Emil Ruder's Principles Of Typography
Primarily influenced by the philosophies of rising Swiss style movement and those taught in his academia years, Emil Ruder own principles and philosophies can be seen to follow closely to their principles. His fundamental principles and philosophies can be summarised into three key points of typography, precision and proportion. To elaborate upon his principle of typography, Emil Ruder had very distinct philosophies upon the purpose of typography. He believed that typography had a specific role to play in design, he emphasise that its sole purpose was to communicate. This is exemplified in Typographie wherein Emil Ruder (1967) quotes “no debate, discussion can disuse the clear fact that the sole duty of typography is to communicate”. Also influenced …show more content…
His philosophies of precision proportion are based upon on a mathematically organised composition with the aid of the grid system. The mathematic grid system acts as a primary guide in controlling precise proportions of the typographies on the page as well as acting as a base foundation to guide composition of word hierarchy which thus aids in the effective communication of typography in design works. In both figures 1 and 2 there is clear indication of this practice, in his works the employment of the grid is clearly demonstrated through the sectioning of each body of text. These bodies of text sit in specific ways which form an overall outline of a rectangle which indicates where the grid may have sat. The grid system in these figures ensure that texts sit in a set space which controls the overall proportional space the texts sit relative to the others on page thus setting the groundwork of word hierarchy to create a composition of proportionate …show more content…
In figure 1, 2 and 3 the use of the san serif text is proportionately manipulated in order to create drastically larger, bolder and powerful typography, another distinct convention of the Bauhaus. Integrated with his use of contrasting the background against the colouring of the typographies, these two distinct practices create a comprehensive design of intimidation. This is another prominent characteristic of the Bauhaus movement and thus it can be concluded of its continued influence in Emil Ruder’s
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