MOD ULAR Research
Research:: Studying Research:: Modular Grid Studying + Designers Modular Grid + Designers Round 4: v1
GR ID VISC200 - Ann Hossler VISC200 - Travis - Ann Bodell Hossler - Travis Bodell
Josef Müller-Brockmann was a Swiss graphic
designer known for his establishment and teaching of Swiss Design in the mid-twentieth century. He
taught at Kunstgewerbeschule in Zurich. His use
of a shape’s geometry in his work would be the
foundation of a way of thinking about design that is
SWISS DESIGN
still widely utilized by modern designers.
Like most practicers of the Swiss Design
movement, Müller-Brockmann was an adament user
of simple sans serif typefaces. This pertained to the idea of letting a work’s information speak first and its
design second. His work features a lot of clever use
of shape and color to represent more complicated ideas or objects in the simplest way possible. This
was done through his use of the grid, a common
Swiss Design isnot so much a style of design
characteristic of Swiss designers of the time. Color
problem-solving. The idea behind it was that the
movement and lead a viewers eyes across his work.
than it is a philosophy of design thinking and
content and text of a design is what should stand out; extraneous illustrations and decorative assets are obsolete.
The practice of Swiss design originated from
designer Ernst Keller’s iconic use of sans serif fonts
and seemingly minimalist layouts. Josef MüllerBrockmann and Armin Hofmann, both designers and
educators active during the 1950s, worked to push the necessity of function over flashiness. Personal touches by the designer came secondary to creative
a clean layout that was simple to navigate visually.
Since the style debuted, aspects of it have been
and type are utilized by Müller-Brockmann to show
Müller-Brockmann is also known for authoring
multiple Swiss design manifestos, like History of
Visual Communication and Grid Systems in Graphic Design.
JOSEF MÜLLERBROCKMAN
so incorporated into everyday visual communication
that we do not immediately identify them as Swiss
Design. In example of this is the font Helvetica, which
came from the similarly minimalist typeface Akzidenz
Grotesk. Helvetica is widely available for professional
use or otherwise, and yet designers always come back to it for its simplicity and readability.
Research:: Studying Modular Grid + Designers
VISC200 - Ann Hossler - Travis Bodell
ROSMARIE TISSI Rosmarie Tissi, a Swiss graphic designer,
is another creative mind to emerge from the
Swiss Design movement. She attended the Kunstgewerbeschule school in Zurich, the same
Emil Ruder is a graphic designer closely
associated with the Swiss Design movement, as he was one of its founding members. He attended
Kunstgewerbeschule in Zurich and followed the
school Josef Müller-Brockmann taught at.
design philosophies of Bauhaus.
was keen on using simple shapes in ways that may
Swiss Design, Ruder definitely obliges to minimalism
Design. Tissi often experimented with extreme
shapes to guide the eye, just typographic color.
Unlike earlier designers of the movement, Tissi
have seemed extraneous to some followers of Swiss
Of all of the designers I researched that followed
the most. Many of his posters include no rules or
contrasts in scale with her typographic work. She
This speaks to Ruder’s ability to truly minimize
and utilized saturated colors strategically to further
could be empty space. Ruder also uses color
evident in her “OFFSET” poster shown top left. She
Rosmarie Tissi, and this choice fits each designer’s
used stacked layouts, created diagonal movement
impliment this idea of scale. This is particularly
combines the use of gridded fitting and stacking with the letters on the composition to ensure that such a
manipulated version of the word was still readable.
Tissi also designed the typeface Sinaloa, which
is easily recognizable by its thick stroke contrasted
any unneccessary mark on a page where there
very conservatively as opposed to designers like
aesthetic respectively. Despite the generally very
gridded nature of Ruder’s typography, there are instances of him completely disrgarding this virtue look on the poster in the top right.
Readability was Emil Ruder’s focus when he
with thin rules in certain areas of each letter. This font
designed with type. Modern designers have learned
implied difference in tone.
challenged in unique and exciting ways.
reflects the diagonal motion of her poster work and
from Ruder that the conventions legibibility can be
EMIL RUDER Research:: Studying Modular Grid + Designers
VISC200 - Ann Hossler - Travis Bodell
PAUL RAND Paul Rand is a graphic designer whose work is
less typographic and more based on shape and color
than some of the other designers I have researched.
Background of a Grid: Grid has been around for 150 years roughly Constructivism emerged in the early 1900s Utilized elements of grid Came from Russia, was a social comment on their state of country Grid Basics: The benefits of working with a grid are clarity, efficiency, economy and continuity Every grid contains the same basic parts A designer must take into account what elements they will be designing with to decide what kind of grid is best Grid is a close system Manuscript Grid: Also called block grid Large rectangle in the middle of the page Makes grid good for large amounts of body text Shifting margins and text type make this grid more visually interest Modular Grid: Column grid with horizontal flowlines Makes modules Great for designing extensive publication systems
He went to the Pratt Institute for schooling.
Rand’s work utilizes extreme saturation and to
establish hiearchy. He combines simple illustrations
with elements of the Swiss Design movement to
create his own unique style. He has designed for
IBM, Yale, UPS, ABC and Esquire just to name a few. He went on to become the art director of Weintraub
Agency.
Rand’s work is particularly interesting to me as
a design student whose prior experience is almost
entirely in publication layout and working with type. Some of his work is so simple that it would take me
five to ten minutes to recreate on Illustrator, and yet his work is intentional in nature.
Rand is unique from any other the designers I
researched because of the life his work has. Ruder
and Müller-Brockmann are both strict followers of the grid, but the character that Rand’s work has from breaking it is unmatched.
Research:: Studying Modular Grid + Designers
Typeface: Single set of characters that have stylistic unity Includes letters, numbers and misc. Marks Font: Complete set of characters in a particular type face in one size Electronic file that renders the typeface in all sizes Families of Type: Traditional includes roman, italic, bold and small cap Other styles can be included Extended families include hairline, black, extended and condensed fonts Super families begin to work as typographic systems Type Alignment: Leading is space between two lines of text stacked horizontally Kerning is the space between letters Scale: Scale is relative Scale can be abstracted, stretched, altered to change
meaning of an image Can determine realism of image Cropping, whether it be of text or an image, implies scale as relative to the viewer Scaling can be used with color theory and positioning to help direct viewers eye to the desired focal point
Golden Section: The formula for the golden section is a : b = b : (a+b). This means that the smaller of two elements Such as the shorter side of a rectangle When you remove a square from a golden rectangle, another golden rectangle is left in its place Multicolumn Grid: The more columns you create, the more flexible your grid becomes Allows for complex hierarchy, addition of illustrations and other visual elements into the grid along with text Not all space has to be filled Hang Line: In addition to creating vertical zones with the columns of the grid, you can also divide the page horizontally area across the top can be reserved for images and captions, and body text can “hang” from a common line Called a hang line or datum Baseline Grid: Modular grids are created by positioning horizontal guidelines in relation to a baseline grid that governs the whole document Create a baseline grid by choosing the type size and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12) Adjusting margins up or down can absorb leftover space from baseline grid
GRID NOTES VISC200 - Ann Hossler - Travis Bodell
MOD ULAR Round One
Round 1: Part One: 2 Sizes 14 + 36 Reg + Black
GR ID Part One
VISC200 - Ann Hossler - Travis Bodell
Emil Ruder
Typography: A Manual of Design
Round 1: Part One: 2 Sizes 14 + 36 Reg + Black
Niggli Verlag
1967
1967 Niggli Verlag
Emil Ruder
Typography: A Manual of Design
VISC200 - Ann Hossler - Travis Bodell
Typography: A Manual of Design Emil
Ruder
Typography: A Manual of Design
Emil Ruder 1967 Niggli Verlag
Niggli Verlag 1967
Round 1: Part One: 2 Sizes 14 + 36 Reg + Black
VISC200 - Ann Hossler - Travis Bodell
Typography: A Manual of Design 1967
Typography:
1967 Niggli Verlag
A Manual of Design Emil Ruder
Niggli Verlag
Emil Ruder
Round 1: Part One: 2 Sizes 14 + 36 Reg + Black
VISC200 - Ann Hossler - Travis Bodell
Niggli Verlag
Typography: A Manual of Design
Typography: A Manual of Design
Emil Ruder
1967
Emil Ruder
Round 1: Part One: 2 Sizes 14 + 36 Reg + Black
Niggli Verlag 1967
VISC200 - Ann Hossler - Travis Bodell
Typography:
Typography: A Manual of Design
A Manual of Design
Emil Ruder Niggli Verlag 1967
Round 1: Part One: 2 Sizes 14 + 36 Reg + Black
Niggli Verlag 1967 Emil Ruder
VISC200 - Ann Hossler - Travis Bodell
Niggli Verlag 1967
1967
Typography: A Manual of Design
Typography: A Manual of Design Emil Ruder
Niggli Verlag
Emil Ruder
Round 1: Part One: 2 Sizes 14 + 36 Reg + Black
VISC200 - Ann Hossler - Travis Bodell
Typography: Typography: A Manual of Design Niggli Verlag 1967
Emil Ruder
Niggli Verlag 1967 Emil Ruder
A Manual of Design Round 1: Part One: 2 Sizes 14 + 36 Reg + Black
VISC200 - Ann Hossler - Travis Bodell
MOD ULAR Round One
Round 1: Part Two: 2 Sizes 14 + 36 Reg + Black + Tracking + Cases
GR ID Part Two VISC200 - Ann Hossler - Travis Bodell
Niggli Verlag
TYPOGRAPHY: A MANUAL OF DESIGN 1967
Emil Ruder
Round 1: Part Two: 2 Sizes 14 + 36 Reg + Black + Tracking + Cases
Typography:
1967 NIGGLI VERLAG
A Manual of Design E M I L
R U D E R
VISC200 - Ann Hossler - Travis Bodell
TYPOGRAPHY: A Manual of Design 1967
Niggli Verlag
TYPOGRAPHY: A MANUAL OF DESIGN
emil ruder 1967 NIGGLI VERLAG
Emil Ruder
Round 1: Part Two: 2 Sizes 14 + 36 Reg + Black + Tracking + Cases
VISC200 - Ann Hossler - Travis Bodell
E mil Rud e r
N igg l i Ve r lag
1967
Typography: AMANUALOF DESIGN
Typography: A MANUAL OF DESIGN
Round 1: Part Two: 2 Sizes 14 + 36 Reg + Black + Tracking + Cases
Niggli Verlag 1967 Emil Ruder
VISC200 - Ann Hossler - Travis Bodell
MOD ULAR Round Two
Round 2: Adding Rules + Typographic Color
GR ID VISC200 - Ann Hossler - Travis Bodell
Typography:
1967 NIGGLI VERLAG
Typography:
A M A N UA L OF DESIGN
A M A N UA L OF DESIGN
E M I L
E M I L
R U D E R
Round 2: Adding Rules + Typographic Color
1967 NIGGLI VERLAG
R U D E R
VISC200 - Ann Hossler - Travis Bodell
Typography:
1967 NIGGLI VERLAG
Typography:
A M A N UA L OF DESIGN
A M A N UA L OF DESIGN
E M I L
E M I L
R U D E R
Round 2: Adding Rules + Typographic Color
1967 NIGGLI VERLAG
R U D E R
VISC200 - Ann Hossler - Travis Bodell
Typography:
1967 NIGGLI VERLAG
Typography:
A M A N UA L OF DESIGN
A M A N UA L OF DESIGN
E M I L
E M I L
R U D E R
Round 2: Adding Rules + Typographic Color
1967 NIGGLI VERLAG
R U D E R
VISC200 - Ann Hossler - Travis Bodell
TYPOGRAPHY:
TYPOGRAPHY:
A MANUAL OF DESIGN
A MANUAL OF DESIGN
emil ruder 1967 NIGGLI VERLAG
Round 2: Adding Rules + Typographic Color
emil ruder 1967 NIGGLI VERLAG
VISC200 - Ann Hossler - Travis Bodell
TYPOGRAPHY:
TYPOGRAPHY:
A MANUAL OF DESIGN
A MANUAL OF DESIGN
emil ruder 1967 NIGGLI VERLAG
Round 2: Adding Rules + Typographic Color
emil ruder 1967 NIGGLI VERLAG
VISC200 - Ann Hossler - Travis Bodell
TYPOGRAPHY:
TYPOGRAPHY:
A MANUAL OF DESIGN
A MANUAL OF DESIGN
emil ruder 1967 NIGGLI VERLAG
Round 2: Adding Rules + Typographic Color
emil ruder 1967 NIGGLI VERLAG
VISC200 - Ann Hossler - Travis Bodell
Emil Ruder
Typography: A MANUAL OF DESIGN
Round 2: Adding Rules + Typographic Color
Niggli Verlag 1967
Emil Ruder
Niggli Verlag 1967
Typography: A MANUAL OF DESIGN
VISC200 - Ann Hossler - Travis Bodell
Emil Ruder
Typography: A MANUAL OF DESIGN
Round 2: Adding Rules + Typographic Color
Niggli Verlag 1967
Emil Ruder
Niggli Verlag 1967
Typography: A MANUAL OF DESIGN
VISC200 - Ann Hossler - Travis Bodell
Emil Ruder
Typography: A MANUAL OF DESIGN
Round 2: Adding Rules + Typographic Color
Niggli Verlag 1967
Emil Ruder
Niggli Verlag 1967
Typography: A MANUAL OF DESIGN
VISC200 - Ann Hossler - Travis Bodell
MOD ULAR Round Three
Round 3: Max 4 Sizes + Extreme Scale + Black and White
GR ID Part One VISC200 - Ann Hossler - Travis Bodell
TYPO TYPO GRAPHY: GRAPHY: a manual of
DESIGN a manual of
Niggli Verlag 1967 Emil Ruder
Round 3: Part One: Max 4 Sizes + Extreme Scale + Black and White
SIGN
DE emil ruder
1 9 6 7 niggli verlag
VISC200 - Ann Hossler -Travis Bodell
1967 niggli verlag
typo a manual of
emil ruder
typography:
de sign a manual of
Round 3: Part One: Max 4 Sizes + Extreme Scale + Black and White
graphy
DE SIGN niggli verlag 1967 emil ruder
VISC200 - Ann Hossler -Travis Bodell
TYPO
GRAPHY:
graphy: typo a manual of design
emil ruder
a manual of design
niggli verlag
1967
Round 3: Part One: Max 4 Sizes + Extreme Scale + Black and White
emil ruder
19 67 niggli verlag
VISC200 - Ann Hossler -Travis Bodell
19 1967 t 67 d niggli verlag
ypography
TYPO GRAPHY:
esign
a manual of
DESIGN
a manual of
emil ruder
emil ruder
niggli verlag
Round 3: Part One: Max 4 Sizes + Extreme Scale + Black and White
VISC200 - Ann Hossler -Travis Bodell
EMIL RUDER TYPOGRAPHY:
1967 NIGGLI VERL AG
emil ruder
A MANUAL OF
DESIGN
1967 NIGGLI VERLAG
Round 3: Part One: Max 4 Sizes + Extreme Scale + Black and White
TYPOGRAPHY:
a manual of design VISC200 - Ann Hossler -Travis Bodell
type t
1967 ypography
A MANUAL OF
DESIGN emil RUDER
1967 niggli VERLAG
Round 3: Part One: Max 4 Sizes + Extreme Scale + Black and White
a manual of
d
esign
emil ruder
niggli verlag
VISC200 - Ann Hossler -Travis Travis Bodell
TYPOGRAPHY:
niggli verlag 1967 emil ruder
niggli verlag 1967 emil ruder
TYPOGRAPHY: a manual of
DESIGN Round 3: Part One: Max 4 Sizes + Extreme Scale + Black and White
a manual of
DESIGN VISC200 - Ann Hossler -Travis Bodell
EMIL RUDER 1967
TYPO GRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG Round 3: Part One: Max 4 Sizes + Extreme Scale + Black and White
9 167
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
NIGGLI VERLAG
VISC200 - Ann Hossler -Travis Bodell
typography:
1967 emil ruder
a manual of design
niggli verlag
Round 3: Part One: Max 4 Sizes + Extreme Scale + Black and White
TYPOGRAPHY: A MANUAL OF DESIGN
niggli verlag 1967
VISC200 - Ann Hossler -Travis Bodell
MOD ULAR Round Three
Round 3: Part Two: Max 4 Sizes + Extreme Scale + Color and Rules
GR ID Part Two
VISC200 - Ann Hossler - Travis Bodell
TYPO TYPO GRAPHY: GRAPHY: a manual of
DESIGN a manual of
Niggli Verlag 1967 Emil Ruder
Round 3: Round Two: Max 4 Sizes + Extreme Scale + Color and Rules
SIGN
DE emil ruder
1 9 6 7 niggli verlag
VISC200 - Ann Hossler - Travis Bodell
1967 niggli verlag
typo a manual of
emil ruder
typography:
de sign a manual of
Round 3: Part Two: Max 4 Sizes + Extreme Scale + Color and Rules
graphy
DE SIGN niggli verlag 1967 emil ruder
VISC200 - Ann Hossler - Travis Bodell
graphy: typo
TYPO
GRAPHY:
a manual of design
emil ruder
a manual of design
niggli verlag
1967
Round 3: Part Two: Max 4 Sizes + Extreme Scale + Color and Rules
emil ruder
19 67 niggli verlag
VISC200 - Ann Hossler - Travis Bodell
19 1967 t 67 d niggli verlag
ypography
TYPO GRAPHY:
esign
a manual of
DESIGN
a manual of
emil ruder
niggli verlag
emil ruder
Round 3: Part Two: Max 4 Sizes + Extreme Scale + Color and Rules
VISC200 - Ann Hossler - Travis Bodell
EMIL RUDER TYPOGRAPHY:
1967 NIGGLI VERL AG
emil ruder
A MANUAL OF
DESIGN
1967 NIGGLI VERLAG
Round 3: Part Two: Max 4 Sizes + Extreme Scale + Color and Rules
TYPOGRAPHY:
a manual of design VISC200 - Ann Hossler - Travis Bodell
MOD ULAR Round Four
Round 4:: Spine + Back Round Cover 4: One: Spine + Back Cover Round 4:Round v1
GR ID Part One
VISC200 - Ann Hossler VISC200 - Travis - Ann Bodell Hossler - Travis Bodell
emil ruder
typography: a manual of design is the legacy of emil ruder. The volume is a
1967 niggli verlag
comprehensive masterpiece
seen in its overall structure: in the
themes presented,
of similarities and
in the comparison
contrasts, in the richness of the
after this
the harmoniously
published, it is
illustrations and inserted types.
Today, fifty years
emil ruder
book was first
still widely used
and referenced.
typography:
typography: a manual of design Emil Ruder (1914–1970) was
practical methodology.
distinguishable in the field of
contributors to Swiss Style
a holistic approach to
typography’s purpose was
a Swiss typographer. He is
typography for developing
designing and teaching that consisted of philosophy, theory and a systematic
Ruder was one of the major
on Sans-serif typefaces.
design. He taught that
Jan Tschichold was as
to communicate ideas
discipline of letterpress
through writing, as well as
placing a heavy importance
Round 4: Round One: Spine + Back Cover
No other designer since
committed as Ruder to the typography or wrote about it with such conviction.
typography: a manual of design
niggli verlag emil ruder
de sign a manual of
VISC200 - Ann Hossler - Travis Bodell
A MANUAL OF DESIGN
EMIL RUDER
mil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style
A MANUAL OF DESIGN
T YPOGRAPHY:
he 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.
T YPOGRAPHY:
NIGGLI VERLAG
TYPOGRAPHY:
design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
A MANUAL OF DESIGN
EMIL RUDER
EMIL RUDER
Round 4: Round One: Spine + Back Cover
9 167 NIGGLI VERLAG
VISC200 - Ann Hossler - Travis Bodell
NIGGLI VERL AG
The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced. TYPOGRAPHY: A MANUAL OF DESIGN Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
NIGGLI VERL AG
emil ruder TYPOGRAPHY:
EMIL RUDER
Round 4: Round One: Spine + Back Cover
1967
a manual of design VISC200 - Ann Hossler - Travis Bodell
A MANUAL OF DESIGN
t
EMIL RUDER - NIGGLI VERL AG
TYPOGRAPHY: A MANUAL OF DESIGN
T YPOGR APHY:
he volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced. Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
NIGGLI VERL AG
emil ruder TYPOGRAPHY:
EMIL RUDER
Round 4: Round One: Spine + Back Cover
1967
a manual of design VISC200 - Ann Hossler - Travis Bodell
legacy of emil ruder.
The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities
Round 4: Round One: Spine + Back Cover
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 niggli verlag
t
1967 ypography
typography: a manual of design
E
mil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
emil ruder
typography: a manual of design is the
a manual of
emil ruder niggli verlag
d
esign
VISC200 - Ann Hossler - Travis Bodell
on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Round 4: Round One: Spine + Back Cover
Typography: A MANUAL OF DESIGN
Emil Ruder
Emil Ruder (1914– 1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance
Typography: A MANUAL OF DESIGN
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
Niggli Verlag 1967
Typography: A MANUAL OF DESIGN
Niggli Verlag VISC200 - Ann Hossler - Travis Bodell
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
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold
was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
T YPOGRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY:
A MANUAL OF DESIGN
niggli verlag emil ruder Round 4: Round One: Spine + Back Cover
TYPOGRAPHY: A MANUAL OF DESIGN
niggli verlag 1967
VISC200 - Ann Hossler - Travis Bodell
that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
NIGGLI VERLAG
T YPOGR APHY: a manual of
DESIGN of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Round 4: Round One: Spine + Back Cover
niggli verlag
TYPO GRAPHY: a manual of
DESIGN
emil ruder
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
19 67
T YPOGR A PH Y:a man ual of DE SIGN
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught
VISC200 - Ann Hossler - Travis Bodell
EMIL RUDER
EMIL RUDER NIGGLI VERLAG
TYPOGRAPHY: A MANUAL OF DESIGN IS THE LEGACY OF EMIL RUDER.
Emil Ruder (1914– 1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy,
illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy
Round 4: Round One: Spine + Back Cover
importance on Sansserif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
T Y P O G R A P H Y: A M A N U A L O F D E S I G N
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
EMIL RUDER 1967
TYPO GRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG VISC200 - Ann Hossler - Travis Bodell
emil ruder
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 ypography: a manual of
DESIGN Round 4: Round One: Spine + Back Cover
niggli verlag emil ruder
a manual of
typography: a manual of DESIGN
The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced. Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif
typo
graphy
DE SIGN niggli verlag 1967 emil ruder
VISC200 - Ann Hossler - Travis Bodell
MOD ULAR Round Four
Round 4:: Part 2: After Round Critique 4: One: Spine + Back Cover Round 4:Round v1+ Refinement
GR ID Part Two
VISC200 - Ann Hossler VISC200 - Travis - Ann Bodell Hossler - Travis Bodell
emil ruder
typography: a manual of design is the legacy of emil ruder.
1967 niggli verlag
The volume is a
comprehensive masterpiece
seen in its overall structure: in the
themes presented,
of similarities and
in the comparison
contrasts, in the richness of the
after this
the harmoniously
published, it is
illustrations and inserted types.
Today, fifty years
emil ruder
book was first
still widely used
and referenced.
typography:
niggli verlag emil ruder
practical methodology.
distinguishable in the field of
contributors to Swiss Style
a holistic approach to
typography’s purpose was
a Swiss typographer. He is
typography for developing
designing and teaching that consisted of philosophy, theory and a systematic
Ruder was one of the major
on Sans-serif typefaces.
design. He taught that
Jan Tschichold was as
to communicate ideas
discipline of letterpress
through writing, as well as
placing a heavy importance
Round 4:: Part 2: After Critique + Refinement
No other designer since
committed as Ruder to the typography or wrote about it with such conviction.
typography: a manual of design
typography: a manual of design Emil Ruder (1914–1970) was
de sign a manual of
VISC200 - Ann Hossler - Travis Bodell
NIGGLI VERLAG
A MANUAL OF DESIGN
Round 4:: Part 2: After Critique + Refinement
design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
T YPOGRAPHY:
EMIL RUDER
mil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style
EMIL RUDER
TYPOGRAPHY: A MANUAL OF DESIGN
ypography: 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.
9 167
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
NIGGLI VERLAG
VISC200 - Ann Hossler - Travis Bodell
Typography: a Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece
typographer. He is distinguishable in
the field of typography for developing a holistic approach to designing and
Ruder to the discipline of letterpress
typography or wrote about it with such
conviction.
teaching that consisted of philosophy, theory and a systematic practical
methodology. Ruder was one of the major contributors to Swiss Style
design. He taught that typography’s purpose was to communicate ideas
through writing, as well as placing
a heavy importance on Sans-serif
typefaces. No other designer since
Jan Tschichold was as committed as
niggli verlag emil ruder Round 4:: Part 2: After Critique + Refinement
T Y P O G R A P H Y: A M A N U A L O F D E S I G N
Emil Ruder (1914–1970) was a Swiss
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
TYPOGRAPHY: A MANUAL OF DESIGN
niggli verlag 1967
VISC200 - Ann Hossler - Travis Bodell
EMIL RUDER NIGGLI VERLAG
EMIL RUDER
TYPO GRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN IS THE LEGACY OF EMIL RUDER.
The volume is a comprehensive
illustrations and the harmoniously
structure: in the themes presented,
this book was first published, it is still
masterpiece seen in its overall
contrasts, in the richness of the
Emil Ruder (1914– 1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy,
widely used and referenced.
theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy
Round 4:: Part 2: After Critique + Refinement
importance on Sansserif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
T Y P O G R A P H Y: A M A N U A L O F D E S I G N
in the comparison of similarities and
inserted types. Today, fifty years after
EMIL RUDER 1967
TYPO GRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG VISC200 - Ann Hossler - Travis Bodell
typographer. He is distinguishable in
the field of typography for developing a holistic approach to designing and
purpose was to communicate ideas
teaching that consisted of philosophy,
through writing, as well as placing
methodology. Ruder was one of the
typefaces. No other designer since
theory and a systematic practical
major contributors to Swiss Style
design. He taught that typography’s
a heavy importance on Sans-serif
Jan Tschichold was as committed as Ruder to the discipline of letterpress
typography or wrote about it with such
conviction.
TYPO GRAPHY: niggli emil ruder verlag
a manual of
DESIGN
Typography: a Manual of Design is
the legacy of Emil Ruder. The volume is a comprehensive masterpiece
of similarities and contrasts, in the
themes presented, in the comparison
harmoniously inserted types. Today,
seen in its overall structure: in the
19 67
T YPOGR A PH Y:a man ual of DE SIGN
Emil Ruder (1914–1970) was a Swiss
a manual of
DESIGN
niggli emil ruder verlag
richness of the illustrations and the
published, it is still widely used and referenced.
Round 4:: Part 2: After Critique + Refinement
emil ruder
fifty years after this book was first
TYPO GRAPHY:
VISC200 - Ann Hossler - Travis Bodell
MOD ULAR Final Comps
Final Compositions:: Round Three 4: Round One: + Refinement Spine + Back Cover Round 4:Critiques v1
GR ID VISC200 - Ann Hossler VISC200 - Travis - Ann Bodell Hossler - Travis Bodell
emil ruder
typography: a manual of design is the legacy of emil ruder.
niggli verlag
The volume is a
comprehensive masterpiece
seen in its overall
of similarities and
themes presented,
richness of the
structure: in the
in the comparison
1967
contrasts, in the illustrations and
the harmoniously
after this
Today, fifty years
published, it is
inserted types.
emil ruder
book was first
still widely used
and referenced.
typography:
niggli verlag emil ruder
Emil Ruder (1914–1970) was a Swiss
purpose was to communicate ideas through
field of typography for developing a holistic
on Sans-serif typefaces. No other designer
consisted of philosophy, theory and a
as Ruder to the discipline of letterpress
approach to designing and teaching that
systematic practical methodology. Ruder was
one of the major contributors to Swiss Style design. He taught that typography’s
Composition 1: With Grid
writing, as well as placing a heavy importance
since Jan Tschichold was as committed
typography or wrote about it with such
conviction.
typography: a manual of design
typography: a manual of design typographer. He is distinguishable in the
de sign a manual of
VISC200 - Ann Hossler - Travis Bodell
emil ruder
typography: a manual of design is the legacy of emil ruder.
niggli verlag
The volume is a
comprehensive masterpiece
seen in its overall
of similarities and
themes presented,
richness of the
structure: in the
in the comparison
1967
contrasts, in the illustrations and
the harmoniously
after this
Today, fifty years
published, it is
inserted types.
emil ruder
book was first
still widely used
and referenced.
typography:
niggli verlag emil ruder
Emil Ruder (1914–1970) was a Swiss
purpose was to communicate ideas through
field of typography for developing a holistic
on Sans-serif typefaces. No other designer
consisted of philosophy, theory and a
as Ruder to the discipline of letterpress
approach to designing and teaching that
systematic practical methodology. Ruder was
one of the major contributors to Swiss Style design. He taught that typography’s
Composition 1: No Grid
writing, as well as placing a heavy importance
since Jan Tschichold was as committed
typography or wrote about it with such
conviction.
typography: a manual of design
typography: a manual of design typographer. He is distinguishable in the
de sign a manual of
VISC200 - Ann Hossler - Travis Bodell
NIGGLI VERLAG legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the
EMIL RUDER
ypography: a Manual of Design is the
comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously
TYPOGRAPHY: A MANUAL OF DESIGN
inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
a Swiss typographer. He is
was to communicate ideas
typography for developing a
placing a heavy importance on
distinguishable in the field of holistic approach to designing
through writing, as well as
Sans-serif typefaces. No other
and teaching that consisted
designer since Jan Tschichold
a
the discipline of letterpress
of philosophy, theory and systematic
practical
methodology. Ruder was one
of the major contributors to
Swiss Style design. He taught
Composition 2: With Grid
was as committed as Ruder to typography or wrote about it
with such conviction.
A MANUAL OF DESIGN
EMIL RUDER
that typography’s purpose
T YPOGRAPHY:
mil Ruder (1914–1970) was
9 167
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
NIGGLI VERLAG
VISC200 - Ann Hossler - Travis Bodell
NIGGLI VERLAG legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the
EMIL RUDER
ypography: a Manual of Design is the
comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously
TYPOGRAPHY: A MANUAL OF DESIGN
inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
a Swiss typographer. He is
was to communicate ideas
typography for developing a
placing a heavy importance on
distinguishable in the field of holistic approach to designing
Sans-serif typefaces. No other
and teaching that consisted
designer since Jan Tschichold
a
the discipline of letterpress
of philosophy, theory and systematic
practical
methodology. Ruder was one
of the major contributors to
Swiss Style design. He taught
Composition 2: No Grid
through writing, as well as
was as committed as Ruder to typography or wrote about it
with such conviction.
A MANUAL OF DESIGN
EMIL RUDER
that typography’s purpose
T YPOGRAPHY:
mil Ruder (1914–1970) was
9 167
TYPOGRAPHY: A MANUAL OF DESIGN
EMIL RUDER
NIGGLI VERLAG
VISC200 - Ann Hossler - Travis Bodell
Emil Ruder (1914–1970) was a Swiss
Ruder to the discipline of letterpress
typographer. He is distinguishable in
the field of typography for developing a holistic approach to designing and
teaching that consisted of philosophy, theory and a systematic practical
methodology. Ruder was one of the major contributors to Swiss Style
design. He taught that typography’s purpose was to communicate ideas
through writing, as well as placing
a heavy importance on Sans-serif
typefaces. No other designer since
Jan Tschichold was as committed as
niggli verlag emil ruder Composition 3: With Grid
typography or wrote about it with such
conviction.
T Y P O G R A P H Y: A M A N U A L O F D E S I G N
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
TYPOGRAPHY: A MANUAL OF DESIGN
niggli verlag 1967
VISC200 - Ann Hossler - Travis Bodell
Emil Ruder (1914–1970) was a Swiss
Ruder to the discipline of letterpress
typographer. He is distinguishable in
the field of typography for developing a holistic approach to designing and
teaching that consisted of philosophy, theory and a systematic practical
methodology. Ruder was one of the major contributors to Swiss Style
design. He taught that typography’s purpose was to communicate ideas
through writing, as well as placing
a heavy importance on Sans-serif
typefaces. No other designer since
Jan Tschichold was as committed as
niggli verlag emil ruder Composition 3: No Grid
typography or wrote about it with such
conviction.
T Y P O G R A P H Y: A M A N U A L O F D E S I G N
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
TYPOGRAPHY: A MANUAL OF DESIGN
niggli verlag 1967
VISC200 - Ann Hossler - Travis Bodell
EMIL RUDER NIGGLI VERLAG
EMIL RUDER
TYPO GRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN IS THE LEGACY OF EMIL RUDER.
The volume is a comprehensive
illustrations and the harmoniously
structure: in the themes presented,
this book was first published, it is still
masterpiece seen in its overall
contrasts, in the richness of the
widely used and referenced.
Emil Ruder (1914–
theory and a systematic
typographer. He
Ruder was one of the
in the field of
Swiss Style design. He
1970) was a Swiss is distinguishable
typography for
developing a holistic
practical methodology.
other designer since
Jan Tschichold was as
taught that typography’s
to the discipline of
purpose was to
communicate ideas
consisted of philosophy,
well as placing a heavy
Composition 4: With Grid
serif typefaces. No
major contributors to
approach to designing and teaching that
importance on Sans-
through writing, as
committed as Ruder
letterpress typography or
wrote about it with such
conviction.
T Y P O G R A P H Y: A M A N U A L O F D E S I G N
in the comparison of similarities and
inserted types. Today, fifty years after
EMIL RUDER 1967
TYPO GRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG VISC200 - Ann Hossler - Travis Bodell
EMIL RUDER NIGGLI VERLAG
EMIL RUDER
TYPO GRAPHY: A MANUAL OF DESIGN
TYPOGRAPHY: A MANUAL OF DESIGN IS THE LEGACY OF EMIL RUDER.
The volume is a comprehensive
illustrations and the harmoniously
structure: in the themes presented,
this book was first published, it is still
masterpiece seen in its overall
contrasts, in the richness of the
widely used and referenced.
Emil Ruder (1914–
theory and a systematic
typographer. He
Ruder was one of the
in the field of
Swiss Style design. He
1970) was a Swiss is distinguishable
typography for
developing a holistic
practical methodology.
other designer since
Jan Tschichold was as
taught that typography’s
to the discipline of
purpose was to
communicate ideas
consisted of philosophy,
well as placing a heavy
Composition 4: No Grid
serif typefaces. No
major contributors to
approach to designing and teaching that
importance on Sans-
through writing, as
committed as Ruder
letterpress typography or
wrote about it with such
conviction.
T Y P O G R A P H Y: A M A N U A L O F D E S I G N
in the comparison of similarities and
inserted types. Today, fifty years after
EMIL RUDER 1967
TYPO GRAPHY: A MANUAL OF DESIGN
NIGGLI VERLAG VISC200 - Ann Hossler - Travis Bodell
typographer. He is distinguishable in
the field of typography for developing
a holistic approach to designing and
taught that typography’s purpose was to
teaching that consisted of philosophy,
communicate ideas through writing, as
methodology. Ruder was one of the major
Sans-serif typefaces. No other designer
theory and a systematic practical
contributors to Swiss Style design. He
well as placing a heavy importance on
since Jan Tschichold was as committed
as Ruder to the discipline of letterpress typography or wrote about it with such
conviction.
TYPO GRAPHY: niggli emil ruder verlag
a manual of
DESIGN
19 67
T YPOGR A PH Y:a man ual of DE SIGN
Emil Ruder (1914–1970) was a Swiss
a manual of
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.
TYPO GRAPHY:
DESIGN
niggli emil ruder verlag
Today, fifty years after this book was first published, it is still widely
used and referenced.
Composition 5: With Grid
VISC200 - Ann Hossler - Travis Bodell
typographer. He is distinguishable in
the field of typography for developing
a holistic approach to designing and
taught that typography’s purpose was to
teaching that consisted of philosophy,
communicate ideas through writing, as
methodology. Ruder was one of the major
Sans-serif typefaces. No other designer
theory and a systematic practical
contributors to Swiss Style design. He
well as placing a heavy importance on
since Jan Tschichold was as committed
as Ruder to the discipline of letterpress typography or wrote about it with such
conviction.
TYPO GRAPHY: niggli emil ruder verlag
a manual of
DESIGN
19 67
T YPOGR A PH Y:a man ual of DE SIGN
Emil Ruder (1914–1970) was a Swiss
a manual of
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.
TYPO GRAPHY:
DESIGN
niggli emil ruder verlag
Today, fifty years after this book was first published, it is still widely
used and referenced.
Composition 5: No Grid
VISC200 - Ann Hossler - Travis Bodell