Modular Grid Project Process Book - Eli Mardis VISC 200 by elimardis

PROCESS Project 3: Modular Grid Eli Mardis Abbey Ockinga VISC 200

Research Research Summaries and Notes

Text Alignments: Justified Text - Text that is evenly justified to both sides Flush Left - easiest to read, flush to the left. Traditional western flush Flush Right - Harder to read, but good break from the norm. Good for callouts, flush right Parts of the grid: Margin - space between the trim size of the paper and the text/modules Gutter - Space between modules within the grid Column - vertical container that holds type or images Module - individual divisions separated by consitisten space Font Family - General delineations for the ways fonts relate (traditional, extended, super) Styles - The different styles of fonts, such as Old Style, Transitional, Modern, etc. Line Spacing/Leading - the vertical spacing between lines of text Tracking - the loosening or tightening of an entire block of text Kerning - The space between letters. Can change the look or feel Hierarchy - a strong sense of hierarchy can make or break a good design or spread. It can draw the eye to different areas of the page and emphasize what's important. Good when used in tandem with the grid. Thinking with Type - Grid Golden Section - a:b= b:(a+b) Has become a well accepted, widely used by many graphic designers Multicolumn Grid A multi column grid can be extremely flexible compared to single column grids, and offers improved organization and flow. Breaks down info better, depending on purpose. A hang line can also be utilized to give a reference point to the grid, and can fit within the structure quite nicely. Modular Grid Consistent proportions across the entire grid. Popularized by Swiss designers, widely used to give a clean defined feel in the modern world. These grids are created by a baseline grid, to which most elements throughout the spread are anchored and the modular grid adheres.

Ellen Lupton - Grid What are things you want to avoid? -

Floating toward edges

What does Ellen mean by anchoring elements? -

The elements adhere to the baseline grid, and make it so that they fit nicely on the page and are easily identifiable as part of the structure

Using structure throughout

Can you find examples online that are both good and bad? -

Yes, in emails, out in the world, and in daily life on the internet. Particularly in cases of emphasis.

What is line spacing/leading? -

The spacing between lines

How do you use it creatively? -

You can use this to make texture, flow. Improves readability or heightens density. Expressive stuff

How do you create emphasis in design? How does it go wrong? -

Hierarchy, bolding words

Too much stuff can be emphasized, phrases and meanings can come out garbled

Scale -

Relative to other contexts -

Page, other elements, reference to other stuff

Conceptual

Helps in visual storytelling

Tension, emphasis

RELATIONSHIP TO OTHER SIZED STUFF

Can energize designs, surprise audiences and subvert expectations

Asymmetry/Symmetry -

Symmetry in nature -

Symmetry is inherently balanced -

Everywhere in organisms Hard to be shaken, but can still show some movement and tension in some ways

Asymmetry -

Distribution of objects asymmetrically to achieve balance

dynamism

Both seek and can achieve balance, but are distinct and opposite. -

Both are important, but what matters overall is movement and tension within a design.

Swiss Style Swiss Style, or the International Typographic Style, was a type movement that took place in the first half of the 20th century. The designs that inhabit this realm of type are oft characterized as being very clear and open as well as simplistic, so as to let the true meaning of whatever the design is for shine through. Fonts that are heavily associated with this movement include Neue Haas Grotesk (Helvetica) and Univers, as they exemplify this idea through their ability to remain relatively “normal” looking whilst conveying just about any message. Swiss style began to develop in around 1918, when Ernst Keller became a professor at die Kunstgewerbeschule Zürich, in Switzerland. There, instead of teaching a particular style, he espoused the previously mentioned idea that would become commonplace throughout swiss design and heavily influence designers throughout the rest of the century; the solution to a design problem should emerge through it’s content. Swiss design would later become even more influential and ubiquitous throughout the 50s, with designers like Josef Müller-Brockmann seeking to create an even more impersonal experience with the audience of particular designs with the purpose of removing the designer’s personal beliefs and biases from the work. This resulted in design work that while sleek and interesting, also was very sterile at times. The Swiss Style was extremely important in the world of Graphic Design, and has left a huge imprint on the modern design world as well. The work done during the middle of the century in particular was clear, clean, and devised to make design much more streamlined. Swiss Style was most likely included in this project for these reasons, as the grid is fundamental in making those things happen.

Rosmarie Tissi Rosmarie Tissi is a highly influential and acclaimed mid-century era Swiss graphic designer. She studied under the Swiss style master Siegfried Odermatt, and from early on had her work published in the well known magazine Neue Grafik. In 1968, Tissi and Odermatt founded the design studio O&T together to tackle their own commissions in the paper/poster world. The winner and juror of numerous awards and design competitions, Tissi also went on to teach at Rhode Island School of Design and Yale University while simultaneously working in her professional life. Tissi’s work is comprised of many clean, minimalistic designs, often emphasizing the focal point or main information in a composition with effective use of scale and dynamism. Being a member of the Swiss design movement, Tissi makes extremely effective use of the grid, and her compositions are all amazingly stacked in an unshakably bulletproof and stark manner. That being said, when Tissi does break the grid, it results in a quite interesting and awesome experiment in dynamicism. The designs combined with the charm of the era make Tissi a more memorable member of the Swiss design movement. Tissi’s contributions to the swiss design movement solidify her place in graphic design history as a major influence. Her use of the grid, scale and dynamic layouts make her a prime example for use in this project, as having a rock solid foundation while also exploring the wacky to create something new and awesome is very important and the recipe for a good layout. Overall, Rosmarie Tissi is definitely a force to be reckoned with in the world of swiss design and shouldn’t be overlooked when looking for grid-based inspiration.

Joseph Müller-Brockmann Joseph Müller-Brockmann (1914 - 1996) was a swiss graphic designer, active from around 1936~ to his death in 1996. He went to the Kunstgewerbeschule in Zurich, specializing in design as well as architecture and art history. After apprenticing under Walter Diggleman, he opened his own design studio in Zurich in 1936. There, over the course of a number of years he would establish himself as a serious practitioner and theorist of the swiss style of graphic design. Müller-Brockmann would go on to write a number of books on the theory and practice of graphic design, including The Graphic Artist and His Problems as well as Grid Systems in Graphic Design, helping to spread his personal philosophy and contributing to the growing swiss graphic design movement. At the age of 43, he became a teacher at the Kunstgewerbeschule Zurich, where he further taught and developed swiss design theory. In 1958, he co-founded the magazine Neue Grafik, a swiss-focused trilingual publication focused on swiss graphic design. Aside from his books and work in the theoretical aspects of design, Müller-Brockmann also made significant contributions to the field through his work and studio. Many of his works channel the influence of the Bauhaus, Constructivism, Suprematism and De Stijl into distinctly Swiss compositions. The use of the grid is obviously extremely important, but so is the dynamics of the composition, and many of his works come off as very retro-modern in styling. Müller-Brockmann was one of the most influential people in the Swiss graphic design movement, helping to develop the philosophy and lifeblood of the movement to a perfected theory. His works are timeless, and obviously still extremely influential (and ripped off). It is no wonder why he was included in this round of research, as he is an extremely potent source of inspiration and can be looked to for how to do things right.

Paul Rand Paul Rand (1914 - 1996) was an American graphic designer and logotype artist. He was highly influenced by and an influential member of the swiss graphic design movement throughout his life and incorporated the clean and minimalist aspects of the style throughout his work. Rand was born and raised in New York, and practiced graphic design and art throughout his childhood before attending multiple prestigious art schools across the east coast (Yale, NYC School for Design, the Artist Student’s League). Working professional stock image jobs and developing skills through courses, Rand built an extremely impressive portfolio over a period of time. He began to develop his professional reputation by creating impressive page layouts for clients, and by the 50s he transitioned to being an expert in logotype. Notable clients that Rand has developed logotypes for include ABC, IBM, UPS, and many other big american clients with now-iconic designs. Paul Rand is credited as being an avid practitioner of Swiss style, using the clean strong construction of the design philosophy throughout his logotypes and professional career. His use of the style is notable, as he was one of the first american designers to embrace the style and make extensive use of it throughout his work. Rand details his way of thinking about design in his numerous books, including Thoughts on Design, A Designer’s Art, and Design, Form and Chaos. Rand’s clean designs and nack for developing brand identity and creating iconic logotypes may be what he is known for, but it is worth noting that his reputation and popularity is founded on his strong swiss style layouts and designs. This aspect of his work is extremely important to note, especially in the context of this project.

Emil Ruder Emil Ruder (1914 - 1970) was a highly influential Swiss graphic designer and faculty member of the Basel School for Design. Born in Zurich in 1914, he started practicing design as an apprentice to a compositor. By his twenties, he was attending the Zürich Kunstgewerbeschule and became fascinated with the Bauhaus and the New Typography of Tschichold, and became an expert on such topics. By 1942, he was a typography professor at the Basel Allgemeine Gewerbeschule and quickly rose in the ranks to become head of the Department of Apprentices in Applied arts. Ruder became a legend in the graphic design community during the postwar era of graphic design, due mostly to his work in design theory and philosophy. He made serious waves by coming up with new rules of composition for new times, and helped push the modern aspect of swiss design to the forefront in terms of composition and substance. His revolutionary book Typographie became a highly influential work in the design community (especially after it’s 1967 multilingual reprint), as it helped spread these new rules. The book was widely renowned for its use of graphic illustrations to show as well as tell, and it helped cement Ruder as one of the most influential design theorists of the 2oth century. When one is looking to learn graphic design, Ruder cannot be ignored. Even if one is not the biggest fan of swiss stylings or designs, Typographie is so monumentally influential on the way modern design developed that it would be foolish to not learn at least the core of the principles outlined within it. It is subtitled a Manual of Design for a reason, and the work’s contents as well as the words and works of it’s creator, Emil Ruder, should not be ignored by the learner of design.

Round 1.1 Exploring the Grid

Typography: A Manual of Design

T y p o g r a p h y A Manual of Design

Emil Ruder

Niggli Verlag 1967

Emil Ruder

Niggli Verlag 1967

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

1967 Emil Ruder Niggli Verlag 1967

Typography: A Manual of Design

Typography: A Manual of Design Emil Ruder Niggli Verlag

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

1967

Typography A Manual of Design

Emil Ruder

Typography: A Manual of Design Emil Ruder Niggli Verlag

Round:

1967

Niggle Verlag

Typography

Emil Ruder

A Manual of Design

Emil Ruder

Niggle Verlag

1967

A Manual of Design

Typography

Round:

Typography

A Manual of Design

Emil Ruder

Niggle Verlag

1967

Round:

1967

Round 1.2 Exploring the Grid

Typography

A Manual of Design

Emil Ruder

Manual

Design

Niggle Verlag

1967

Niggle Verlag

Round:

1967

E m i l R u d e r

Emil Ruder

Typography:

Round:

Manual

Design

Typography: A Manual of Design

Niggle Verlag

1967

T YPOGRAPHY e m i l r u d e r

A M AN UAL OF DE S IG N

TYPOGRAPHY: A MANUAL OF DESIGN

niggli verlag

Emil Ruder

1967

Round:

Niggli Verlag

1967

EMIL RUDER NIGGLI VERLAG

T YPOGRAPHY

1967

manual

DESIGN

emil ruder

TYPOGRAPHY: A MANUAL OF DESIGN

niggli verlag

Round:

1967

t y p o g r a p h y A MANUAL OF DESIGN

Emil Ruder

typography: a manual of design emil ruder niggli verlag

Round:

Niggli Verlag 1967

Round 2 Colors and Rules

EMIL RUDER NIGGLI VERLAG

1967

TYPOGRAPHY: A MANUAL OF DESIGN

Round:

TYPOGRAPHY: A MANUAL OF DESIGN

EMIL RUDER NIGGLI VERLAG

1967

TYPOGRAPHY: A MANUAL OF DESIGN

Round:

TYPOGRAPHY: A MANUAL OF DESIGN

EMIL RUDER NIGGLI VERLAG

1967

TYPOGRAPHY: A MANUAL OF DESIGN

Round:

TYPOGRAPHY: A MANUAL OF DESIGN

1967

Niggli Verlag

1967

Niggli Verlag

Emil Ruder

A M AN UAL OF DE S IGN

A M ANUAL O F D ESIGN

T YPOGRAPHY

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Niggli Verlag

1967

Niggli Verlag

Emil Ruder

A M AN UAL OF DE S IG N

A M ANUAL O F D ESIGN

T YPOGRAPHY

Round:

1967

Niggli Verlag

1967

Niggli Verlag

Emil Ruder

A M AN UAL OF DE S IG N

A M ANUAL O F D ESIGN

T YPOGRAPHY

Round:

e m i l r u d e r

TYPOGRAPHY: A MANUAL OF DESIGN

niggli verlag

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Round:

e m i l r u d e r

TYPOGRAPHY: A MANUAL OF DESIGN

niggli verlag

1967

Round:

e m i l r u d e r

TYPOGRAPHY: A MANUAL OF DESIGN

niggli verlag

1967

Round:

Round 3.1 Exploring Scale

Typogra A Manual of Design

Typograp

A Manual of Design Emil Ruder

Niggli Verlag 1967

Emil Ruder

Niggli Verlag 1967

Typography

Typogr

A Manual of Design

Emil Ruder

Niggli Verlag 1967

Round 3

Niggli Verlag 1967

TYPOGRAPHY

typography: a

manual of

emil ruder

niggli verlag 1967

Round 3

MANUAL

design

EMIL RUDER

NIGGLIE VERLAG -1967

DESIGN

Typography

typography:

a manual Manual

A of design of Design emil ruder

niggli verlag 1967

Round 3

emil ruder

niggli verlag 1967

typography:

a manual of design emil ruder

niggli verlag 1967

Round 3

a manual of design emil ruder

niggli verlag 1967

emil ruder

typography: a manual of design niggli verlag 1967

Emil Ruder Typography: a Manual of Design

Niggli Verlag

Round 3

1967

Niggli Verlag

Typography: a Manual of Design

1967

Niggli Verlag

Typography: a Manual of Design

EMIL RUDER

EMILRUDER Round 3

Typography: a Manual of Design

Niggli Verlag 1967

typography: a manual of design

niggli verlag 1967

emilRuder emil rude Round 3

1967 1967 Niggli Verlag

Typography: a Manual of Design

Emil Ruder

Niggli Verlag

Typography: a Manual of Design

Round 3

Emil Ruder

Typography: a Manual of Design

1967 1967 Typography: a Manual of Design Emil Ruder Niggli Verlag

Emil Ruder

Round 3

Niggli Verlag

Round 3.2 Exploring Scale

typography typography typography typography typography A Manual of Design typography

Typograph typog Emil Ruder

Niggli Verlag 1967

typography

a manual of design emil ruder

niggli verlag 1967

typograph 19 Typography: a Manual of Design

typography

a manual of design emil ruder

niggli verlag 1967

Emil Ruder

Round 3

67 Niggli Verlag

Typography Typography A Manual of Design Emil Ruder

Niggli Verlag 1967

Round 3

A Manual of Design Emil Ruder

Niggli Verlag 1967

A Manual of Design

Emil Ruder

Typography Typograp ography Typography Niggli Verlag 1967

Round 3

Niggli Verlag 1967

167 9 Typography: a Manual of Design

Emil Ruder

Round 3

Niggli Verlag

Typ pograp phy A Manual of Design

Emil Ruder

Niggli Verlag 1967

Typ Typ pograppograp phy phy A Manual of Design

A Manual of Design

Emil Ruder

Round 3

Niggli Verlag 1967

Emil Ruder

Niggli Verlag 1967

Round 4.1 Drafting the Finals

Back Cover

Spine

Front Cover

167 9 Typography: a Manual of Design

Emil Ruder

Typography: a Manual of Design

Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced. Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.

Emil Ruder

Niggli Verlag

Typography: a Manual of Design

Emil Ruder

Round 4: v1

score and fold

Niggli Verlag

Back Cover

Spine

Front Cover

1 9 Emil 67 Ruder

Typography: a Manual of Design

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-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

Typography: a Manual of Design

Emil Ruder

Round 4: v1

score and fold

Niggli Verlag

Back Cover

Spine

Front Cover

Emil Ruder

Niggli Verlag

Typography: A Manual of Design

A Manual of Design

Emil Ruder

Typ pograp pograp phy phy A Manual of Design

Emil Ruder

Round 4: v1

score and fold

Niggli Verlag 1967

Back Cover

Spine

Front Cover

Emil Ruder

Niggli Verlag

Typography: A Manual of Design

Emil Ruder

Typ Typ pograppograp phy phy 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

A Manual of Design Round 4: v1

score and fold

Back Cover

Spine

A Manual of Design Emil Ruder Niggli Verlag

Emil Ruder

A Manual of Design

Typography

A Manual of Design

Front Cover

Niggli Verlag 1967

Emil Ruder

Round 4: v1

score and fold

Back Cover

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-serif typefaces. No other designer since Jan Tschichold was as committed.

A Manual of Design Emil Ruder

Niggli Verlag 1967

Emil Ruder

Round 4: v1

Typography

A Manual of Design

Typography Typography Typography Typography

Front Cover

Typography

A Manual of Design

Spine

score and fold

Back Cover

Spine

emil ruder (1914â&#x20AC;&#x201C;1970) was a swiss typographer. he is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. ruder was one of the major contributors to swiss style design. he taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as well as placing a heavy importance on sans-serif typefaces. no other designer since Jan Tschichold was as committed as ruder to the discipline of letterpress typography or wrote about it with such conviction.

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.

a manual of design

Round 4: v1

emil ruder

niggli verlag

typography: a manual of design

typography

Front Cover

typog

typography

a manual of design emil ruder

niggli verlag 1967

score and fold

Back Cover

Spine

Front Cover

a manual of design

Round 4: v1

emil ruder

typography: a manual of design

raphy typog emil ruder niggli verlag

typography

a manual of design emil ruder niggli verlag 1967

score and fold

Back Cover

Spine

Front Cover

a manual of design

Round 4: v1

emil ruder

typography: a manual of design

raphy typog emil ruder niggli verlag

typography

a manual of design emil ruder niggli verlag 1967

score and fold

Back Cover

Spine

Typography

A Manual of Design

Front Cover

A Manual of Design

Emil Ruder Niggli Verlag

A Manual of Design

Typography Typograp Typography aphy 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.

Emil Ruder

Niggli Verlag 1967

Emil Ruder

Round 4: v1

score and fold

Back Cover

Spine

Typography

A Manual of Design

Front Cover

A Manual of Design

Round 4: v1

Emil Ruder

Emil Ruder Niggli Verlag

A Manual of Design

Typography Typograp Typography raphy Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.

Niggli Verlag 1967

score and fold

Back Cover

Spine

Typography

A Manual of Design

Front Cover

A Manual of Design

Round 4: v1

Emil Ruder

Emil Ruder Niggli Verlag

A Manual of Design

Typography Typograp Typography ography Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.

Niggli Verlag 1967

score and fold

Back Cover

Spine

Typography

A Manual of Design

Front Cover

A Manual of Design

Round 4: v1

Emil Ruder

Emil Ruder Niggli Verlag

A Manual of Design

Niggli Verlag 1967

score and fold

Round 4.2 Refinment

Back Cover

Spine

Front Cover

1 9 Emil 67 Ruder Typography: a Manual of Design 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

Niggli Verlag

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

Emil Ruder

Typography: a Manual of Design

Emil Ruder Emil Ruder

Round 4: v1

score and fold

Niggli Verlag

Back Cover

Spine

Front Cover

A Manual of Design

Emil Ruder

Niggli Verlag

Typography: A Manual of Design

Emil Ruder

Typog pograp pograp phy phy A Manual of Design

Emil Ruder

Round 4: v1

score and fold

Niggli Verlag 1967

Back Cover

Spine

A Manual of Design

Emil Ruder Niggli Verlag

A Manual of Design Emil Ruder Niggli Verlag 1967

A Manual of Design Emil Ruder

Typography Typography Typography Typography Round 4: v1

Typography

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the Discipline of letterpress typography or wrote about it with such conviction.

Front Cover

score and fold

Back Cover

Spine

Front Cover

a manual of design

Round 4: v1

emil ruder

typography: a manual of design

raphy typog emil ruder niggli verlag

typography

a manual of design emil ruder niggli verlag 1967

score and fold

Back Cover

Spine

Front Cover

a manual of design

Round 4: v1

emil ruder

typography: a manual of design

raphy typog emil ruder niggli verlag

typography

a manual of design emil ruder niggli verlag 1967

score and fold

Back Cover

Spine

Typography

A Manual of Design

Front Cover

A Manual of Design

Round 4: v1

Emil Ruder

Emil Ruder Niggli Verlag

A Manual of Design

Emil Ruder Niggli Verlag 1967

score and fold

Back Cover

Spine

Typography

A Manual of Design

Front Cover

A Manual of Design

Round 4: v1

Emil Ruder

Emil Ruder Niggli Verlag

A Manual of Design

Emil Ruder Niggli Verlag 1967

score and fold

Round 4.3 Refinment

Back Cover

Spine

Front Cover

1 9 Emil 67 Ruder Typography: a Manual of Design 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 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

Niggli Verlag

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

Emil Ruder

Typography: a Manual of Design

Emil Ruder Emil Ruder

Round 4: v1

score and fold

Niggli Verlag

Back Cover

Spine

Front Cover

A Manual of Design

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.

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.

Niggli Verlag

Typography: A Manual of Design

Emil Ruder

Typog Typography pograp phy ography A Manual of Design

Emil Ruder

Round 4: v1

score and fold

Niggli Verlag 1967

Back Cover

Spine

Front Cover

Typography

A Manual of Design 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

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.

A Manual of Design

through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as

Emil Ruder Niggli Verlag 1967

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

Round 4: v1

Emil Ruder

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

Emil Ruder Niggli Verlag

score and fold

Back Cover

Spine

Front Cover

a manual of design

Round 4: v1

emil ruder

typography: a manual of design

raphy typog emil ruder niggli verlag

typography

a manual of design emil ruder niggli verlag 1967

score and fold

Back Cover

Spine

A Manual of Design

Typography

Emil Ruder Niggli Verlag

Front Cover

Emil Ruder Niggli Verlag 1967

A Manual of Design

Typography Typograp ography raphy 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.

Emil Ruder

Round 4: v1

score and fold

Round 4.4 Final Layouts

Back Cover

Spine

Front Cover

Typography: a Manual of Design

Niggli Verlag

Emil Ruder

Typography: a Manual of Design

Emil Ruder Emil Ruder

Round 4: v1

score and fold

Niggli Verlag

Back Cover

Spine

Emil Ruder

Round 4: v1

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 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

Typography: A Manual of Design

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

Typog pograp phy Emil Ruder

Typ ograp hy

Front Cover

A Manual of Design

Emil Ruder

score and fold

Niggli Verlag 1967

Back Cover

Spine

Front Cover

Typography

A Manual of 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.

Emil Ruder Niggli Verlag 1967

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

Round 4: v1

Emil Ruder

Typography

A Manual of Design

Emil Ruder Niggli Verlag

score and fold

Back Cover

Spine

Front Cover

a manual of design

Round 4: v1

emil ruder

typography: a manual of design

raphy typog emil ruder niggli verlag

typography

a manual of design emil ruder niggli verlag 1967

score and fold

Back Cover

Spine

A Manual of Design

Typography

Emil Ruder Niggli Verlag

Front Cover

Emil Ruder Niggli Verlag 1967

A Manual of Design

Emil Ruder

Round 4: v1

score and fold

Typography: a Manual of Design

Niggli Verlag

Emil Ruder

Typography: a Manual of Design

Emil Ruder Emil Ruder

Niggli Verlag

Emil Ruder

Niggli Verlag

Typography: A Manual of Design

Typ pograp phy Emil Ruder

Typ ograp hy

A Manual of Design

Emil Ruder

Niggli Verlag 1967

Typography

A Manual of Design

Emil Ruder Niggli Verlag 1967

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

Emil Ruder

Typography

A Manual of Design

Emil Ruder Niggli Verlag

a manual of design

emil ruder

typography: a manual of design

aphy typo emil ruder niggli verlag

typography

a manual of design emil ruder niggli verlag 1967

A Manual of Design

Typography

Emil Ruder Niggli Verlag

Emil Ruder Niggli Verlag 1967

A Manual of Design

Typography Typogr graphy raphy 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.

Emil Ruder