Process Book by Sylvia Ko

modular

grid

Sylvia Ko

contents

Content Project Brief 4 Research 6 Terms 17 Scale and Tension 28 Asymmetry 30 The Grid 32 Thinking with Type 35 Making and Breaking the Grid

Color Palette 65 Hierarchy 68 Color + Rules 89 Color + Rules (Refinement)

Go Big 102 Go Big (Comments) 113 Go Big (Refinement) 119 Go Big (Top 10) 124 Go Big + Color and Rules

131

Go Big + Color and Rules (Top 5)

138

Cover Page 142 Cover Page (Comments) 153 Back & Spine 159 Back & Spine (Refinement)

165

Back & Spine (Final) 171

project brief

Project Brief The main purpose of this project is to explore ways in using a modular grid to create alignments both vertically and also horizontally. Create tension. Explore coding, grouping, and asymmetrical design. First, we started off by creating notes from the videos, readings that we read. Then, we also have to create research about the designers from the past and also to know about them and do a study of their designs and their achievements throughout their career and the designer themselves. At the same time, we also create designs for a cover and explore the text with hierarchy throughout the round 1 of the assignment with only black and white and also restrictions with only two fonts given and restricted placement of the grid. We also were given critique and feedback from professors and students to further refine our designs. Then, we take around 1 and modify it further with adding colors and rules with the text placement which is round 2 for our assignment. We also did some refinements as well as a critique for round 2. Then, round 3a with the next assignment, we are told to create a completely new set of 20 covers while exploring different scales of the text with only 4 font sizes allowed, black and white text and background only and were also given a choice of with or without grids. After that, we gave each other critiques and also did refinements to our design to which looks best. After finishing our refinements, we have round 3b which we are supposed to add color and rules to our previous black and white designs. Lastly, we have the last round 4a in which we are supposed to choose our top 5 and refine our designs and also starting to add spine and back cover to complete our designs and make it look like a total book cover. Round 4b is about the same as 4a except we added more details and went back and forth with refinements and tried out different things with our back cover and spine.

research

Swiss Style Swiss-style is mostly referred to as International Typographic Style. It is a graphic design style that emerged in the Netherlands, Germany, and Russia in the 1920s. It has later developed by designers in Switzerland in the 1950s. This style is founded by the Swiss designer Ernst Keller in 1918. Josef MĂźller-Brockmann and Adrian Frutiger were popular graphic designers in the 50s and 60s. This style has a major influence on graphic design and also a part of the modernist movement during the time. Swiss-style is impacting many design fields and also includes architecture and art. This style brings out the asymmetric layouts, san-serif typefaces, and also choice of using grids as well. This design has become so important to graphic design that it has spread throughout the world and will still continue to inspire artists and also designers. This influence can still be seen in todayâ&#x20AC;&#x2122;s art and designs. The choice of using simplified sans-serif typography, geometric shapes, boldness are some of the elements that can be found in the art of the supremacists and constructivists which also become a main source of inspiration during the time. It is also some of the iconic Bauhaus style and major elements in Swiss-style. The primary and influential works of Swiss-style were mostly developed into posters to be seen as communication. Swiss-style mostly revolves using less and also removal of elements to make it not as messy but also make it more of a statement and emphasize on the design itself. The grid is used throughout the 20th-century design and also become the corporate design. It is a concept that has been used and taught in many design schools that it is an important tool for projects. Many people use this to keep the text and information organized and easy to look at. San-serif typeface known for its use and also readability and cleanliness of type. Some of the popular typefaces that swiss-style use are Akzidenz Grotesk, Helvetica, and Univers. It is because it comes off as neutral and also simple. Asymmetry gives out an aesthetically pleasing work in design and art which makes things look active and dynamic. Photography was also used in a swiss-style which could easily bring out what artists or designers trying to communicate through an image. All the elements combined can create a sense of unity and emphasis to the whitespace in design and also minimalistic.

Emil Ruder Emil Ruder was a Swiss typographer and graphic designer. He was born on March 20, 1914, in Zurich. He was trained as a typesetter in Basil and studied in Paris in 1938. He was one of the major contributors to Swiss Style design and also taught that the purpose of typography is to communicate ideas through writing and while also placing Sans-serif typefaces. He began his education in design at the age of fifteen and he also took a compositor’s apprenticeship at such a young age. He joined the faculty of Basel School of Design. He teaches Typography at the Allgemeinen Gewerbeschule in Basel in 1942 and in 1965 and was also named Director of the Kunstgewerblichen Abteilung (Applied Arts Department) and the Industrial Arts Museum. He held this position until his death in 1970. He was one of the few designers that committed to both the teaching and practice of typography. He even wrote the book “Typographie” in 1967. The book summarized his methods, ideas, process, application of text and also where font should be used. He was a contributing editor and writer for Typografische Monatsblatter which was a popular trade publication during his time but in 1946, his design was unsuccessful in the competition for the cover design for Typografische Monatsblatter. During the post-war years, Emil Ruder was one of the first pioneers to bring conventional rules to traditional typography. He made type into a new composition that matches with the modern era. His purpose in creating typographic was to communicate but never thought of making playful designs and usually do not include aesthetic effects. His style in typography is usually static and that he uses black and white for most of his compositions. He also uses more of asymmetry, grids, and images on his designs to create movement in his designs.

Josef Müller-Brockmann Josef Müller-Brockmann was born on May 9, 1914. He was a well known Swiss graphic designer and teacher. He studied design, architecture, and history of art in University and Kunstgewerbeschule Zürich. He specialized in graphic design, photography and exhibition design. Most of his designs and compositions consist of the use of graphics, scales, typographic colors and also grids. Josef Müller-Brockmann was known for his simplicity, colors, shapes and also clean typography. His design brings out a radical, geometric use of the grid system. He created a universal graphic that brings grid-based design to a more subjective feeling and extraneous illustration. In 1966, he was appointed as a European design consultant to IBM. In 1951, he created a poster for “Musica viva” poster for the Tonhalle’s music concert. The poster drew on the language of Constructivism to create a visual of the harmonies of the music. He said in an interview that he “aspired to communicate information about an idea, event, or product as expressible as possible”. He tends to create a design that lets his audience to make their own opinion on the piece rather than making a statement on the piece. Although he passed away on August 30, 1996, his work in typography and design still impacted a lot of people today. I like its design because it is very dynamic, geometric and also the design itself creates movement on the art. All different pieces have their own emotion and even how they bring the different meanings of each design. Some of the works that are chosen are some of his popular works. There are the choice of using grids and the system on his design, geometric, shapes as well. Overall, he is someone to be remembered in terms of typography and also his design inspired many designers today.

Paul Rand Paul Rand was an American art director and graphic designer. He is known for his corporate logo designs like IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT. He was born on August 15, 1914. He was also one of the first American commercial artists to embrace swiss-style in graphic design. He was a professor at Yale University in New Haven, Connecticut and later on inducted into New York Art Directors Club Hall of Fame in 1972. At a young age, he has already made painting signs for his father’s grocery store as well as school events at P.S. 109. But, his father does not think that art could make a living out of it so he told Paul to attend Manhattan’s Haaren High School and also taking night classes at Pratt Institute. Rand was a “self-taught” designer. Paul Rand started his career from scratches such as taking a part-time position in creating stock images that supplied graphics to newspapers and magazines. His work is influenced by Sachplakat, the German advertising style, and Gustav Jensen’s works. Shortly after, his designs were featured on the cover of Direction magazine and he made his designs free of charge in the honor of artistic freedom. He usually earned his success by designing corporate logos. In the mid1930s, he was asked to create a page layout for Apparel Arts which is now GQ magazine. He later was known for designing logos for companies. He later got offers from well-known magazines like Esquire Coronet and became an art director. He gained recognition while collaborating with Steve Jobs and uses colorful combinations and media with typography. His design styles are mostly playful, colorful, take swiss design into movement, and have a strict order on the way he works. Although he passed away in 1996, his work in the United States especially corporate logos can be seen everywhere around the world today.

Rosmarie Tissi Rosmarie Tissi is a Swiss graphic designer in Zurich. She studies at the School of Applied Arts for four years. She is also a talented typographer and her work was published in the legendary magazine Neue Grafik when she was still a student in 1957. She is one of the most important female graphic designers of the 20th century. She design poster, banknotes, textbooks, typefaces, logos, and many more. Tissi has exhibited and lectured widely around the world. In 1968, she has spent ten years working with Odermatt, her mentor. They set up collaborative studio O&T also known as Odermatt & Tissi and also work separately on each clients’ commissions. The studio focused on printed matter, poster, custom typefaces for clients. Later on, she moved from a Modern attitude to functionality and neutrality of graphic language that able to express her own personality through vivid colors, type experiments, and dynamic layouts. Her designs mostly focused on rules, illustration, out of the grid structure and also revealing structure. She also taught and lectured at Rhode Island School of Design and Yale University. She has been a member of several juries for design competitions in Germany, Japan, Switzerland, and the U.S.A. The purpose of her design is to be able to deliver information or message and make it as interesting as possible. She tries to reduce her design with only a few elements and played with proportions and empty spaces. Her style has been evolving throughout her career, from gridbased modernist design to vivid colors, experimental layouts, and peculiar proportions. During an interview, she mentioned that when she was little, she wanted to become a gardener because she loved to be outdoors. Later, “Later on I was fascinated by chemistry as I believed that in this profession I would be able to make inventions. Now I make inventions on paper.” She also mentioned that she “never turn down any jobs but I have also made a point of looking for work that promised to be interesting.”

terms

Terms Alignments The core of how we placed and organized alignments. Choosing to align text is justified, centered, or ragged columns is a fundamental typographic act. Each mode of alignment carries unique formal qualities, cultural associations, and aesthetic risks. Center Very formal, symmetrical, almost static. Centered text is formal and classical which invites the designer to break a text for sense and create elegant, organic shapes. Also, the simplest and intuitive way to place typographic elements.

Justified Economical, save space and usually make a block. The clean shape of the page. Its efficient use of space appears in newspapers and books. Ugly gaps can occur and also the text is forced into lines of even measure.

Flushed left Organic typesetting, hard edge on the left and soft side on the right. Flush left text respects the organic flow of language and avoids the uneven spacing that plagues justified type. A bad rag can ruin the relaxed, organic appearance of a flush left column

Flushed right Unusual, dynamism, soft edge on the left and hard side on the right. Flexible. Flush right text can be a welcome departure from the familiar. Used for captions, sidebars, and other marginalia, it can suggest affinities among elements. Because it is unusual and can sometimes annoy cautious readers. Bad rags threaten flush right text just as they afflict flush left.

Grid Margins Margins are buffer zones. They represent the amount of space between the trim size, including gutter, and the page content. Margins can also house secondary information, such as notes and captions Gutter Gutter refers to the space between columns of type, usually determined by the number and width of columns and the overall width of the area to be filled. Column The column is â&#x20AC;&#x2039;one or more vertical blocks of content positioned on a page, separated by gutters (vertical whitespace) or rules (thin lines, in this case vertical). Columns are most commonly used to break up large bodies of text that cannot fit in a single block of text on a page. Module A modular typeface is an alphabet constructed out of a limited number of shapes or modules. The process will give you an insight into how typefaces are constructed and a feel for aspects like letter spacing.

Font family A font family is a set of fonts that have a common design. Fonts within a family, however, differ from each other in style such as the weight (light, normal, bold, semi-bold, etc.) An example of a font family is Times New Roman, which consists of roman, italic, bold and bold italic versions of the same typeface. Styles It is an additional format performed on characters. For example, bold, italic, shadow, and strike through are all examples of typestyles.

Line Spacing / Leading The distance from the baseline of one line of type to another. It is also called leading, in reference to the strips of lead used to separate lines of metal type.

Tracking Adjusting the overall spacing of a group of letters. There are normal tracking, positive tracking and also negative tracking.

Kerning Kerning is an adjustment of the space between two letters. There are also two types of kerning that are metric and also optical. Metric kerning is when you are using the typeface by the type designer. It usually looks good with smaller sizes but sometimes they have little or no built-in kerning and will need to be optically kerned. Optical kerning assesses the shapes of the characters and also adjust the spacing whenever it is needed. Some graphic designers apply optical kerning to headlines and metrics to text. By doing this process is efficient and also consistent by setting kerning as part of the character styles.

Hierarchy (what can you do to create a hierarchy on the page?) Hierarchy expresses the organization of content, emphasizing some elements and subordinating others. A visual hierarchy helps readers scan a text, knowing where to enter and exit and how to pick and choose among its offerings. To create a visual hierarchy is to use size to enhance visibility, color, and contrast to direct viewersâ&#x20AC;&#x2122; attention, typographic hierarchy to organize your design, choose typeface categories and styles carefully, spacing, and composition.

scale and tension

Scale and Tension The scale is how big something is. Relative. How it is comparative. Conveys meaning. Cropping enhances the feeling of scale. A dramatic contrast in scale and brings out the life in typographic layout. Using different sizes of type can bring out the tension and surprise. The scale is the size but also the relationship as well. Scale is an important tool in graphic design because it can energize the size by changing what we expect. Often, when you take the element and change the scale in a way that your audience does not anticipate can energize the design and also surprise the audience by making typically really big, really small, and something really small, really big.

asymmetry

Asymmetry There is a distinction between symmetry and asymmetry. Many organisms are symmetrical. Something that radiates out is called radio symmetry. A lot of designers use centered layouts for centuries because of symmetry. Asymmetry is more inherently understandable because we as human beings are not symmetrical. Asymmetry in design is to distribute elements so that moving them around until they do feel balanced. Nature is full of asymmetry. Modern art creates a pattern of asymmetry. Album designs are asymmetry to keep the pattern balanced for all of them. Dynamic asymmetry is something that moves and changes. Symmetrical designs are dynamic too by cropping the designs. Centered type is a very traditional composition and can also create drama by centering the type by making it large, merge together and etc. The burst of type can bring out the emotion for the layout. Symmetrical designs can be very active and dynamic. It engages the reader and creates playful dynamic designs as well. Designers can show contrasts and movement on designs through colors, shapes, and patterns. Symmetry and Asymmetry can be basic, universal. Symmetry is balanced but also we have to create it in a dynamic way. Asymmetry can make the page by energizing it and also creates a more fun and exciting way of doing it.

the grid

The Grid ●

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What are the things you want to avoid? ○

No grid

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No internal structure

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Centered and floating out on the edges

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Centering all your elements can static and dull

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Elements are floating off to the edges, they aren’t anchored to each other.

What does Ellen mean by anchoring elements? ○

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It is a mix of uniformity and also variety as well.

Can you find examples on-line that both good and bad? ○

Justified alignments can be good and organized but also sometimes there is a block contains in it and are called the rivers which could be bad.

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The bad is to not put too much emphasis on the type especially it can get confusing and the readers would not know where to look at.

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Bad

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Good

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What is line spacing/leading? ○

Line spacing can be used creatively to allow you to mix and match type and also make it expressive.

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How do you use it creatively? ○

Line spacing can be used creatively to allow you to mix and match lines and type and to bring out the expression that it needs.

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

To create emphasis, we can make the typeface bold, exclamation mark or even saturated color to create a contrast between type. Too many emphasis in a document can be bad and the readers will not know where to look at and also not know which will be important.

thinking with type

Thinking with Type: Grid Golden Section It is a ratio between two numbers that have been used in Western art and architecture for more than two thousand years. The formula for the golden section is a: b = b: (a+b). The ratio for the golden section is 1: 1,618. Some graphic designers loved the golden section and use it to create various grids and page format. While other designers believed that the golden section is no more valid as a basis for deriving sizes and proportions.

Multicolumn Grid The multicolumn grid provides flexible formats for publications that have a complex hierarchy or that integrate text and illustrations. The more columns, the more flexible the grid becomes. The grid helps with the hierarchy of the publication.

Modular Grid A modular grid has consistent horizontal divisions from top to bottom in addition to vertical divisions from left to right. The modules govern the placement and cropping of pictures as well as text.

Baseline Grid Baseline grids serve to anchor all layout elements to a common rhythm. Avoid auto leading so that you can work with whole numbers that multiply and divide clearly.

making and breaking the grid

Coming to Order The history of the grid’s development is complex and convoluted. Many modern graphic designs use a grid that is used in Western graphic design during the Industrial Revolution. There were many contributions made by thousands of designers for more than a century; some designers have been overlooked or mentioned only briefly in passing.

The Brave New World of Industry Over the past 150 years, there were many social changes in Western civilization and also the development using the grid. In the 1740s, England changed the way people lived and also culture. During that period of time, an invention of mechanical power, power class, high demand for technology, which, in turn, fueled mass production. Design plays an important role in communicating material goods.

Fitness of Purpose During the movement, many disagreed with architecture, painting, and design but William Morris became interested in poetry and architecture and set up a movement to change it. He was inspired by John Ruskin and Edward Burne-Jones, and Phillip Webb. They all work together to create a box layout with a symmetrical facade. Arthur Mackmurdo and Sir Emery Walker bring attention to his book design, The Hobby Horse which includes control type size, type selection, margins, and print quality. The typefaces, woodblock illustrations, and materials were designed for aesthetic integration and ease of production. The Works of Geoffrey Chaucer was produced in 1894, its illustrations, type blocks display, carved initials, size relationships, and layouts were

unified to create a nice composition of the book. The Arts and Crafts style gained momentum and was transformed in many ways. The designers sought to bring new expressions that would speak to the inventive spirit of the age.

The Architecture of Space Frank Lloyd Wright began a systematic evolution. Proportional relationships, rectangular zones, and the asymmetrical organization became the guiding principles of Modernism. Frances and Margaret McDonald, James MacNair, and Charles Rennie Macintosh became known as the Glasgow Four in their work in book arts, objects and furniture design in the periodical The Studio popularized far away as Vienna, Austria, and Hamburg, Germany.

An Expanding Influence Peter Behrens, a German architect, grew up in Hamburg and was inspired by Four and Wright. In the 1990s, Peter Behrens moved to an artists’ colony in Darmstadt, established by the Grand Duke of Hesse. Behrens found himself caught up in the same rational movement that sought unity among the arts. Along with industrial design and furniture. He also began to experiment with book layout and new sans serif typefaces that he used as the first running text for his book. The typeface creates a uniform texture and neutrality which emphasizes shape against the surrounding white space, placement that creates visual importance in the design world.

Rationalism, the Machine Aesthetic, and the Search for Universal Culture

In 1907, Behrens received a landmark design commission from the German electrical works, AEG, to be the companyâ&#x20AC;&#x2122;s artistic advisor. At the same time, he participated in the launching of the Deutsche Werkbund. Instead of rebelling through the design, he works through the design of everyday objects and furnishings. In addition to designing AEGâ&#x20AC;&#x2122;s teakettles and lighting features, he also designed their visual identity. He designed a company typeface, color schemes, posters, advertisements, salerooms, and manufacturing faculties. Which creates proportion, linear elements and visual presentation as a whole.

Constructivism The new visual language and its philosophy that attracts students and designers from abroad. In the early 1990s, Suprematism merged Cubism and Futurism to generate Constructivism in which to seek a new order. El (Lazar Markovich) Lissitsky, found himself studying architecture. In 1919, Lissitsky went home and applied himself to a politically driven graphic design that was characterized by dynamic, geometric composition to create an abstract communicative power of the Russian avant-garde from the period.

The Bauhaus and the New Order In 1919, Germany reopened the Weimar Arts and Crafts School and began with the appointment of architect Walter Gropius as its new director. Experimentation and rationalism have become the tools for building a new social order. The Bauhaus students and faculty became influenced by the Swiss painter Theo van Doesburg, which the movement followed as a strict dogman of geometry. Gropius against hiring Van Doesburg because of his overt dogma but Doesburg

contributed to an aesthetic change in Bauhaus. While Bauhaus moved to its new building in Dessau. In the type shop, Moholy’s experimentation in asymmetrical layouts, photomontage, and elements from type case expanded the geometric expression of Modernism in graphic design.

Disseminating Asymmetry The use of asymmetric composition, sans serif typefaces, and geometric organization of information were known to a relative few in the arts and education. Developments in American and European advertising have helped introduce columnar composition into the production of newspapers and periodicals. Jan Tschichold changed the school’s typographic approach and abstract sensibility in Bauhaus. In 1925, he designed a twenty-four-page insert for the Typographische Mitteilungen, a German printers’ magazine and demonstrated ideas to many audiences. “Elementare Typographie,” is for asymmetric and grid-based layout. He changes some of the elements and gives priority to sans serif typefaces and creating composition based on the verbal function of words. In 1927, he published his landmark Die Neue Typographie (The New Typography) a nd codified this idea of structure for printing.

Toward Neutrality In the 1930s, designers and artists created a new visual language and were arrested when Nazis gained power and labeled them as degenerates. The Bauhaus closed in 1932. Tschichold was arrested by the Nazis for a short period but then moved to Switzerland later. Switzerland remained neutral and unaffected by the war because of its mountainous terrain which makes it safe from the Nazis. Zurich and Basel were the cultural centers of the country; Zurich’s banking

and technology industries were the counterparts to Basel’s thousand-year artistic heritage of drawing and book arts.

Neue Grafik and the Will to Order Josef Müller-Brockmann, Carlo Vivarelli, Hans Neuberg, and Richard Paul Lohse have taken up an austere approach to design. Zurich published Neue Grafik and collaborated in an international style to the rest of the world. The grid created for Neue Grafik contained four columns and three horizontal bands, or spatial zones, and images. When the development of grid-based started, they have a small unit of space that integrates throughout the page which creates the depth of paragraphs and rows. Müller-Brockmann and his colleagues developed modular systems from the content of their projects and implemented them with discipline. Müller-Brockmann published his first book in 1960 called The Graphic Artist and His Design Problems which describes the form of grid-based design. Grid Systems in Graphic design, his second book, is to clarify, the will to penetrate to the essentials and also the will to cultivate objectivity rather than subjectivity.”

The Basel School The Basel School of Design was contributing to the development of the international Style through an approach for the Zurich designers. Armin Hoffmann uses an intuitive method of composition based on symbolic form and contrasts between optical qualities in abstraction: light and dark, curve and angle, organic and geometric. Integrating type with image has played an important role in the school’s curriculum. However, in 1947, Zurich-trained Emil Ruder joined

the AGS as a typography teacher. His methodology process of visual problem-solving in his students that helped further the dissemination of the grid. One of his students, Karl Gerstner, went to practice in Zurich and contributed to the evolution of the grid into modern design practice.

The Corporate Grid Max Bill, MĂźller-Brockmann, Otl Aicher, and other International Style joined in the efforts by their Dutch, English, Italian, German, and American counterparts. Wim Crouwel, Ben Bos, and Bruno Wissing spearheaded the movement toward a rational design in the Netherlands. Paul Rand, the modern designer in America had a convincing business that design was good for them. The other designers had gradually become familiarized with the idea of a system to help organize public images. In 1965, he developed complex grids to ensure continuity in packaging, print advertising, and television. Otl Aicher implemented the program for Lufthansa, the German airline while collaborating with Tomas Gonda, Fritz Quereng, and Nick Roericht. Massimo Vignelli and his wife, Leila, had founded an office for design in Milan in 1960. Massimo began an extensive exploration of the grid structures for various cultural organizations and corporate entities in Milan. His early projects focused on dividing space within a modular grid into distinct zones while also focusing on division with the overall modular structure. Vignelli helped found the design collaborative Unimark International in 1965. He believed that design should reject the individual impulse for expression. His company growing to roughly four hundred employees in forty-eight countries. Unimark systematized and standardized communications for a legion of corporate giants, among them Xerox, J.C. Penny, Alcoa, Ford,

and Steelcase. In 1977, Vignelli developed a system to unify publications for the National Park Service called Unigrid, the system established a modular grid and divided by horizontal bands. The International Style had come to acceptance in the late 1970s because of a widely used grid in a community. April Greiman and Katherine McCoy spearheaded explorations outside the realm of rational structure. The grid has become of the tools that many designers can use to help them communicate. In the 1980s and 1990s, the British design group 8vo helped reestablish awareness of structural thinking through periodical journal â&#x20AC;&#x2039;Octavo, w â&#x20AC;&#x2039; hich addressed typographical issues in eight editions. In the twenty-first century, the use of grids have developed in Europe over the last 150 years and still continues to play the role as graphic design. The internet uses grid-based as a way of simplifying the information.

Grid Basics Most of the design work involves problem-solving with visual and organization. Whether it be pictures, symbols, text, headlines, tabular data. Grid is something that can help organize those things together. Grids can be loose and organic or even rigorous and mechanical. Grid is a craft of design and also the combination of furniture making. Grids had been a part of history and an evolution of how graphic designs think when they design. The benefits of working with the grid are that it brings clarity, economy, continuity and even efficiency.

Grid brings out a systematic layout and helps eases a user’s navigation through the layout. Grid brings structure to the amount of information and also allows many to establish visual qualities from one project to next. Breaking the page into parts Create an effective grid is important because it can bring out the specific content of the visual and semantic qualities of typographic space. Typographic space is made by a series of part-to-whole relationships. The single letter is a kernel that is part of a word. Words combined to create a line but on the page. Placing lines in a blank page creates structure. “One line after another, after another, becomes a paragraph. It’s no longer simply a line, but a shape with a hard and a soft edge.” Columns repeat the proportion and help create rhythm and create spaces. The voids between paragraphs, columns, and images help establish the eye’s movement through the overall page. Alignment visually connect or separate the voids which breaking the space between elements The mind perceives emphasis on creating order, hierarchy, elements on the page and the change between parts. “A designer has unlimited options in making changes in type size, weight, placement, and interval to affect hierarchy and, therefore, the perceived sequence of the information.” Grid help organize alignments, hierarchies in order.

Anatomy of a Grid: The Basic Parts of a Page The grid acts as guides to bring elements across a format. The parts can be combined, omitted from the overall structure by the designer’s choice.

Building an Appropriate Structure Designer attempts to assess information for the requirements of the content and when the grid is developed, the designer must account for the contentâ&#x20AC;&#x2122;s information. â&#x20AC;&#x153;Problems will occur within the grid, such as unusually long headlines, cropping of images, or dead spots left if the content in one section runs out.â&#x20AC;? The second phase is laying out material according to the grid guidelines. It is important to understand the grid and should never subordinate elements within it because it will lose its purpose as the grid to provide unity for the overall composition. Every design problem is different and needs a grid to bring the elements in place to solve problems. Columns Vertical alignments that create horizontal divisions between margins Modules Individual units of space-separated by regular intervals which create columns and rows Markers Placement indicators like running heads, section titles, folios that only occupy one location in a layout. Spatial zones Groups of modules that form fields for displaying information: for example, a long horizontal field reserved for images, and below reserved for text columns. Flowlines

Alignments that break space into horizontal bands. Help guide the eye across the format, use to impose additional stopping and starting point of text and images. Margins Negative spaces between the format edge and the content. They help establish the overall tension within the composition. Help focus attention and serve as a resting place for the eye.

Manuscript Grid Block, the grid is structurally the simplest kind of grid. The base structure of a large rectangular area and takes up most of the page. Its job is to accommodate continuous text like a book and long essays. Care must be taken into consideration when there is a continuous text so that it is easy for the reader to read and also visually appealing. Adjusting proportions of the margins is one way of introducing visual interest. Some designers use mathematical ratios to determine a harmonic balance between margins and the weight of the text block. Wider margins help focus the eye and create a sense of calm and stability throughout the page. Narrow margins create tension and close proximity to the format edge. An asymmetrical structure creates more white space for the eye and also to rest. The size of the text type in block especially space between lines, words, and treatments are very important. Typographic color, emphasis, or alignment create a huge difference in how the overall hierarchy to the page; in this case, less is usually more effective. Column Grid Columns can be dependent on each other for running text, independent for small blocks of text, or crossed over to make wider columns, the column grid is very flexible and can be used to

separate different kinds of information. Columns may be reserved for running text and large images, while captions may be placed in an adjacent column which helps separate the captions from primary material. The width of the columns depends on the size of the running text type. A column that is too wide for a given point size will make it difficult for the reader to find the beginnings of sequential lines. In a traditional column grid, the gutter between columns is given a measure and the margins are usually assigned a width of twice the gutter measure. Margins that are wider than column gutters help to ease the tension between the column and the edge of the format. The hangline is one kind of flowline the top-most cap line of the running text content. Sometimes, the page establishes a position for running headers, the pagination, or section dividers. A compound column grid can be made up of more than two distinct component grids, each devoted to the content of a specific type.

Modular Grid The modular grid is a column grid with a large number of horizontal flowlines that subdivide the columns into rows, creating matrix cells called modules. While grouped together, the modules define areas are called spatial zones in which specific roles may be assigned. The module might be the width and depth of one average paragraph of the primary text at a given size. The margin proportions must be considered simultaneously in relation to the modules and the gutters that separate them. Modular grids are often used to coordinate publication systems and sometimes the

formats can become an outgrowth of the module or vice versa. They can be used harmoniously together and most likely to produced simultaneously and more inexpensively. The modular grid is similar to the design of tabular information, like charts, forms, schedules, or navigation systems. The modular grid has developed a conceptual, aesthetic image that some designers find attractive. Between the 1950s and 1980s, the modular grid became associated with the ideal social or political order from the roots of Bauhaus and Swiss international style, which celebrate objectivity and order, reduction to essentials, and clarity of form and communication. It gives out a simple feel and can be structured with a rigid modular grid with an order, clarity, urban, mathematical and technological feel. Hierarchical Grid A project required the visual and informational needs of the grid. These grids were based more on an intuitive placement and alignments of the elements, rather than regular repeated intervals. The hierarchical grid was determined by a rationalized structure that helps coordinate them. Careful attention to weight change, size change, and position on the page can yield and armature that is repeatable over multiple pages. Web pages are examples of hierarchical grids. During the Webâ&#x20AC;&#x2122;s early development, many compositions were unfixable because of the user browser settings. Even today, to be able to control fixed margins, content and resizing the browser window requires flexibility of width and depth that needs a strictly modular approach and requires standardization, templating, alignments and even displaying areas.

Variation and Violation

The designer uses the rules above to create a dynamic visual narrative on the page. The greatest danger in using a grid is to succumb to its regularity. Once the grid is in place, it is good to sort out the projectâ&#x20AC;&#x2122;s material to see how much is appealing to each other. A storyboard of thumbnails for each spread in the project can be helpful for getting a sense of where the content should be placed. By creating a rhythmic or sequential logic among the spreads in the way they relate to the grid.

Key to Exhibit Notation The notations provided for each exhibit feature selected information for quick reference and a simple system for comparing related works. These comparisons are meant as a catalyst for analysis. Sometimes the relationship between exhibits can be less explicit and also show opposing qualities.

A manuscript grid (overall), instances of column grid The book relies on a manuscript grid with a pronounced asymmetry. The left and top margins are wide which forced the text to block towards the right and down. These proportions can be serene and create a quiet, simple structure that brings purity to the page. Images selected for simplicity can be displayed in two ways: bleeding off all sides of one page within a spread, or simple centered in a window whose proportion is defined by the leasing corner of the gridâ&#x20AC;&#x2122;s text block. The pacing is varied from picture formats and black or white fields.

Column grid

A basic two-column grid organizes the guidelines manual. Its simplicity promotes continuity in approach and helps users access information easily. The columns roughly divide the pages in half. Running section folios span the two columns but at the foot of the page rather than at the top, giving precedence to the more important elements of the hierarchy: section headlines, subheads, and bulleted information. Charts and tables are straightforward page layouts. Tab dividers use the gridâ&#x20AC;&#x2122;s margin frame as a decorative element.

Modular grid ● Uses direct large scale grid ● Three modules high by three-wide ● Square format ● Simple ● Creates a lively visual rhythm blocks and bands ● Modules are separated by a generous gutter ● Dramatic cropping

Hierarchical grid ● Simple hierarchical grid organizes the marketing and portfolio content for design firm’s own internet site ● Separate a large area for text mages ● None of the content areas are the same proportions ● Grid’s division lines provide a visual language to unite branding and navigation treatments ● Square format

Column grid ● Integrates running text, tables, and financial disclosures ● Text block is divided unto four primary columns of 40 mm each ● A set of alignments separated by 10 mm at the leading edge of the main text block

● The hangline for body text creates space between running title head ● The hardcover is wrapped by a colorful, folded poster that displays relevant figures ● The lively composition is an attractive departure from the stately interior structure

Modular grid ● Size contrast ● Modules represent all the days of the year ● Organized in twelve columns of thirty-one rows each ● Large module for the composition ● Letters forming the exhibition’s title are laid out in a 4 x 5 grid of vertically proportioned modules that bleed to the edge of the poster’s format ● No white margins ● Alternating white and black fields create backgrounds for the individual letters ● Designer “cheats” his grid a little to ensure the legibility of the letters by shifting them upward or sideways

Modular grid with composed articulations ● The same module governs every page regardless of the information being presented ● Uses three separate articulations of a modular grid ● 6 x 8 module grid on left-hand pages during the first section creates structure and environment to the text below ● The right-hand page uses base module grid

● The grid is visible as an overlay on the photograph ● Structural ● Close-up face image communicates a greater depth of focus ● Another module size defines the grid for the financial section, separated from the conceptual section and contrast with colored paper

Modified column grid ● Unusual grid of 1-centimeter vertical divisions with two distinct flowlines, both at the top of the page ● Devoted to the display of a single book ● The vertical centerline is used as a consistent orientation point for the book’s information ● Flush left from the line ● Hanging from the first of the flowlines ● Narrow horizontal band is defined by the space between the book’s information and the descriptive text ● Book’s title is used a bolder weight of the sanserif face ● Multiple vertical divisions ● The book cover is shown as an optical response to the dynamics of other elements ● The left flush of the paragraph with the information hanging at the top of the page

Modular grid ● Simple

● Large-scale grid ● Square format ● New components of the overall message ● Clear

Proportional modular grid ● The square module is derived from a measure of the given width ● Unify images, paintings, sculpture, calligraphy, architecture with multiple formats ● Unification because image neutralizes with its individual characters ● The square housing helps reinforce relationship to the images ● The squares are a simple visual device that can be combined into spatial zones or scales to create kinetic effects throughout the pages ● Brochure folds hold to a small size without disturbing the imagery

Column grid ● Strong, three-column grid with careful margin and column-gutter proportions ● Three columns hang from a more-narrow margin at the top to create the “gravity” effect ● Careful attention to type sizes, interline spacing, and margin relationship keeps information integrated, yet distinct, without cluttering ● Divided into three distinct zones ● Defined by two flowlines ● Single wide column for statements

● Wide variety of information creates a constant change in the page layout ● Treats information consistently in style and placement ● Variation through changes in image and color

Compound column and hierarchical grid ● Codified headlines ● Silhouetted line drawings ● Masked out corporate activity provide intrigue report ● Conveyed in the austere illustrations and censored documents ● One, two, and four-column page structures to accommodate conceptual texts ● Stark illustrations in white space ● Complex charts ● Consolidated financial information ● Mirrored two-column text blocks create deep margin for the gutter ● Bring the column edges close to the edge of the format ● Extra tension ● Dramatic highlighting in yellow separates it from the linear illustration ● Four columns help to control listing information, as well as grouping of charts and financial data

Historical Interlude: The Seeds of Deconstruction In the late twentieth century, the design industry has slowly influenced rationalism. Because of the use of grids in modern design and the developments in technology, aesthetic and industrialization. In the nineteenth century and early twentieth centuries were plagued by war and that many were facilitated by guns, tanks, grenades, and even mines. Sigmund Freud’s publications and even exploration of art and design. In the early 1880s, art has become a voice to some of the idiosyncratic and aggressive in design for example, Dada and Surrealism.

A New Visual Reality In 1914, Hugo Ball opened the Cabaret Voltaire in Zurich for poets, writers, musicians, and artists who shared outrage. There are several designers that were introduced during the time which includes Tristan Tzara, Jean Arp, and Marcel Duchamp. Language and experience were a big part during the time especially Dada. Filippo Marinetti used repeated platform patterns and dynamic scale and placement to convey ideas of sound, motion and power. Cubist and Symbolist poets also explored writing through typography on spoken or even verbal. Stéphane Mallarmé and Guillaume Appolinare created poems and essays through pictures, with one of his famous poems “Il Pleut” (“It’s Raining”).

Order and Disorder United Collage was another new visual analogy that built on Cubism, which juxtaposed images in dynamic relationships. Hanna Hoch and Raoul Hausemann, the Berlin Dadaists were one of the first people to start collage. Kurt Schwitters, who worked in Hanover, is particularly notable for

helping to establish both grid-based and irrational systems in design. Schwitter’s work as Dadaist was supported by his business as an advertising designer with prestigious accounts. His articles and visual essays, Merz, were based on poems. He even collaborated with Theo van Doesburg and El Lissitsky on several occasions. Johannes Itten was instrumental in setting up the Bauhaus foundation curriculum which stressed the exploration of abstract mark making. In his 1921 publication, Utopia, the symbolist poetry and idiosyncratic expression with structured pages. Dutch design had a history of innovation and use of symbolic which can be referred back to Symbolist and Jugendstil designers like Jan Toorop and Johan Thorn-Priker in the late 1800s. Zurich uses graphic as Symbolist approach and also he works for clients like NKF, an industrial cable manufacturing company with being structural and approaching both drawing and thinking as the catalogue’s content. Zurich grid advocates Josef Müller-Brockmann and Carlo Vivarelli, Keller’s former student, Armin Hoffman, pursued visual composition of his work and as director of Basel design school, where he enlisted Emil Ruder as typography teacher. Emil Ruder mixed weight, slant, size changes within single lines of type to show language. In his 1960 book Typography, Ruder shows uses of grids and also exposition of type as an image to show visual qualities.

Against the Establishment By the mid-1960s, the international style was becoming entrenched as design methodology in Europe and the United States. Students from Basel and Zurich schools in Germany were disseminating its reductive, minimal aesthetic. Corporations benefited from the unifting and cost-efficient aspects of the grid-based identity systems that students advocated. Bob Gill, Bill

Bernbach, and Henry Wolf. These flourished in the 1960s and 1970s despite international style; they worked around Modernism. In Basel, Emil Ruder’s students were engaged in studying fundamental typographic principles when a young typesetter’s apprentice from Stuttgart joined the school. Wolfgang Weingart had been trained in a traditional German type shop and was exposed to Hoffmann, Müller-Brockman, and Ruder by an older apprentice, fascinated by the unfamiliar image-oriented typographic approach of the Swiss. Weingart looked at the understructures and absolute formal qualities of the material he was working with as indicators of potential new ways to compose. The Iconoclasts and the Academy Because of Weingart’s typographical approach, many design students were coming to Basel from several countries. Among them were Americans like April Greiman, a student of Basel graduates Hans U. Allermann, Inge Druckrey, and Christine Zelinsky at the Kansas City Art Institute in Missouri. His approach to space and textures had a huge impact on her design process. After she returned to America, Greiman freelanced and taught in Philadelphia, Boston, and New York, eventually landing in Los Angeles in the early 1980s. Greiman began experimenting with various emerging technologies, like video, in combination with found images and conventional printing techniques, which continued to define the new visual language of Basel and similarly oriented design schools. A “New Wave” of Swiss and Swiss-trained designers - Dan Friedman, Valerie Pettis, Willi Kunz, Steff Geissbuhler, Chris Myers - joined Greiman and others in assimilating this new development into the mainstream of design practice.

New Discourses in Form

In 1970, a graduated industrial designer in Chicago named Katherine McCoy found herself in a graphic design position in Unimark International, working in the minimal Swiss International Style that Unimark was employing to reshape the corporate visual world. After a year, she began to teach graphic design at Cranbrook, an art and design academy in Michigan with a long history of involvement in avant-garde architecture. Later on, Weingart’s experiments were becoming widely known. Designers could incorporate idiosyncratic forms on a personal level with their audience as a way to resonate. Political and social concerns came to the forefront of designers’ minds at Cranbrook and on the West Coast as pop culture were giving voice to discussions about race, gender, and class by visually distinguishing them from the smooth veneer of the corporate International Style. During the period between 1971 and 1984, the word deconstruction as a description of what these experiments were trying to accomplish: to break apart preconceived structures or to use those structures as a starting point to find new ways of making verbal and visual connections between images and Language. It shows conventional notions of beauty in favor of tense, unfamiliar combinations of texture and language.

The Second Industrial Revolution While the design community struggled to understand intellectualized conversation at Cranbrook, the computer happened. Apple Computer;s 1984 introduction of the desktop computer with a graphical interface yielded a revolution in design practice similar in scale to that of the industrial Revolution of the 1780s. Designers were quick to assimilate the new technology for the rapid and seamless manipulation of image and type that its programs facilitated. The Dutch design community, not only embraced the technological and theoretical developments, but hosted a

continuing series of interns and expatriate graduates from American design schools. Allen Hori and Robert Nakata, both graduates of Cranbrook, found themselves working at Studio Dumbar, already distinguished for its conceptual use of photography and surreal spatial typography for large Dutch corporations.

From an Unexpected Quarter David Carson is a surfer and sociology graduate and came to design by working at Beach Culture, a California surf magazine. His unstudied layouts relied on an intuitive sense of placement that talks not about rationally or impartially organizing but also about experience of the content. He used extensive typesetting capabilities of the computer and was about to explore typographic arrangements by overlapping lines of type and letters that flipped backwards and forwards, dense textures of type and image, and columns of type which are not parallel. Designers were violating conventional ideas about structure in favor of organization that reflected ideas about time, film, and the expanding world of digital interactivity.Interactive media helped change the way people access and process the information with which they’re presented, intuitive and idiosyncratic approaches to organization participate on equal terms with rational approaches based on grid structures. The designer’s set of tools now includes several methods for conveying ideas from which the designer can choose the most appropriate for a given project.

color palette

0 13 18 7

0 5 8 4

0 1 2 27

0 23 34 67

0 15 22 46

0 28 41 13

0 37 61 57

0 2 5 9

0 24 36 37

0 27 39 83

0 35 59 20

0 13 24 20

35 23 0 75

5 4 0 7

0 34 36 46

0 60 83 37

0 24 37 22

29 7 0 89

0 21 28 52

0 23 31 69

75 45 0 41

0 70 52 19

0 13 32 15

52 33 0 65

0 22 35 43

76 65 0 82

70 48 0 64

0 14 5 40

45 32 0 50

1 23 0 63

88 78 0 50

85 59 0 42

3 2 0 19

16 0 62 68

35 0 4 29

hierarchy round 1 march 3

Niggli Verlag

Typography: A Manual of Design

Emil Ruder 1967

Emil Ruder Typography: A Manual of Design

1967

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

Sylvia Ko

March 3, 2020

Typography: A Manual of Design

Emil Ruder

1967

Niggli Verlag

Typography: A Manual of Design

Emil Ruder

1967

Round 1:

Niggli Verlag

Sylvia Ko

March 3, 2020

Typography: A Manual of Design

1967

Emil Ruder Niggli Verlag

Niggli Verlag

Emil Ruder

Typography: A Manual of Design

Round 1:

Sylvia Ko

March 3, 2020

1967

Niggli Verlag

Typography: A Manual of Design

Emil Ruder Niggli Verlag

Typography: A Manual of Design 1967

Emil Ruder

Round 1:

Sylvia Ko

March 3, 2020

1967 Emil Ruder Niggli Verlag

Typography: A Manual of Design

1967

Emil Ruder

Niggli Verlag

Round 1:

Sylvia Ko

March 3, 2020

1967 Typography: A Manual of Design

Typography: A Manual of Design

Emil Ruder 1967 Niggli Verlag

Emil Ruder

Niggli Verlag

Round 1:

Sylvia Ko

March 3, 2020

1967

Niggli Verlag

Emil Ruder

Typography: A Manual of Design

1967 Typography: A Manual of Design

Emil Ruder Niggli Verlag

Round 1:

Sylvia Ko

March 3, 2020

1967

Typography: A Manual of Design

Niggli Verlag Emil Ruder

Typography: A Manual of Design

Emil Ruder

1967

Niggli Verlag

Round 1:

Sylvia Ko

March 3, 2020

Niggli Verlag Emil Ruder

Niggli Verlag

Typography: A Manual of Design

Emil Ruder 1967

Typography: A Manual of Design

1967

Round 1:

Sylvia Ko

March 3, 2020

Typography: A Manual of Design

Emil Ruder

1967

Niggli Verlag Niggli Verlag

Typography: A Manual of Design

Emil Ruder

Round 1:

Sylvia Ko

March 3, 2020

Typography: A Manual of Design

Emil Ruder

1967 Typography: A Manual of Design

Emil Ruder

1967

Niggli Verlag

Round 1:

Sylvia Ko

March 3, 2020

1967 Typography: A Manual of Design Emil

Emil Ruder

Ruder

Typography: A Manual of Design

Niggli Verlag Niggli Verlag

1967 Round 1:

Sylvia Ko

March 3, 2020

1967

Typography: A Manual of Design

Niggli Verlag Typography: A Manual of Design

Emil Ruder

Niggli Verlag 1967

Round 1:

Sylvia Ko

March 3, 2020

Emil Ruder

Typography: A Manual of Design

Niggli Verlag

1967

Niggli Verlag

Round 1:

Sylvia Ko

March 3, 2020

NIGGLI VERLAG

TYPOGRAPHY: A MANUAL of DESIGN

1967 EMIL RUDER Niggli Verlag

Emil Ruder

T Y PO GRAPHY: A MAN U AL OF D ESIG N

1967

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

Sylvia Ko

March 3, 2020

Niggli Verlag 1967 EMIL RUDER

TYPOGRAPHY: A MANUAL of DESIGN 1967

Ty p o g ra p h y : A M a nu a l o f D e s ig n

Emil Ruder

NIGGLI VERLAG

Round 1:

Sylvia Ko

March 3, 2020

19 6 7

Typ o g ra p hy : A Ma n u a l o f D e s ig n

NIGGLI VERLAG EMIL RUDER

EMIL RUDER

Typography: A Manual of Design

Niggli Verlag

Round 1:

Sylvia Ko

March 3, 2020

1967

NI GGLI VE R L AG

Ty p o g ra p h y : A M a nu a l of D e s ig n

Emil Ruder

TYPOGRAPHY: A Man u a l o f De s ig n

Emi l Ru d er

19 6 7

Niggli Verlag

Round 1:

Sylvia Ko

March 3, 2020

Niggli Verlag EMIL RUDER

NIGGLI VERLAG

T YPOGRAPHY: A MANUAL OF

Emil Ruder

DESIGN

1967

Typography: A Manual of Design

1967

Round 1:

Sylvia Ko

March 3, 2020

TYPOGRAPHY: A MANUAL OF DESIGN

19 6 7

EMIL RUDER

Typography: A Manual of Design

NIGGLI VERLAG

19 6 7 Niggli Verlag

Emil Ruder

Round 1:

Sylvia Ko

March 3, 2020

color + rules round 2 march 5

EMIL RUDER

1967

Niggli Verlag

T Y PO GRAPHY: A MAN U AL OF D ESIG N

T YP OG RAPHY: A MANUAL OF DES I GN

Round 2: color and rules

Sylvia Ko

March 5, 2020

EMIL RUDER

1967

EMIL RUDER

1967 Niggli Verlag

Niggli Verlag

T YPOG RAP HY: A MANUAL OF DES IGN

Round 2: color and rules

T Y PO GRAPHY: A MAN U AL OF D ESIG N

Sylvia Ko

March 5, 2020

EMIL RUDER

1967

EMIL RUDER

1967 Niggli Verlag

Niggli Verlag

T YP OG RAPHY: A MANUAL OF DES I GN

Round 2: color and rules

T Y PO GRAPHY: A MAN U AL OF D ESIG N

Sylvia Ko

March 5, 2020

NIGGLI VERLAG

Emil Ruder

Emil Ruder Typography:

Typography:

A Manual of

Design

1967

Round 2: color and rules

1967

Sylvia Ko

March 5, 2020

NIGGLI VERLAG

Emil Ruder

Emil Ruder Typography:

Typography:

A Manual of

Design

1967

Round 2: color and rules

Sylvia Ko

March 5, 2020

NIGGLI VERLAG

Emil Ruder

Emil Ruder Typography:

Typography:

A Manual of

Design

1967

Round 2: color and rules

1967

Sylvia Ko

March 5, 2020

Emil Ruder

Typography: A Manual of Design

Niggli Verlag

Niggli Verlag 1967

1967

Round 2 2: color and rules

Sylvia Ko

March 5, 2020

Emil Ruder

Typography: A Manual of Design

Niggli Verlag

1967

Round 2: color and rules

1967

Sylvia Ko

March 5, 2020

Emil Ruder

Typography: A Manual of Design

Niggli Verlag

1967

Round 2: color and rules

1967

Sylvia Ko

March 5, 2020

color + rules round 2 (refinement) march 5

NIGGLI VERLAG

Emil Ruder

Emil Ruder Typography:

Typography:

A Manual of

Design

1967

Round 2: color and rules

Sylvia Ko

March 5, 2020

Emil Ruder

NIGGLI VERLAG

Typography: A Manual of Design

Emil Ruder

Niggli Verlag Typography: A Manual of Design

1967

Round 2: 1: color and rules

Sylvia Ko

March 5, 2020

go big round 3a march 24

1967

NIGGLI VERL AG

emil ruder

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

typography:

a m a nua l of d e s ig n E M I L RU D E R

1967 nig g l i ve r l a g

Round 3: Scale only tints of black and no lines

Sylvia Ko

March 24, 2020

typography:

a manual of design nig g l i ve r l a g e mil r ud e r

1967 Round 3: Scale only tints of black and no lines

1 9 6 7 Sylvia Ko

e mil r ud e r nig g l i ve r l a g

t y p o g r a p hy : a m a nua l o f d esig n

March 24, 2020

1967

TYPOGRAPHY:

e mil r ud e r

E M I L RU D E R

a manual of design

niggli verlag

N I GG LI V E RL AG 1967

t y p o g r a p hy : a m a nua l o f d esig n

Round 3: Scale only tints of black and no lines

Sylvia Ko

March 24, 2020

t ypography:

manual

design

1967

typography: a manual of design emil ruder niggli verlag NIGGLI VE RL AG EMIL RUDE R

Round 3: Scale only tints of black and no lines

Sylvia Ko

March 24, 2020

N I GG LI V E RL AG EMI L RU D E R

1967

A M ANUAL OF DESIGN TYPOGRAPHY:

Round 3: Scale only tints of black and no lines

E M I L

1967 Niggli Verlag

Typography: A Manual of Design

RUDER Sylvia Ko

March 24, 2020

Typography:

MANUAL

1967

Niggli Verlag

DESIGN

Emil Ruder

Typography:

1967

A Manual of Design

Emil Ruder Niggli Verlag

Round 3: Scale only tints of black and no lines

Sylvia Ko

March 24, 2020

Typography: A Manual of Design

Emil Ruder

niggli verlag 1967

Niggli Verlag

1967

emil

ruder typography: a manual of design

Round 3: Scale only tints of black and no lines

Sylvia Ko

March 24, 2020

EMIL

Niggli Verlag

ru der N I GG LI V E RL AG

1967

TYPOGRAPHY:

MANUAL OF

DESIGN

1967

Round 3: Scale only tints of black and no lines

Emil Ruder Typography: A Manual of Design

Sylvia Ko

March 24, 2020

1967

emil

emil ruder

niggli verlag niggli verlag

a manual of design

t ypography:

Round 3: Scale only tints of black and no lines

19 67

typography: a manual of design

Sylvia Ko

ruder

March 24, 2020

1 9 6 7

niggli verlag

typography: a manual of design niggli verlag

typography:

emil

a manual

ruder

of design

emil ruder

Round 3: Scale only tints of black and no lines

Sylvia Ko

March 24, 2020

go big round 3a (comments) march 24

Typography:

MANUAL

1967

Niggli Verlag

DESIGN

Emil Ruder

Typography:

1967

A Manual of Design

Emil Ruder Niggli Verlag

Round 3: Scale only tints of black and no lines

Sylvia Ko

Typography: A Manual of Design

Emil Ruder

niggli verlag 1967

Niggli Verlag

1967

emil

ruder typography: a manual of design

Round 3: Scale only tints of black and no lines

Sylvia Ko

EMIL

Niggli Verlag

ru der N I GG LI V E RL AG

1967

TYPOGRAPHY:

MANUAL OF

DESIGN

1967

Round 3: Scale only tints of black and no lines

Emil Ruder Typography: A Manual of Design

Sylvia Ko

1967

emil

emil ruder

niggli verlag niggli verlag

a manual of design

t ypography:

Round 3: Scale only tints of black and no lines

19 67

typography: a manual of design

Sylvia Ko

ruder

1 9 6 7

niggli verlag

typography: a manual of design niggli verlag

typography:

emil

a manual

ruder

of design

emil ruder

Round 3: Scale only tints of black and no lines

Sylvia Ko

go big round 3a (refinement) march 24

1967 typography: a manual of design emil ruder niggli verlag

Round 3: Scale only tints of black and no lines

Sylvia Ko

March 24, 2020

N I GG LI V E RL AG EMI L RU D E R

1967

A M ANUAL OF DESIGN TYPOGRAPHY:

Round 3: Scale only tints of black and no lines

E M I L

1967 Niggli Verlag

Typography: A Manual of Design

RUDER Sylvia Ko

March 24, 2020

19 67 emil

ruder

niggli verlag

typography: a manual of design

Round 3: Scale only tints of black and no lines

Sylvia Ko

March 24, 2020

EMIL

1967

typography: a

ru der

manual

N I GG LI V E RL AG

of design

TYPOGRAPHY:

niggli

MANUAL

verlag

DESIGN

emil ruder

1967

Round 3: Scale only tints of black and no lines

Sylvia Ko

March 24, 2020

go big round 3a (top 10) march 24

1967

typography: a manual of design

niggli verlag

EMIL

19 67 Typography: a Manual of Design

RUDER

Round 3: Scale with color and rules

Niggli Verlag Emil Ruder

Sylvia Ko

March 26, 2020

Typography: A Manual of Design

R Niggli Verlag

1967

Round 3: Scale with color and rules

Sylvia Ko

March 26, 2020

E M I L

niggli verlag

typography: a manual of design

EMIL RUDER Typography: A Manual of Design

RUDER

Typography: A Manual of Design 1967

Round 3: Scale with color and rules

1967

Niggli Verlag

Sylvia Ko

March 26, 2020

niggli

verlag

typography: a manual of design

typography: a manual of design niggli verlag 1967

Round 3: Scale with color and rules

1967 Sylvia Ko

emil ruder

March 26, 2020

Typography: A Manual of Design

1967

NIGGLI VERLAG

EMIL

NIG GLI

RUDER

VERLAG TYPOGRAPHY: A Manual of Design

EMIL RUDER

1967 Round 3: Scale with color and rules

Sylvia Ko

March 26, 2020

TYPOGRAPHY:

A Manual of Design

1967

NIGGLI VERLAG Round 3: Scale with color and rules

EMIL RUDER Sylvia Ko

March 26, 2020

go big color + rules

round 3b march 26

1967

typography: a manual of design

niggli verlag

EMIL

19 67 Typography: a Manual of Design

RUDER

Round 3: Scale with color and rules

Niggli Verlag Emil Ruder

Sylvia Ko

March 26, 2020

Typography: A Manual of Design

R Niggli Verlag

1967

Round 3: Scale with color and rules

Sylvia Ko

March 26, 2020

E M I L

niggli verlag

typography: a manual of design

EMIL RUDER Typography: A Manual of Design

RUDER

Typography: A Manual of Design 1967

Round 3: Scale with color and rules

1967

Niggli Verlag

Sylvia Ko

March 26, 2020

1967 TYPOGRAPHY:

NIGGLI VERLAG

A Manual of Design

1967

EMIL RUDER

TYPOGRAPHY: A Manual of Design

NIGGLI VERLAG Round 3: Scale with color and rules

EMIL RUDER Sylvia Ko

March 26, 2020

Typography: A Manual of Design

niggli

verlag

typography: a manual of design

NIG GLI VERLAG EMIL RUDER

1967 Round 3: Scale with color and rules

1967 Sylvia Ko

emil ruder

March 26, 2020

typography: a manual of design niggli verlag 1967

Round 3: Scale with color and rules

Sylvia Ko

March 26, 2020

go big color + rules

round 3 (top 5) march 26

N I GG LI V E RL AG EMI L RU D E R

1967

A M ANUAL OF DESIGN TYPOGRAPHY:

Round 3: Scale with color and rules

E M I L

1967 Niggli Verlag

Typography: A Manual of Design

RUDER Sylvia Ko

March 26, 2020

1967

niggli

verlag

typography: a manual of design

typography: a manual of design emil ruder niggli verlag

1967 Round 3: Scale with color and rules

Sylvia Ko

emil ruder

March 26, 2020

typography: a manual of design niggli verlag 1967

Round 3: Scale with color and rules

Sylvia Ko

March 26, 2020

cover page round 4a march 31

Back Cover

Spine

Front Cover

N I GG LI V E RL AG EMI L RU D E R

EMI L RU D E R

EMI L RU D E R TYPOGRAPHY:

(1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is

A M A N UA L OF D E S I GN

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

1967

Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.

A M ANUAL OF DESIGN TYPOGRAPHY:

TYPOGRAPHY:

A M A N UA L O F D E S I GN 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

N I GG LI V E RL AG

Round 4: score and fold

EMI L RU D E R

is still widely used and referenced.

Sylvia Ko

March 31, 2020

Back Cover

Spine

Front Cover

N I GG LI V E RL AG

N I GG LI V E RL AG EMI L RU D E R

EMI L RU D E R

in the field of typography for developing a holistic approach

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 M A N UA L O F D E S I GN

to designing and teaching that consisted of philosophy,

TYPOGRAPHY:

(1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable

1967

A M ANUAL OF DESIGN TYPOGRAPHY:

TYPOGRAPHY:

Round 4: score and fold

EMI L RU D E R

Sylvia Ko

March 31, 2020

Back Cover

Spine

EMIL RUDER

Typography: A Manual of Design

systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typographyâ&#x20AC;&#x2122;s purpose

was

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

Typography: A Manual of Design 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

Front Cover

E M I L

1967 Niggli Verlag

Typography: A Manual of Design

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

RUDER Round 4: score and fold

Sylvia Ko

March 31, 2020

Back Cover

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

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

Front Cover

TYPOGRAPHY: A Manual of Design

E R MU I D L E R

Spine

letterpress typography or wrote about it with such conviction.

Niggli Verlag

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

E M I L

1967 Niggli Verlag

Typography: A Manual of Design

RUDER Round 4: score and fold

Sylvia Ko

March 31, 2020

Back Cover

Spine

typography: a manual of design

Front Cover

1967

typography:

typography: a manual of design is the legacy of Emil Ruder. The volume is a

a manual of design

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 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

emil ruder

Style design. He taught that typographyâ&#x20AC;&#x2122;s

typography: a manual of design

purpose was to communicate ideas through writiang, as well as placing a heavy importance on Sans-serif typefaces. No

emil ruder

other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with

niggli verlag

such conviction.

Round 4: score and fold

Sylvia Ko

March 31, 2020

Back Cover

Spine

typography: a manual of design

He is distinguishable in the field of typography for

is the legacy of Emil Ruder. The volume is

developing a holistic approach to designing and

a comprehensive masterpiece seen in its

teaching that consisted of philosophy, theory and a

overall structure: in the themes presented, in

systematic practical methodology. Ruder was one

the comparison of similarities and contrasts,

of the major contributors to Swiss Style design. He

in the richness of the illustrations and the

taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate

harmoniously inserted types. Today, fifty

ideas through writiang, as well as placing a heavy

years after this book was first published, it is

importance on Sans-serif typefaces. No other designer

still widely used and referenced.

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

typography: a manual of design

emil ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer.

Front Cover

typography: a manual of design emil ruder

niggli verlag

Round 4: score and fold

niggli verlag

Sylvia Ko

March 31, 2020

Back Cover

emil

Spine

ruder

Front Cover

niggli

emil

verlag

typography: a manual of design (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

typography: a manual of design

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 writiang, 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.

niggli verlag

Round 4: score and fold

ruder

1967 Sylvia Ko

emil ruder

March 31, 2020

Back Cover

Spine

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

Front Cover

niggli

verlag

typography: a manual of design

emil ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writiang, as well as placing a heavy importance on Sans-

the discipline of letterpress typography or wrote about it with such conviction.

Round 4: score and fold

emil ruder

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

1967 Sylvia Ko

emil ruder

March 31, 2020

Back Cover

Spine

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 (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable

Front Cover

typography: a manual of design

is the legacy of Emil Ruder. The volume is a comprehensive masterpiece

of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.

Round 4: score and fold

niggli verlag

emil ruder

seen in its overall structure: in the themes presented, in the comparison

niggli verlag 1967

Sylvia Ko

March 31, 2020

Back Cover

Spine

Front Cover

(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

T Y P O G R A P H Y:

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 writiang, as well as placing a heavy importance on Sans-

o f

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

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 A

U A

P H L

Y : O

E S

is the legacy of Emil Ruder. The volume is a comprehensive

typography: a manual of design

masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.

Round 4: score and fold

niggli verlag

M u

niggli verlag 1967

Sylvia Ko

March 31, 2020

cover page round 4a (comments) march 31

Back Cover

align to text box

emil

Spine

ruder

Front Cover

niggli

emil

verlag

typography: a manual of design

(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

typography: a manual of design

niggli verlag

try moving up under the rule without rule under ruder

Round 4: score and fold

ruder

1967 Sylvia Ko

emil ruder

March 31, 2020

experiment with size and position

Back Cover

Spine

typography: a manual of design

make the same as the rest 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.

E M I L

R U D E R

Front Cover

same as cover

align typography: a manual of design

move

typography: a manual of design

is the legacy of Emil Ruder. The volume is a comprehensive masterpiece

Round 4: score and fold

niggli verlag

emil ruder

seen in its overall structure: in the themes presented, in the comparison

niggli verlag 1967

Sylvia Ko

March 31, 2020

Back Cover

Spine

Front Cover

N I GG LI V E RL AG

N I GG LI V E RL AG EMI L RU D E R

EMI L RU D E R

in the field of typography for developing a holistic approach

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 M A N UA L O F D E S I GN

to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of

TYPOGRAPHY:

(1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable

1967

make negative space the same (larger)

TYPOGRAPHY:

A M A N UA L O F D E S I GN is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its

A M ANUAL OF DESIGN

overall structure: in the themes presented, in the comparison of similarities and contrasts,

Round 4: score and fold

EMI L RU D E R

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.

Sylvia Ko

TYPOGRAPHY:

March 31, 2020

Back Cover

Spine

Front Cover

1967 tighten spacing

typography: a manual of design

He is distinguishable in the field of typography for

is the legacy of Emil Ruder. The volume is

developing a holistic approach to designing and

a comprehensive masterpiece seen in its

teaching that consisted of philosophy, theory and a

overall structure: in the themes presented, in

systematic practical methodology. Ruder was one of the

the comparison of similarities and contrasts,

major contributors to Swiss Style design. He taught that

in the richness of the illustrations and the

typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through

harmoniously inserted types. Today, fifty

writiang, as well as placing a heavy importance on Sans-

years after this book was first published, it is

serif typefaces. No other designer since Jan Tschichold

still widely used and referenced.

was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.

make negative space more interesting

emil ruder

secondary text grey rather than blue

emil ruder

typography: a manual of design

emil ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer.

typography: a manual of design emil ruder

niggli verlag

Round 4: score and fold

niggli verlag

Sylvia Ko

March 31, 2020

Back Cover

Spine

Front Cover

E M I L

Try a version where the type is not stacked typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theor y and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style

Typography: A Manual of Design

EMIL RUDER

EMIL RUDER (1914â&#x20AC;&#x201C;1970) was a Swiss

design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sansserif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the

like this one

discipline of letterpress typography or wrote about it with such conviction. Niggli Verlag

Typography: A Manual of Design

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

EMIL RUDER

TYPOGRAPHY: A MANUAL OF DESIGN is the legacy of Emil Ruder. The volume is a

1967 Niggli Verlag

Typography: A Manual of Design

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

RUDER Round 4: score and fold

Sylvia Ko

March 31, 2020

back & spine round 4b april 2

Back Cover

emil

Spine

ruder

Front Cover

niggli

emil

verlag

typography: a manual of design

niggli verlag

Round 4: score and fold

ruder

1967 Sylvia Ko

emil ruder

March 31, 2020

Back Cover

Spine

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the

typography: a manual of design

Front Cover

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

seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.

Round 4: score and fold

niggli verlag

emil ruder

is the legacy of Emil Ruder. The volume is a comprehensive masterpiece

niggli verlag 1967

Sylvia Ko

March 31, 2020

Back Cover

Spine

Front Cover

N I GG LI V E RL AG

N I GG LI V E RL AG EMI L RU D E R

EMI L RU D E R

in the field of typography for developing a holistic approach

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 M A N UA L O F D E S I GN

to designing and teaching that consisted of philosophy, theory

TYPOGRAPHY:

(1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable

1967

A M ANUAL OF DESIGN TYPOGRAPHY:

TYPOGRAPHY:

after this book was first published, it is still widely used and referenced.

Round 4: score and fold

EMI L RU D E R

in the richness of the illustrations and the harmoniously inserted types. Today, fifty years

Sylvia Ko

March 31, 2020

Back Cover

Spine

1967

typography: a manual of design

typography: a manual of design Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writiang, 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.

Ruder. The volume is a comprehensive masterpiece

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

emil ruder

Typography: A Manual of Design is the legacy of Emil

seen in its overall structure: in the themes presented,

Front Cover

typography: a manual of design emil ruder niggli verlag

niggli verlag

first published, it is still widely used and referenced.

Round 4: score and fold

Sylvia Ko

March 31, 2020

Back Cover

Spine

typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theor y and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style

Typography: A Manual of Design

EMIL RUDER

EMIL RUDER (1914â&#x20AC;&#x201C;1970) was a Swiss

design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-

Front Cover

EMIL RUDER

serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote

1967

about it with such conviction. Niggli Verlag

Niggli Verlag

Typography: A Manual of Design

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

EMIL RUDER

TYPOGRAPHY: A MANUAL OF DESIGN is the legacy of Emil Ruder. The volume is a

Typography: A Manual of Design

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

Round 4: score and fold

Sylvia Ko

March 31, 2020

back & spine round 4b (refinement) april 2

Back Cover

emil

Spine

ruder

Front Cover

niggli

emil

verlag

typography: a manual of design

niggli verlag

Round 4: score and fold

ruder

1967 Sylvia Ko

emil ruder

March 31, 2020

Back Cover

Spine

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the

typography: a manual of design

Front Cover

typography: a manual of design

Round 4: score and fold

niggli verlag

emil ruder

is the legacy of Emil Ruder. The volume is a comprehensive masterpiece

niggli verlag 1967

Sylvia Ko

March 31, 2020

Back Cover

Spine

Front Cover

N I GG LI V E RL AG

N I GG LI V E RL AG EMI L RU D E R

EMI L RU D E R

typography for developing a holistic approach to designing and teaching

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

A M A N UA L O F D E S I GN

that consisted of philosophy, theory and a systematic practical methodology.

TYPOGRAPHY:

(1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of

1967

presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.

Round 4: score and fold

A M ANUAL OF DESIGN TYPOGRAPHY:

EMI L RU D E R

A M ANUAL OF DESIGN TYPOGRAPHY:

Sylvia Ko

March 31, 2020

Back Cover

Spine

1967

typography: a manual of design

Round 4: score and fold

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.

Front Cover

typography: a manual of design emil ruder niggli verlag

niggli verlag

Sylvia Ko

March 31, 2020

Back Cover

Spine

Typography: A Manual of Design

EMIL RUDER

EMIL RUDER (1914â&#x20AC;&#x201C;1970) was a Swiss

design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sansserif typefaces. No other designer since Jan

Front Cover

EMIL RUDER

Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote

1967

about it with such conviction. Niggli Verlag

Niggli Verlag

Typography: A Manual of Design

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

EMIL RUDER

TYPOGRAPHY: A MANUAL OF DESIGN is the legacy of Emil Ruder. The volume is a

Typography: A Manual of Design

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

Round 4: score and fold

Sylvia Ko

March 31, 2020

back & spine round 4b (final) april 2

Back Cover

emil

Spine

ruder

Front Cover

niggli

emil

verlag

typography: a manual of design

niggli verlag

Round 4: score and fold

ruder

1967 Sylvia Ko

emil ruder

March 31, 2020

Back Cover

Spine

Emil Ruder (1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the

typography: a manual of design

Front Cover

typography: a manual of design

Round 4: score and fold

niggli verlag

emil ruder

is the legacy of Emil Ruder. The volume is a comprehensive masterpiece

niggli verlag 1967

Sylvia Ko

March 31, 2020

Back Cover

Spine

Front Cover

N I GG LI V E RL AG

N I GG LI V E RL AG EMI L RU D E R

EMI L RU D E R

typography for developing a holistic approach to designing and teaching

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

A M A N UA L O F D E S I GN

that consisted of philosophy, theory and a systematic practical methodology.

TYPOGRAPHY:

(1914â&#x20AC;&#x201C;1970) was a Swiss typographer. He is distinguishable in the field of

1967

presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after

TYPOGRAPHY:

this book was first published, it is still widely used and referenced.

Round 4: score and fold

A M ANUAL OF DESIGN

EMI L RU D E R

A M ANUAL OF DESIGN

TYPOGRAPHY:

Sylvia Ko

March 31, 2020

Back Cover

Spine

1967

typography: a manual of design

Round 4: score and fold

emil ruder

typography: a manual of design

emil ruder

Front Cover

emil ruder niggli verlag

niggli verlag

Sylvia Ko

March 31, 2020

Back Cover

Spine

Typography: A Manual of Design

EMIL RUDER

EMIL RUDER (1914â&#x20AC;&#x201C;1970) was a Swiss

design. He taught that typographyâ&#x20AC;&#x2122;s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sansserif typefaces. No other designer since Jan

Front Cover

EMIL RUDER

Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote

1967

about it with such conviction. Niggli Verlag

Niggli Verlag

Typography: A Manual of Design

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

EMIL RUDER

TYPOGRAPHY: A MANUAL OF DESIGN is the legacy of Emil Ruder. The volume is a

Typography: A Manual of Design

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

Round 4: score and fold

Sylvia Ko

March 31, 2020