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Typography: A Manual of Design

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A Swiss Style visionaryRudertaught that typography's purpose was to communicate ideas through writing,especially in sans-serifmode, and he was totally committedto the discipline of letterpress typography. Typography has one plain duty before
it and that is to convey information
in writing.” – Emil Ruder In spite of his bent for pictorial thinking, he was never tempted to indulge in merely playful designs in which the actual purpose of printing - legibility - would be lost. [10] What if Steve Jobs had gone to the Allgemeine Gewerbeschule (school) in Basel—as a number of Americans did in the 1970s—instead of Reed College? What and who would have influenced his choice of typefaces for the Macintosh? If Jobs had been in Basel he would have come under the influence either of Ruder’s followers (Ruder had died in 1970) and/or Wolfgang Weingart, Ruder’s successor as typography instructor. But along with the strong views on type held by those at the Basel school itself, he may have come under the broader sway of several designers working in a “Modernist classical” style: the elderly Jan Tschichold, the book designer Jost Hochuli, the book designer and type critic Max Cafl isch, and the type designer Hans Eduard Meier. Furthermore, in Switzerland neither Helvetica nor ITC typefaces would have loomed as large as they did during that decade in the United States. The movement laid out a very important foundation for the basics of design and minimalism. The Swiss Style was pervasive—it had a great impact across multiple design disciples, influencing art, architecture, and culture. Above all, the ethos was focused on objectivity and eliminating any sort of style for style's sake. The Swiss Style embraces clarity, precision, and stripped-down design that doesn't confuse.

Later, with its TrueType release in 1991, Apple licensed the core set fonts from the respective mfgrs, although Courier was once again made without IBM. For Apple’s 1991 TrueType release, Kris Holmes and I designed TT versions of Chicago, Geneva, New York, and Monaco. We told the story of the development in “ Notes on Apple 4 Fonts .” He is well known for his posters, which emphasised economical use of colour and fonts, in reaction to what Hofmann regarded as the “trivialization of colour”. He was an influential educator, retiring in 1987. In 1965 he wrote the “Graphic Design Manual”, a popular textbook in the field.

Designers

ivers was not added to the Linotype library until it was adapted for Linofilm in 1969, ironically with the abhorred 12-degree slope. By then, it was playing second fiddle to Helvetica. Years later, Frutiger complained that, “At Linotype, Univers was for a long time a necessary evil, an orphan that nobody really cared for. … Helvetica, however, was preened and constantly improved, so becoming a top successful product.”

One characteristic of the International Typographic Style that's hard to miss is the use of Swiss Typography, specially Akzidenz Grotesk, Folio, Helvetica, and Univers. Serif fonts were deemed too expressive, so sans serif fonts were an unobtrusive font that did the most important job—communicate clearly. Ruder began his education in design at the age of fifteen when he took a compositor's apprenticeship. By his late twenties, he began attending the Kunstgewerbeschule Zürich where the principles of Bauhaus and Tschichold's new typography were taught. [7] Speculative historical thinking, or counterfactual history, whether by historians or novelists, tries to imagine what might have happened if the outcome of a key moment in the past had been different. It has usually been applied to momentous events such as the expulsion of the Moors from Spain, the American Civil War, the two World Wars or the assassination of John F. Kennedy. But suppose we apply such thinking to something more mundane: the popularity of a typeface. Like Helvetica and Univers…for example. Bornin Zurich, Switzerland on March 20, 1914, Ruder entered his adventures in design as a teenager.Their teaching achieved an international reputation by the mid-1950sand by the mid-1960s their courses were maintaining lengthy waiting lists. But there is a good reason that he settled on Helvetica. Of these and other various options, only Helvetica is both embraced by the design profession and available to the general populace as a free font. It is thus found in both high and low design. In contrast, Arial and Comic Sans are shunned by professional designers while Univers is unknown to laymen.

After twenty-five years of teaching, Ruder publishedhis “Typographie: A Manual for Design”, a heavily illustrated book capturing his ideas, methods and approach.

That's It!

Moreover, Neue Haas Grotesk would never have been renamed Helvetica. Univers was intrinsically superior to Helvetica. It had a much larger family at the outset, with 21 members compared to four in 1960. More importantly, its family was logically designed with consistent weights and widths, something that Helvetica never achieved until its redesign as Neue Helvetica in 1982. Univers’ characters, stripped of “unnecessary” elements such as the beard on ‘G’ or the curve on the tail of ‘y,’ were also more rationally designed. It had the powerful support of Ruder, who wrote about it in Typographische Monatsblätter (TM), both upon its release and again in 1961. In 1970 Aaron Burns, Ed Rondthaler and Herb Lubalin founded the now-legendary International Typeface Corporation to produce typefaces for photocomposition from a wide range of manufacturers. ITC typefaces such as ITC Cheltenham (1975), ITC Souvenir (1971) and ITC Avant Garde Gothic (1970) were marked, like Helvetica, by a tall x-height. But that was all they had in common. Yet while Helvetica was becoming ubiquitous, ITC typefaces were running rampant, their popularity bolstered by the classic Lubalin-designed type publication U&lc.

Swiss designers were big on using the grid as a starting point, but they also challenged themselves to create designs that were balanced yet asymmetrical. Symmetry was seen as safe and routine. Asymmetry made designs dynamic, as you can see in the cover design below. White Space Bringing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology for Ruder graphic design and type design have tofunction properly,promoting “the good and the beautiful in word and image and to open the way to the arts.” Armin Hofmann's poster below uses a grid system to place the text. Hierarchy is emphasized by using a different text size. The top shapes are slightly skewed to add movement and also to add weight towards the right side of the poster. If the shapes were straight, the balance would favour the left side of the poster because the title of the poster uses a bigger point size. Poster designed by Armin Hofmann for an exhibition at the Gewerbemuseum Basel (Museum of Arts and Crafts), Public Domain. The International Typographic Style: History and ImportanceMeggs, Philip (2011). Meggs' History of Graphic Design. Hoboken, New Jersey: John Wiley & Sons. p.363. ISBN 9781118017760.

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