Details: A new hard-bound reprinting of the original edition of Emil Ruder's classic. The books 19 chapters (Introduction, Writing and Printing, Function and form, Form and counter-form, The techniques of typography, Arrangements, Geometrica l- optical and organic aspects, Proportions, Point - line - surface, Contrasts, Shades of grey, Colour, Unity of text and form, Rhythm, Spontaneity and fortuity, Integral design, Variations, Kinetics, Lettering and illustration) are laid down simply and packed with wisdom applicable today. Emil is considered by many to be the father of typography as we know it today. A huge influence in our work. This book is the bequest of a great typographer for the cultural heritage of our day. In the post-war years, when in nearly every field of applied art there were still no signs whatsoever of a shift to a new, more contemporary form of expression, Emil Ruder was one of the first pioneers to abandon the conventional rules of tradional typography and create new laws that satisfied the requirements of a new typography. This book, which has seen six editions up until today and is a fundamental, new textbook, upon which generations of typographers and graphic designers have built and can continue to grow upon. This book can clearly be seen as an excellent manual. Besides that, it is a comprehensive masterpiece seen in its overall structure, in the themes presentted, in the comparison of similarities and contrasts in the richness of the illustrations and the harmoniously inserted typographic types. Behind the purely pedagogic examples of exact proportions, a rich, philosophical thinking shines through, which-moving far beyond the tasks of everyday
existence-attempts to expound upon the lessons of life's wisdom.
Emil Ruder's Typography is the timeless textbook from which generations of typographer and graphic designers have learned their fundamentals. Ruder, one of the great twentieth-century typographers was a pioneer who abandoned the conventional rules of his discipline and replaced them with new rules that satisfied the requirements of his new typography. Now in its sixth printing, this book has a hallowed place on the bookshelves of both students and accomplished designers. Dimension: 83/4 x 11 inches, over 500 examples, English, German & French text.
"Typography has one plain duty before it, and that is to convey information in writing. No argument or consideration can absolve typography from this duty. A printed work which cannot be read becomes a product without a purpose."emil ruder
Based on the design advances of the ‘30s, a new graphic design style emerged in the ‘50s that would have an impact far beyond Switzerland’s borders. Because of its strong reliance on typographic elements, the new style came to be known as the International Typographic Style. It became the predominant graphic design style in the world in the ‘70s, and continues to exert its influence today.
Its hallmarks were: the use of a mathematical grid to provide an overall orderly and unified structure; sans serif typefaces (especially Helvetica, introduced in 1961) in a flush left and ragged right format; and black and white photography in place of drawn illustration. The overall impression is simple and rational, tightly structured and serious, clear and objective, and harmonious. The style was refined at two design schools in Switzerland, one in Basel led by Armin Hofmann and Emil Ruder, and the other in Zurich under the leadership of Joseph Muller-Brockmann. All had studied with Keller at the Zurich school of design before WWII.
The new style became widely synonymous with the "look" of many Swiss cultural institutions which used posters as advertising vehicles. Hofmann’s series for the Basel State Theater and Muller-Brockmann’s for Zurich’s Tonhalle are two of the most famous. Hofmann’s accentuation of contrasts between various design elements and Muller-Brockmann’s exploration of rhythm and tempo in visual form are high notes in the evolution of the style.
In addition, the new style was perfectly suited to the increasingly global postwar marketplace. The Swiss language problem became a world-wide problem, and there was a strong need for clarity in word and symbol. Corporations needed international identification, and global events such as the Olympics called for universal solutions which the Typographic Style could provide. With such good teachers and proselytizers, the use of the International Typographic Style spread rapidly throughout the world. In the US, Hofmann’s Basel design school established a link with the Yale School of Design, which became the leading American center for the new style.