being introduced, capable of “cold type” ● Typography is ever changing as technology and ideas continue to shift
Allie Feigeles Skillshare notes Draplin Custom Sketching ● Design your lettering while imagining the shape it will be displayed on, test how letters fill a space ● Use tracing paper to go over a sketch and see how you can find different solutions building off of the originals ● Use arrows to describe successful parts or things to change ● Use AirDrop or email to transfer a photo into an illustrator document to work with Draplin Video 2 Extending letterforms ● You can start with a default and change the distortions and settings to find solutions to a problem ● Select pieces of letters to be consistent with sizing, i.e create hyphens, etc ● Test designs on a model of the product, see how it looks on a shirt or what you’re designing it for ● Look at the word as a whole when designing to see different and weird solutions Draplin Video 3 Customizing shapes ● Create outlines on text to change small details, use pathfinder to close shapes ● Use command+u to make shapes snap to edges with smart guides ● Use command+y to enter outline mode ● There are no rules in customization, always look for new opportunities Draplin Video 4 Digitizing Sketches ● Work in layers to redraw your sketches after uploading them to the computer, use simple shapes ● Get the basic shapes into the composition and fine tune them later ● Make sure your sizing stays consistent throughout the characters
modular grid allie feigeles round 1A
Typography: A Manual of Design
Typography: A Manual of Design
Emil Ruder
Emil Ruder 1967
1967
Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Niggli Verlag
Allie Feigeles - March 3
1967 Emil Ruder Niggli Verlag
Typography: A Manual of Design 1967
Typography: A Manual of Design
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Emil Ruder
Niggli Verlag
Allie Feigeles - March 3
Typography: A Manual of Design
1967
Emil Ruder 1967
Typography: A Manual of Design
Emil Ruder Niggli Verlag
Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Allie Feigeles - March 3
Emil Ruder 1967
Niggli Verlag
Typography: A Manual of Design Emil Ruder
Typography: A Manual of Design
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
1967 Niggli Verlag
Allie Feigeles - March 3
Emil Ruder Typography: A Manual of Design
Niggli Verlag
1967
1967 Emil Ruder Typography: A Manual of Design
Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Allie Feigeles - March 3
1967
Niggli Verlag
Typography: A Manual of Design
Emil Ruder
Emil Ruder
Typography: A Manual of Design
1967 Niggli Verlag
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
Allie Feigeles - March 3
Emil Ruder
Typography: A Manual of Design 1967
Round 1: Part One: 2 sizes 14 + 36 Reg + Black
1967
Niggli Verlag
Niggli Verlag
Emil Ruder
Typography: A Manual of Design
Allie Feigeles - March 3
modular grid allie feigeles round 1B
TYPOGRAPHY: A MANUAL OF DESIGN 1967
EMIL RUDER
1967 EMIL RUDER Typography: A Manual of Design
NIGGLI VERLAG
NIGGLI VERLAG
Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps
Allie Feigeles - March 3
TYPOGRAPHY: A MANUAL OF DESIGN EMIL RUDER 1967
1967
T Y P O G R A P H Y: A M A N U A L OF DESIGN
EMIL RUDER NIGGLI VERLAG
NIGGLI VERLAG
Round 1: Part Two: 2 sizes 14 + 36 Reg + Black + tracking + all caps
Allie Feigeles - March 3
Typography: A Manual of Design EMIL RUDER
1967
EMIL RUDER TYPOGRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG
NIGGLI VERLAG
Round 1: Part 2: 2 Sizes 14 + 36 Reg + Black + Tracking + All caps
Allie Feigeles - March 3
1967
modular grid allie feigeles round 2
Emil Ruder
Typography: A Manual of Design 1967
Round 2: Color and Rules
emil ruder
typography: a manual of design
Niggli Verlag
1967
Allie Feigeles - March 5
niggli verlag
Emi l Ruder
Typography: A Manual of Design 1967
Round 2: Color and Rules
Emil Ruder
Typography: A Manual of Design N ig gl i Ver lag
1967
Allie Feigeles - March 5
Niggli Verlag
Emi l Ruder
Typography: Design
Round 2: Color and Rules
R u d e r
Typography: A Manual of Design
A Manual of
1967
E m i l
N ig gl i Ver lag
1 9 6 7
Allie Feigeles - March 5
N i g g l i
V e r l a g
1967 E M IL
RU DER
TYPOGRAPHY: A MANUAL OF DESIGN
1967 E
M
I
L
R U D E R
TYPOGRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG
Round 2: Color and Rules
NIGGLI VERLAG
Allie Feigeles - March 5
1967 E M IL
RU DER
TYPOGRAPHY: A MANUAL OF DESIGN
1967 EMIL RUD ER TYPOGRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG
Round 2: Color and Rules
NIGGLI VERLAG
Allie Feigeles - March 5
1 9 67
1 967
E M IL RU DER
emil ruder
TYPOGRAPHY: A MANUAL OF DESIGN
typography: a manual of design
niggli verlag
NIGGLI VERLAG
Round 2: Color and Rules
Allie Feigeles - March 5
1967
T Y P O G R A P H Y: A M A N U A L OF DESIGN
EMIL RUDER niggli verlag
Round 2: Color and Rules
1967
T Y P O G R A P H Y: A M A N U A L OF DESIGN
E
NIGGLI VERLAG
Allie Feigeles - March 5
M
I
L
RU D E R
1967
T Y P O G R A P H Y: A M A N U A L OF DESIGN
E
M
NIGGLI VERLAG
Round 2: Color and Rules
I
L
1
9
6
7
RU D E R
T Y P O G R A P H Y: A M A N U A L OF DESIGN
E
niggli verlag
Allie Feigeles - March 5
M
I
L
RU D E R
1
9
6
7
T Y P O G R A P H Y:
1
9
6
7
T Y P O G R A P H Y:
A MANUAL OF DESIGN
A MANUAL OF DESIGN
EMIL RUDER
emil ruder
niggli verlag
Round 2: Color and Rules
niggli verlag
Allie Feigeles - March 5
modular grid allie feigeles round 3A
1967
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t y p o g r a p h y : a
m a n u a l
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emil RUDER
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emil ruder Round 3: Scale
Allie Feigeles - March 24
niggli verlag
e m i l
r u d e r
1967
typography: a manual of design 1967
emil ruder
typography: a manual of design
niggli verlag
Round 3: Scale
Allie Feigeles - March 24
nig gli verlag
1967
niggli verlag
TYPOGRAPHY: a manual of design
typography: a manual of design
emil ruder
emil
Round 3: Scale
ruder
Allie Feigeles - March 24
1 9 6 7
niggli verlag
typography: a manual of design
TYPOGRAPHY: A
niggli verlag
MANUAL OF DESIGN 1967
emil ruder Round 3: Scale
EMIL RUDER 1967
Allie Feigeles - March 24
TYPOGRAPHY: A
MANUAL OF
DESIGN 1967
19
emil ruder 67
emil ruder
niggli verlag
Round 3: Scale
typography: a manual of design
niggli verlag
Allie Feigeles - March 24
EMIL RUDER 1 9 6 7
emil ruder
typography: a manual of design
19 67
TYPOGRAPHY:
niggli verlag Round 3: Scale
A MANUAL OF DESIGN NIGGLI VERLAG
Allie Feigeles - March 24
TYPOGRAPHY: 1 9 6 7
A
MANUAL
TYPOGRAPHY:
OF
DESIGN
A MANUAL OF
1967
DESIGN emil ruder
emil ruder
niggli verlag
Round 3: Scale
NIGGLI VERLAG
Allie Feigeles - March 24
emil ruder n
19 67
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typography:
em ilru der niggli verlag
typography: a manual of design
a
m a n u a l
o f
d e s i g n
1
Round 3: Scale
Allie Feigeles - March 24
9
6
7
19 67
t y p o g r a p h y :
a
o f
m a n u a l
d e s i g n
e m i l r u d e r
n i g g l i
v e r l a g
Round 3: Scale
typography: a m a n u a l o f d e s i g n
e m i l r u d e r
NIGGLI VERLAG 1 9 6 7 Allie Feigeles - March 24
1 9 6 7
emil ruder niggli verlag
E M I L RUDER
T Y P O G R A P H Y: A MANUAL OF DESIGN
niggli verlag 1967
typography: a manual of design
Round 3: Scale
Allie Feigeles - March 24
modular grid allie feigeles round 3B
typography: a manual of design
n i g g l i
e m i l
niggli verlag
v e r l a g
r u d e r
1967 emil
1967
typography:
a
manual
of
design
RUDER
Round 3B: Scale and Color
Allie Feigeles - March 26
19
t y p o g r a p h y :
a
o f
m a n u a l
d e s i g n
e m i l r u d e r
NIGGLI VERLAG
emil ruder 67
typography: a manual of design
1 9 6 7 Round 3B: Scale and Color
Allie Feigeles - March 26
niggli verlag
TYPOGRAPHY: A
MANUAL OF
DESIGN 1 9 6 7 emil ruder
em ilru der typography: a manual of design
1
9
6
7
niggli verlag
n ig g l i ve r l a g
Round 3B: Scale and Color
Allie Feigeles - March 26
19 67 e m i l
T Y P O G R A P H Y :
A
r u d e r
M A N U A L
O F
D E S I G N
E M I L RUDER
TYPOGRAPHY :A MANUAL OF DESIGN
niggli verlag 1967
niggli verlag
Round 3B: Scale and Color
Allie Feigeles - March 26
1 9 6 7
e m i l r u d e r
n i g g l i verlag
t yp o g r a p hy : a manual of design Round 3B: Scale and Color
TYPOGRAP H Y: A M A N U AL OF DES IGN EMIL RUDER niggli verlag
1967
Allie Feigeles - March 26
modular grid allie feigeles round 4A
Back Cover
em ilru der Spine
Front Cover
typography: a manual of design
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 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.
emil ruder
Round 4A
1
9
6
7
niggli verlag
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.
1
9
6
7
niggli verlag
emil ruder
Typography: A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall
typography: a manual of design
Allie Feigeles - March 31
Back Cover
Spine
emil e ruder m i l
emil ruder Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
typography: a manual of design
e m i l
typography: a manual of design
typography: a manual of design
1
9
6
7
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.
niggli verlag
niggli verlag
Round 4A
em ilru der Front Cover
Allie Feigeles - March 31
Back Cover
Spine
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.
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
niggli verlag
1967
emil ruder
1967
t yp o g r a p hy : a m a n u a l o f d e s i g n
typography: a manual of design
Front Cover
emil niggli VERLAG
Round 4A
RUDER Allie Feigeles - March 31
Back Cover
Front Cover
typography: a manual of design typography: a manual of design
niggli VERLAG
Spine
niggli verlag
typography: a manual of design 1967
Round 4A
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.
emil ruder
emil RUDER
1967
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 Allie Feigeles - March 31
Back Cover
T Y P O G R A P H Y :
M A N U A L
A
M A N U A L
r u d e r
O F
D E S I G N
niggli verlag
O F D E S I G N
Round 4A
e m i l
A
niggli verlag
T Y P O G R A P H Y :
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.
r u d e r
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
Front Cover
e m i l
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
19 67
Spine
Allie Feigeles - March 31
Back Cover
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 (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.
Front Cover
emil ruder
a manual of
design
niggli verlag typography:
1967 Round 4A
19 67
Spine
e m i l
T Y P O G R A P H Y :
A
M A N U A L
r u d e r
O F
D E S I G N
niggli verlag
Allie Feigeles - March 31
Back Cover
Spine
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
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
TYPOGRAPHY: A MANUAL OF DESIGN 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
Round 4A
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
EMIL RUDER
Emil Ruder (1914– 1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology.
since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
niggli verlag
Front Cover
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER niggli verlag
1967
Allie Feigeles - March 31
1967
Back Cover
Spine
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
Round 4A
EMIL RUDER
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
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
T Y P O G R A P H Y: A MANUAL OF DESIGN
Front Cover
TYPOGRAP H Y: A M A N U AL OF DES IGN
EMIL RUDER
niggli verlag
niggli verlag
1967
1967
Allie Feigeles - March 31
Back Cover
Spine
Front Cover
typography: a manual of design
EMIL RUDER
TYPOGRAPHY: A
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.
MANUAL OF
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.
DESIGN
1967 T Y P O G R A P H Y:
1 9 6 7
A
emil ruder
M A N UA L
O F
D E S I G N n ig g l i ve r l a g
n ig g l i ve r l a g
emil ruder
Round 4A
Allie Feigeles - March 31
Back Cover
Spine
EMIL RUDER
Round 4A
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.
A
MANUAL OF
DESIGN 1 9 6 7 emil ruder
emil ruder
n ig g l i ve r l a g
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: 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
Front Cover
n ig g l i ve r l a g
Allie Feigeles - March 31
modular grid allie feigeles round 4B
Back Cover
Spine
EMIL RUDER
Round 4B
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.
A
MANUAL OF
DESIGN 1 9 6 7 emil ruder
emil ruder
n ig g l i ve r l a g
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: 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
Front Cover
n ig g l i ve r l a g
Allie Feigeles - April 2
Back Cover
Spine
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
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
TYPOGRAPHY: A MANUAL OF DESIGN 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
Round 4B
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
EMIL RUDER
Emil Ruder (1914– 1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology.
since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
niggli verlag
Front Cover
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER niggli verlag
1967
Allie Feigeles - April 2
1967
Back Cover
Front Cover
typography: a manual of design typography: a manual of design
niggli VERLAG
Spine
niggli verlag
typography: a manual of design 1967
Round 4B
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.
emil ruder
emil RUDER
1967
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 Allie Feigeles - April 2
Back Cover
em ilru der Spine
Front Cover
typography: a manual of design
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 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.
emil ruder
Round 4B
1
9
6
7
niggli verlag
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.
1
9
6
7
niggli verlag
emil ruder
Typography: A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall
typography: a manual of design
Allie Feigeles - April 2
Back Cover
Spine
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
Round 4B
EMIL RUDER
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
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
T Y P O G R A P H Y: A MANUAL OF DESIGN
Front Cover
TYPOGRAP H Y: A M A N U AL OF DES IGN
EMIL RUDER
niggli verlag
niggli verlag
1967
1967
Allie Feigeles - April 2
modular grid allie feigeles finals