Emil Ruder

[2][3] 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.

[4] He expressed lofty aspirations for graphic design, writing that part of its function was to promote 'the good and the beautiful in word and image and to open the way to the arts' (TM, November 1952 Issue).

[7] This style was defined by the use of sans-serif typefaces, and employed a page grid for structure, producing asymmetrical layouts.

[10] The book helped spread and propagate the Swiss Style, and became a basic text for graphic design and typography programs in Europe and North America.

[5]: 139 During the post war years when, in almost every field of applied art, there was still no sign of transition to a new form of expression better fitted to the times, Emil Ruder was one of the first pioneers to discard all of the conventional rules of traditional typography and to establish new laws of composition more in accord with the modern era.

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.

[5]: 222 In 1952, Schweizer Graphische Mitteilungen (SGM) fused with Revue Suisse de I'Imprimerie and Typographische Monatsblätter into a single monthly publication known by the initials TM.

[5]: 197 After twenty-five years of teaching, Ruder published a heavily illustrated book capturing his ideas, methods and approach.

The book, Typographie: A Manual for Design, represents a critical reflection on Ruder’s teaching and practice as well as a lifetime of accumulated knowledge.