Emil Ruder Together and That Type Design, in Its “My Most Creative Period Was in Fact the Worst Because at That Time My Work Was Still Illustrative

Lettera Text Family Overview

Styles About the Font The LL Lettera font family hear- The Müller-Brockmann sketches, Lettera Text Light kens back to an original typeface for one, revealed that he was design by Josef Müller-Brockmann attempting to adapt some version (1914–96), which Olivetti commis- of Akzidenz Grotesk for type- Lettera Text Light Italic sioned in 1968 for future use with writers. In comparison, the tech- their newly developed golf ball nical drawings from Ivrea allowed typewriter. us to trace the modifications Lettera Text Regular LL Lettera Text is a full-blown executed by Olivetti’s engineers. proportional adaptation of the Based on these findings, both earlier monospaced version the monospace version and the Lettera Text Italic LL Lettera (2008). It was debuted text font were thoroughly over- and released in 2011. hauled in the course of several Lettera Text Medium These first versions were based years. They were re-issued in 2019. on a single sheet specimen of one cut, which Kobi Benezri had Lettera Text Medium Italic encountered while working on a Müller-Brockmann monograph. Following 2012, further research Lettera Text Bold at Olivetti’s archive in Ivrea, Italy – as well as at Josef Müller- Brockmann’s estate in Zurich – led Lettera Text Bold Italic to a better understanding of the font and the production process. Lettera Text Black This research made clear that there were two groups of sources. Lettera Text Black Italic Encoding LL Lettera Text: Latin Extended

File Formats Opentype CFF, Truetype, WOFF, WOFF2

Separate Design Kobi Benezri (2011) PDF Lettera Mono Light Lettera Mono Light Italic Contact General inquiries: Lineto GmbH [email protected] Lutherstrasse 32 CH-8004 Zürich Lettera Mono Regular Technical inquiries: Switzerland Lettera Mono Italic [email protected] Sales & licensing inquiries: www.lineto.com Lettera Mono Medium [email protected] Lettera Mono Medium Italic

LL Lettera Text – Specimen 2 Lineto Type Foundry Glyph Overview

Uppercase Case Sensitive A B C D E F G H I J K L M N O P Q R S Forms ( ) [ ] { } - – — ‹ › « » T U V W X Y Z Currency, Mathematical € $ £ ¥ ₡ ₦ ₲ ₵ ¢ ₺ ₿ � ¤ % ‰ Lowercase a b c d e f g h i j k l m n o p q r s ß t u Operators % ‰ + − × ÷ = ≡ ≠ ≈ < > ≤ ≥ ± ~ ¬ v w x y z ◊ ∂ ∆ ∏ ∑ Ω μ ł ∫ ∞ √ ∕ ^ | ¦ ℓ ℮ °

Proportional, 0 0 1 2 3 4 5 6 7 8 9 0 � � � � � � � � � � Fractions Tabular Figures ↉ ½ ⅓ ¼ ⅕ ⅙ ⅐ ⅛ ⅑ ⅒ ⅔ ⅖ ¾ ⅗ ⅜ ⅘ ⅚ ⅝ ⅞

Ligatures fi fl ff ffi ffl Numerators, Denominators 1 0 1 2 3 4 5 6 7 8 9 ⁄ � � � � � � � � � � Std Accented Characters À à Á á Â â Ã ã Ä ä Å å Æ æ Ç ç È è É é Superscripts, – Standard Subscripts H ⁰ ¹ ² ³ ⁴ ⁵ ⁶ ⁷ ⁸ ⁹ H ₀ ₁ ₂ ₃ ₄ ₅ ₆ ₇ ₈ ₉ Western Ê ê Ë ë Ì ì Í í Î î Ï ï Ð ð Ł ł Ñ ñ Œ œ Ò ò Ó ó Ô ô Õ õ Ö ö Ø ø Š š Ù ù Ú ú Arrows ← → ↑ ↓ ↖ ↗ ↘ ↙ Û û Ü ü Ý ý Ÿ ÿ Ž ž Þ þ Symbols ◊ ▲ ▼ Pro Accented Characters Ā ā Ă ă Ą ą Ǽ ǽ Ć ć Ĉ ĉ Ċ ċ Č č Ď ď – Latin Roman Ⅰ Ⅱ Ⅲ Ⅳ Ⅴ Ⅵ Ⅶ Ⅷ Ⅸ Ⅹ Ⅺ Ⅻ Ⅼ Ⅽ Ⅾ Ⅿ Extension Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ Ğ ğ Ġ ġ Numerals Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı Ĳ ĳ Ĵ ĵ Ķ ķ ĸ ⅰ ⅱ ⅲ ⅳ ⅴ ⅵ ⅶ ⅷ ⅸ ⅹ ⅺ ⅻ ⅼ ⅽ ⅾ ⅿ Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ń ń Ņ ņ Ň ň ŉ Ŋ ŋ Ō ō Ŏ ŏ Ő ő Ǿ ǿ Ŕ ŕ Ŗ ŗ Ř ř Ś ś Ŝ ŝ Ş ş Ș ș Ţ ţ Ț ț Ť ť Ŧ ŧ Ũ ũ Ū ū Ŭ ŭ Ů ů Ű ű Ų ų Ŵ ŵ Ŷ ŷ Ź ź Ż ż Ə ə

Punctuation ( . , : ; ? ! ¿ ¡ … ) [ & @ # # ] { - – — } « » ‹ › „ “ ” ‚ ‘ ’ _ / \ ' " † ‡ * • ¶ § © ® ™

LL Lettera Text – Specimen 3 Lineto Type Foundry Layout Features

Case Sensitive Forms [Discret] [DISCRET� May–July MAY�JULY «Hello» «HELLO�

Standard Ligatures flat office flat office filled ﬁlled

Tabular Lining 4.9.1984 4.9.1984 Numbers 1.1.2011 1.1.2011

Arbitrary Fractions 65 2/5 × 9 4/5 65 ⅖ × 9 ⅘ 4 1/6 ÷ 2 1/5 4 ⅙ ÷ 2 ⅕ 100 5/8 × 32 3/4 100 ⅝ × 32 ¾

Superscript North1, East2 North1, East2

Subscript H2O H₂O

Ordinals 1a 1ª

Sharp S Nebenstrasse Nebenstraße

LL Lettera Text – Specimen 4 Lineto Type Foundry LL Lettera Text Light 58 Points Aligned 45 Points Information Basic, Clear Knowledge LEGIBLE Definite 35 Points Minimalistic DYNAMIC Precision 47 Points Elementary Readability, Rhythm RULES

Forms 27 Points Sans-Serif Grid Systems Standardization Timelessness Harmony Uniformity, Visually ICONIC WHITESPACE

LL Lettera Text – Specimen 5 Lineto Type Foundry LL Lettera Text Light

16 Points 9 Points to the prerequisites of the mathematical way of thinking.” Max Bill “In themselves, experiments are not “Many young people were attracted to my professional approach. It allowed for an individual interpretation and development of my art. Infinite amounts of energy are ideas without lapsing into a subjective and alienating interpre- wasted because everybody feels he has tation of the job. I always focused on the theme, the product, the event, and it was this which gave rise to the design solution. to make his own start, his own be Until Müller-Brockmann & Co was set up, all the work that left my studio was checked, evaluated and possibly amended by me. ginning, instead of getting to know what Thereafter the partners took on projects that they saw through has already been done. It is doubtful INDEPENDENTLY FROM START TO FINISH.” MÜLLER-BROCKMANN “HELVETICA IS ESSENTIALLY GOOD AT FUNCTIONAL TASKS that anyone who doesn’t want to...” LIKE ROAD SIGNS, WAY FINDING SIGNS AROUND BUILDINGS,

“Perfect typography is certainly the most 7 Points “From all these experiences the most im- the data banks provide in a positive way, portant thing I have learned is that leg in a communicative spirit, because ELUSIVE OF ALL ARTS. SCULPTURE ibility and beauty stand close together and communication is basic human need.” that type design, in its restraint, should “My library is the expression of my curiosity. IN STONE ALONE COMES NEAR be only felt but not perceived by the reader.” I would advise young people to look “I am sure in some years from now you will at everything they encounter in a critical IT IN OBSTINACY.” JAN TSCHICHOLD see new posters with just white space and light and try to find a better solution. four lines in Garamond.” Adrian Frutiger Then I would urge them at all times to be “The experience of holding a valuable book self-critical.” Josef Müller-Brockmann 13 Points in your hands cannot be replaced by tech- “In a badly designed book, the letters “Far from creating a new formalism, what these nology, no matter how perfect. To be able mill and stand like starving horses in a field. can yield is something far transcending surface to capture an interesting thought in el- In a book designed by rote, they sit like EGANT TYPOGRAPHY WILL ALWAYS BE STALE BREAD AND MUTTON ON THE values since they not only embody form as AN INCOMPARABLE DELIGHT. BUT PAGE. IN A WELL-MADE BOOK, WHERE FUTURE GENERATIONS WILL NO DOUBT DESIGNER, COMPOSITOR AND PRINTER beauty, but also form in which intuitions or ideas LEARN TO USE THE OPPORTUNITIES HAVE ALL DONE THEIR JOBS, NO or conjectures have taken visible substance.” 5 Points “In my own work, I feel compelled to set opinion.” “The design of the music jects in a rational way. A predominately “We call those works of art concrete that came an example: to cultivate a corner of posters is a special case in that artistic foundation may be appropri- unity and to struggle against dismem- they were not sales oriented – their ate for artists, painters and sculptors, into being on the basis of their inherent resources berment and fragmentation in appeal was intended to be artistic. but as a teacher of graphic design the field of design.” Armin Hofmann The stylistic difference between the I have repeatedly impressed upon my “The unconscious is part of the support posters with pictorial geometric students that while it is important and rules – without external borrowing from structure: everything that is stored forms and the purely typographic to be interested in music, old and new, there comes to light in the work pro- ones is that the latter contain no in theatre and opera, old and new natural phenomena, without transforming those cess. What I try to achieve in my work is pictorial interpretation of the musical architecture, they must also concern to communicate information about programme. Without exception themselves with town planning, phenomena, in other words: not by abstraction.” an idea, event or product as clearly as they are free creations that took shape environmental issues and politics.” possible. Such a down-to-earth pres- within the underlying grid system. “I see the task of parents and teachers “THUS, THE MORE SUCCINCTLY A TRAIN OF entation is barely affected by present- For the most part the effect of these as being to instil a positive attitude day trends. But it is not so much a posters is lighter and more poetic.” in young people, to explain that each question of making a statement that “In training young people to be individual can have vital social and THOUGHT WAS EXPOUNDED, AND THE MORE WILL BE VALID FOR ALL TIME AS OF DESIGNERS, THE FIRST THING THAT CULTURAL FUNCTION AND TO BEING ABLE TO COMMUNICATE IN- MUST BE TAUGHT ARE THE LAWS DIRECT THEIR WORK TOWARDS THE COMPREHENSIVE THE UNITY OF ITS BASIC FORMATION TO THE RECIPIENT IN A OF DESIGN WHICH ENABLE THEM TO INTERESTS OF THE GENERAL PUB- WAY THAT LEAVES HIM OR HER FREE DEVELOP THEIR OWN TALENTS LIC.” JOSEF MÜLLER BROCKMANN IDEA, THE CLOSER IT WOULD APPROXIMATE TO FORM A POSITIVE OR NEGATIVE AND TO APPROACH RATIONAL PRO- “WHEN YOU LOOK BACK ON YOUR

LL Lettera Text – Specimen 6 Lineto Type Foundry LL Lettera Text Light 58 Points Abstract 45 Points Guideline Bold, Black Homogeneity IMPACT & White 35 Points Meticulousness CLARITY Neat 47 Points Cleanliness Objectivity, Order RATIONAL

Counter-form 27 Points Rigor, Regularity Essential Simplicity Tension, Typography Functionalism Universal, Unity GEOMETRIC WELL-DEFINED

LL Lettera Text – Specimen 7 Lineto Type Foundry LL Lettera Text Light Italic

16 Points 9 Points “Today we are inundated with such an immense flood of printed mat- “From all these experiences the most ter that the value of individual work has depreciated, for our har- assed contemporaries simply cannot take everything that is printed important thing I have learned is today. It is the typographer’s task to divide up and organize and in that legibility and beauty stand close terpret this mass of printed matter in such a way that the reader will have a good chance of finding what is of interest to him.” Emil Ruder together and that type design, in its “My most creative period was in fact the worst because at that time my work was still illustrative. But this period of discovery and clarifica- restraint, should be only felt but not tion eventually led to the rich productivity of my 40s.” Müller-Brockmann perceived by the reader.” Adrian Frutiger CONCRETE ART IS BASED ON MEASURABLE PROPORTIONS. IN MY DESIGNS FOR POSTERS, ADVERTISEMENTS, BROCHURES AND “Readers want what is important EXHIBITIONS, SUBJECTIVITY IS SUPPRESSED IN FAVOUR OF A

to be clearly laid out; they will not read 7 Points “To design is to plan, to order, to relate, and more humane future should not be under- to control. In short, it opposes all means estimated.” “The study of art has been one WHAT IS TOO TROUBLESOME.” “MY of disorder and accident.” Emil Ruder of my basic needs and I have consciously “Negative things can also provoke positive sought an artist as my companion in ERRORS WERE MORE FERTILE THAN things. The search for a better quality life: my first wife, who died tragically early of life has led to the creation of many insti- in a car crash, was a musician and my I EVER IMAGINED.” J. TSCHICHOLD tutions concerned with examining eastern second wife, Shizuko Yoshikawa, is a and western philosophy in order to find painter. Concrete Art is the kind of art that meaning of our lives and how we might appeals to me most directly as a graphic 13 Points live accordingly. In the various areas artist. Its principles, which are open to “Illustrations are always understood as an artistic of design the democratic approach – the analysis, can be transmuted into graphic product, a subjective statement. Photography is awareness that our professional efforts terms. Of all the art movements of the SHOULD BE DIRECTED TO THE GOOD OF TWENTIETH CENTURY IT IS THE ONE a credible reflection of reality that enables me to THE GENERAL PUBLIC – HAS BECOME THAT IS UNIVERSAL AND STILL OPEN TO STRONGER. THE CONTRIBUTION OF THIS DEVELOPMENT. YOU MIGHT SAY IT IS make an objective statement. Emotion in images, APPROACH TO THE ACHIEVEMENT OF A THE ART IN WHICH I CAN DISCOVER THE as in painted realisations of ideas and visions, 5 Points “We cannot alter the essential shape of “While macrotypography – the typo- garded as an infallible catechism: can produce genuine works of art, but in advertis- a single letter without at the same graphic layout – is concerned with the rather, he counts on intelligent design- time destroying the familiar printed format of the printed matter, with ers, who, in the spirit of this book, ing I value as much objectivity as possible.” face of our language, and thereby the size and position of the columns of finds appropriate solutions to the prob- rendering it useless.” Jan Tschichold type and illustrations, with the organ lems that arise in a given context, even “The greatest works of art impress ization of the hierarchy of headings, though not all potential problems “Symmetry and the central axis are what charac- through their balance, their harmony, subheadings and captions, detail typo- are dealt with in this text” Jost Hochuli their proportions, all of which can graphy is concerned with the indi- “I have always felt obliged to make a terise fascist architecture. Modernism and be measured. That is one of the reasons vidual components – letters, letter constructive contribution to the future why paintings, sculptures and build- spacing, words, wordspacing, lines and of society. I have never lost the feel- democracy reject the axis.” J. Müller-Brockmann ings that are thousands of years old – linespacing, columns of text. These are ing that I have a task to perform. What by the Egyptians, Chinese, Assyrians the components that graphic or ty pleases me is that I have always “AT THE END OF THE 1950S JAPAN’S INTER- and so on – are still fascinating to pographic designers like to neglect, as sought what is better, that I have re- us today. Mondrian, on the other hand, they fall outside the area that is nor- mained self-critical, and that I am did not use measurements and there- mally regarded as ’creative’. There are still interested in things outside my own EST IN THE WEST WAS ENORMOUS. THEN CAME FORE TOOK A LONG TIME TO DO MANY MATTERS OF DETAIL TYPO FIELD. MY LIBRARY IS THE EXPRES- A PAINTING. HOWEVER, FEW ARTISTS GRAPHY WHICH ONE CAN, IN GOOD SION OF MY CURIOSITY. I WOULD THE 1960 WORLD DESIGN CONFERENCE IN POSSESS AS MUCH INTELLIGENCE, CONSCIENCE, RESOLVE DIFFER- ADVISE YOUNG PEOPLE TO LOOK AT SENSIBILITY AND INTUITION AS ENTLY. THE AUTHOR WOULD CER- EVERYTHING THEY ENCOUNTER IN TOKYO, TO WHICH I WAS INVITED. I OUTLINED MONDRIAN” J. MÜLLER-BROCKMANN TAINLY NOT WANTTHIS BOOKTO BE RE- A CRITICAL LIGHT AND TRY TO FIND A

LL Lettera Text – Specimen 8 Lineto Type Foundry LL Lettera Text Regular 58 Points Aicher 45 Points Hochuli Ballmer, Bill Keller, Kutter LOHSE Büchler 35 Points Matter CROUWEL Müller-Brockmann 47 Points Dietschi Neuburg ODERMATT, RAND

Frutiger 27 Points Ruder, Rudin Gerstner, Graf Soland, Tissi, Tschichold Vignelli Hofmann Vivarelli, Wyss HONEGGER ZIMMERMANN

LL Lettera Text – Specimen 9 Lineto Type Foundry LL Lettera Text Regular

16 Points 9 Points “For after all, a poster does more than simply supply information on “I believe that one is more likely to the goods it advertises; it also reveals a society’s state of mind” “The creation of all those symbols and logotypes which are an ever develop a better perception of color by more striking feature of the world in which we live calls for a new and looking at the subtle harmonies of fresh approach to lettering in the part of the designer. In these logotypes the combination of letters can be more or less obvious; but black-and-white images than by look- only deliberately contrived encounters of elements and confrontations of values can lead beyond the letters to new forms of expression.” ing at the multi-and-overcolored illu- “There should be no separation between spontaneous work with an sions color photography often creates.” EMOTIONAL TONE AND WORK DIRECTED BY THE INTELLECT. DIS CIPLINE AND FREEDOM ARE THUS TO BE SEEN AS ELEMENTS “Another reason for my interest in the OF EQUAL WEIGHT, PARTAKING OF THE OTHER.” ARMIN HOFMANN

use of black-and-white in design lies 7 Points “The grid system is an aid, not a guarantee. together and make it interesting.” It permits a number of possible uses and “Graphic design, which evokes the symme- IN MY INTENSE PREOCCUPATION each designer can look for a solution appro- tria of Vituvius, the dynamic symmetry piate to his personal style. But one must of Hambidge, the asymmetry of Mondrian; WITH THE FORMS AND ANALYSIS OF learn how to use the grid; it is an art which is a good gestalt, generated by that requires practice” J. Muller-Brockmann intuition or by computer, by invention or SIGNS AND SYMBOLS.” A. HOFMANN “A printed work, which cannot be read, by a system of coordinates, is not good becomes a product without purpose.” design if it does not communicate.” “Typography has one plain duty before it and “I never did calligraphy... But handwriting 13 Points that is to convey information in writing. is an entirely different kind of thing. “The works of ’abstract’ art are subtle creations No argument or consideration can absolve It’s part of the syndrome of modernism... of order out of simple contrasting elements.” typography from this duty.” Emil Ruder It’s part of that asceticism.” Paul Rand “PROVIDING, MEANING TO A MASS OF “I AM NOT A MAN OF WORDS. IT WOULD “The book designer strives for perfection; UNRELATED NEEDS, IDEAS, WORDS AND TAKE ME A LOT OF TIME TO WRITE PICTURES - IT IS THE DESIGNER’S A CRITIQUE OF SOMETHING. I WOULD yet every perfect thing lives somewhere in the JOB TO SELECT AND FIT THIS MATERIAL RATHER IGNORE IT. THEREFORE, IT neighborhood of dullness and is frequently 5 Points “My layout is not a Bauhaus layout. as art, has multiple definitions; there is initials, are at best superficial orna mistaken for it by the insensitive.” Jan Tschichold Nor was I ever in favor of the so-called no single definition. Design can be art. mentation unless logically employed.” ’Swiss typography’, which at the time Design can be aesthetics. Design is so “The principal role of a logo is to identify, “The whole point with type is for you not to be practically only used 8 pt. sans serif simple, that’s why it is so complicated.” and simplicity is its means. Its effec- type for everything. That was wrong. “There’s a certain kind of research tiveness depends on distinctiveness, Typography has to serve a specific pur- you have to listen to – the factual stuff, visibility, adaptability, memorability , aware it is there. If you remember the shape of pose; it has to be legible. Therefore not opinion. Facts are facts. Sugar is universality, and timelessness.” my layout obeyed specific necessities: sweet – it’s not a matter of opinion. “Any system that sees aesthetics a spoon with which you just ate some soup, to show the work as much and as It just is.” “Design is a way of life, a point as irrelevant, that separates the artist elegantly as possible.” Walter Herdeg of view. It involves the whole complex from his product, that fragments then the spoon had a poor shape.” Adrian Frutiger “I haven’t changed my mind about of visual communications: talent, the work of the individual, or creates modernism from the first day I ever did creative ability, manual skill, and tech- by committee, or makes mincemeat “GEOMETRY IS NEVER WRONG.” PAUL RAND it... It means integrity; it means hon- nical knowledge. Aesthetics and of the creative process will, in the esty; it means the absence of senti- economics, technology and psychology long run, diminish not only the product mentality and the absence of nostalgia; are intrinsically related to the process.” but the maker as well.” Paul Rand “THEY WORK NOW WITH COMPUTERS IT MEANS SIMPLICITY; IT MEANS “ARTISTIC TRICKS DIVERT FROM “MY DESIRE WAS TO DEFINE WHAT IS CLARITY. THAT’S WHAT MODERNISM THE EFFECT THAT AN ARTIST ENDEAV BEAUTIFUL IN THE WORLD AND FOR BUILDING BUILDINGS AND BOOKS, BUT MEANS TO ME.” “DESIGN IS THE ORS TO PRODUCE, AND EVEN EX- WHO MAKES IT BEAUTIFUL. IF I DID AN METHOD OF PUTTING FORM AND CELLENT ELEMENTS SUCH AS BUL- ISSUE ON PICTOGRAMS, I WANTED NOT EVER WITH NEW IDEAS.” EMIL RUDER CONTENT TOGETHER. DESIGN, JUST LETS, ARROWS, BRACKETS, ORNATE TO SHOW HOW MUCH PICTOGRAMS

LL Lettera Text – Specimen 10 Lineto Type Foundry LL Lettera Text Italic 58 Points Albers 45 Points Itten Bayer, Both Kallai, Kessler LEPPIEN Brandt 35 Points Marcks BREUER Moholy-Nagy, Muche 47 Points Dell Oelze PETERHANS

Dicker-Brandeis 27 Points Reich, Ronget Feininger Schlemmer, Schmidt Schreyer Hilberseimer Soupault, Stölzl, Umbehr GERMAIN WAGENFELD

LL Lettera Text – Specimen 11 Lineto Type Foundry LL Lettera Text Italic

16 Points 9 Points “Through the removal of color, objects become neutralized and as in- “If you remember the shape of your terchangeable as letters of the alphabet. Above all, I am interested in the way an object changes in meaning when its context changes”. spoon at lunch, it has to be the wrong “When reduced to black and white, the processes of contrast and shape. The spoon and the letter are confrontation become clearer, more understandable, and easier to learn—as much for the designer as for the audience.” Armin Hofmann tools; one take food from the bowl, the “When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. [...] Thus I also grasped that the other take information off the page. empty spaces are the most important aspect of a typeface” A. Frutiger When it is a good design, the reader has “I POSSESS ALL FOURTEEN OF THE BAUHAUS BOOKS AND THEIR UNDERLYING SENSIBILITY, THE INTELLECTUAL BREADTH to feel comfortable because the letter AND IMAGINATIVE RANGE OF KLEE AND SCHLEMMER, ITTEN AND

is both banal and beautiful.” A. Frutiger 7 Points “Perfect typography is certainly the most their ignorance they find such experiments elusive of all arts. Sculpture in stone alone acceptable. It’s nice to try something “I EXPLOIT WHAT BRILLIANT PEOPLE comes near it in obstinacy.” J. Tschichold out – that is positive – but it doesn’t mean “When Picasso invented a new way of I should ignore the negative aspects.” HAVE CREATED IN THE WAY OF painting he didn’t say, ’I experimented.’ “Creativity is innate in everyone. It is open He had worked it through. When you to new techniques, instruments and so- KNOWLEDGE, IMAGINATION AND PSY look at typefaces like these, they seem fee- cial arrangements. You can only glimpse ble, and what is feeble is never good. which new creative forms will be good Everything in history that has been good enough to survive the passage of time, 13 Points has had power and expression. If there but what we have up to now are hopeless “An object represented photographically in black is only a hint of greatness, then it cannot attempts.” Josef Müller-Brockmann and white demands symbolic interpretation; be built upon. But when young people “A classical Roman, for instance, is equally LACK KNOWLEDGE AND VISION, WHEN GOOD FOR MANY PURPOSES AND IS any abstract traits, however, disappear complete- THEY ARE FASCINATED BY SOMETHING THUS OBJECTIVELY USEFUL. IT IS NOT THEY THINK IS GREAT BECAUSE THEY SEEN PRIMARILY AS AN INDIVIDUAL ly when color is introduced”. Armin Hofmann LACK TERMS OF REFERENCE, THEN IN TYPE BUT AS LEGIBLE AND ANONYMOUS “The material of typography is the black, and it is 5 Points “Typography must be as beautiful of “the surface by means of the grid, made graphic design. He was very the designer’s task with the help of this black as a forest, not like the concrete jungle a knowledge of the rules that govern stubborn. Hofmann didn’t care, but of the tenements It gives distance legibility (line length, word and letter Ruder was not really happy with a to capture space, to create harmonious whites between the trees, the room to breathe spacing and so on) and the meaningful typographer making graphic design. and allow for life.” Adrian Frutiger use of colour are among the tools a Ruder made pure typography and “The orbit of human vision has widened designer must master in order to com- passed that on to his students. It had inside the letters as well as between them.” and art has annexed fresh territories plete his or her task in a rational and nothing to do with graphic design, that were formerly denied to it.” economic matter.” J. Müller-Brockmann that is clear. This was also the time “Helvetica is the jeans, and Univers the dinner “I am of the opinion that it is possible to “Not every school in Switzerland was when Univers came onto the market develop an art largely on the basis as good as Basel. Zurich perhaps, but and opened a lot of possibilities. jacket. Helvetica is here to stay.” Adrian Frutiger of mathematical thinking” Max Bill nobody spoke about Bern and Lucerne, It was the big time of Ruder. There was “Order was always wishful thinking for they were totally unknown. But all Ruder-type experimentation, which “I HAVE NEVER MAINTAINED THAT OBJEC- me. For 60 years I have produced that university level is nonsense, it is for me is wallpaper typography. Repe- disorder in files, correspondence and only talking, speaking, and problems. tition typography, for me, is not typo books. In my work, however, I have AL- It does nothing. I think it is a bad graphy. In the beginning maybe repeti- TIVE-INFORMATIVE ADVERTISING IS UPLIFTING. WAYS ASPIRED TO A DISTINCT IDEA. BUT IT IS THE PRIMARY WAY tion typography looked new, looked ARRANGEMENT OF TYPOGRAPHIC FOR HAVING AN ACADEMIC RESULT STRANGE, BUT IF YOU SEE IT TOO IT CLEARLY ISN’T LIKE THAT, BUT IT DOES AND PICTORIAL ELEMENTS, THE IN YOUR EDUCATION.” “RUDER WAS MUCH, IT IS BORING.” W. WEINGART CLEAR IDENTIFICATION OF PRIORI- A VERY STRICT TYPOGRAPHER. HE “I AM THE GHOST THAT HAUNTS REFLECT AN HONEST ATTEMPT TO PRESENT TIES. THE FORMAL ORGANISATION DIDN’T LIKE THAT A TYPOGRAPHER THE BAUHAUS...” XANTI SCHAWINSKY

LL Lettera Text – Specimen 12 Lineto Type Foundry LL Lettera Text Medium 58 Points Aalto 45 Points Kahn, Koenig Barragán Laurens LUBETKIN Candilis 35 Points Markelius CORBUSIER Mies van der Rohe 47 Points Costa Ming Pei NIEMEYER

De Marien 27 Points Neutra, Oud Fillod, Goldberg Poillerat, Rudolph Sartoris, Sołtan, Stone Gropius Tange, Villanueva JOHNSON WRIGHT, YAMASAKI

LL Lettera Text – Specimen 13 Lineto Type Foundry LL Lettera Text Medium

16 Points 9 Points “Greek architecture taught me that the column is where the light “Nothing is as dangerous in architecture is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light as dealing with separated problems. between them. To make a column which grows out of the wall and If we split life into separated problems which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.” “A city is the place of availabilities. It is we split the possibilities to make good the place where a small boy, as he walks through it, may see something that will tell him what he wants to do his whole life.” “All material building art.” “Building art is a synthesis in nature, the mountains and the streams and the air and we, are of life in materialised form. We should MADE OF LIGHT WHICH HAS BEEN SPENT, AND THIS CRUMPLED MASS CALLED MATERIAL CASTS A SHADOW, AND THE SHADOW try to bring in under the same hat not a BELONGS TO LIGHT.” “EVEN A BRICK WANTS TO BE SOMETHING”

splintered way of thinking, but all in 7 Points “A chair is a very difficult object. A sky- Certainly nothing that can be calculated scraper is almost easier. That is why or measured. It is always something im- HARMONY TOGETHER.” “FORM MUST Chippendale is famous.” “Nature, too, ponderable, something that lies between shall live its own life. We must beware things.” “Education must lead us from HAVE A CONTENT, AND THAT CON- not to disrupt it with the color of the irresponsible opinion to true respon- our houses and interior fittings. Yet we sible judgment. It must lead us from TENT MUST BE LINKED WITH NATURE.” should not attempt to bring nature, chance and arbitrariness to rational clar- houses, and human beings together into ity and intellectual order. Therefore, a higher unity.” “When one looks at let us guide our students over the road 13 Points Nature through the glass walls of the of discipline from materials, through “Marina City was not a deliberate protest against Farnsworth House, it takes on a deeper function, to creative work.” “Architecture the Bauhaus Box. It was designed rather as a significance than when one stands begins when you place two bricks care- OUTSIDE. MORE OF NATURE IS THUS FULLY TOGETHER.” “ARCHITECTURE further industrialization of architecture. I found EXPRESSED – IT BECOMES PART OF A STARTS WHEN YOU CAREFULLY GREATER WHOLE.” “GOD IS IN THE PUT TWO BRICKS TOGETHER. THERE IT in Detroit rather than in the Bauhaus that our DETAILS.” “WHAT FINALLY IS BEAUTY? BEGINS.” “LESS IS MORE.” “IT IS NOT technology for the first time in history permits 5 Points “To be modern is not a fashion, it is a “Architecture is the masterly, correct, great primary forms which light reveals us to build whatever we think… More impor- state. It is necessary to understand and magnificent play of masses to advantage; the image of these is history, and he who understands brought together in light. Our eyes are distinct and tangible within us without tantly, in the Marina City forms. I made it possi- history knows how to find continuity made to see forms in light: light ambiguity. It is for this reason that between that which was, that which and shade reveal these forms.” “Light these are beautiful forms, the most is, and that which will be.” “Space creates ambience and feel of a place, beautiful forms. Everybody is agreed ble for people to participate in community for- and light and order. Those are the as well as the expression of a struc- to that, the child, the savage and things that men need just as much as ture.” “The materials of city planning the metaphysician.” “I prefer drawing mation. Both in the use of space and in the they need bread or a place to sleep.” are: sky, space, trees, steel and ce- to talking. Drawing is faster, and leaves “Architecture is the learned game, ment; in that order and that hierarchy.” less room for lies.” “You don’t start form of space I discovered that behavior can be correct and magnificent, of forms “The purpose of construction is TO a revolution by fighting the state but assembled in the light.” “You employ MAKE THINGS HOLD TOGETHER; of by presenting the solutions.” “Modern INFLUENCED BY THE SHAPE OF SPACE. THE stone, wood and concrete, and architecture TO MOVE US.” “Architec- life demands, and is waiting for, a with these materials you build houses ture is the masterly, correct and new kind of plan, both for the house and palaces. That is construction. magnificent play of masses brought and the city. “Chairs are architecture, FACELESS ANONYMITY OF THE CORPORATE INGENUITY IS AT WORK. BUT SUD- TOGETHER IN LIGHT. OUR EYES SOFAS ARE BOURGEOIS.” “LIFE DENLY YOU TOUCH MY HEART, ARE MADE TO SEE FORMS IN LIGHT; NEVER STOPS. THE TORMENT OF BOX WHICH WE HAD USED FOR THE BUIL- YOU DO ME GOOD, I AM HAPPY AND LIGHT AND SHADE REVEAL THESE MEN WILL BE ETERNAL, UNLESS I SAY: THIS IS BEAUTIFUL. THAT IS FORMS; CUBES, CONES, SPHERES, THE FUNCTION OF CREATING AND DINGS FOR OUR GOVERNMENT, OUR HEALTH ARCHITECTURE. ART ENTERS IN.” CYLINDERS OR PYRAMIDS ARE THE ACTING AND CHANGING, LIVING

LL Lettera Text – Specimen 14 Lineto Type Foundry LL Lettera Text Medium Italic 58 Points Bauhaus 45 Points Inland Steel School John Hancock CENTER Busaras 35 Points Kunstverein CAVROIT Lovell House 47 Points Double McGraw-Hill building OLD CITY HALL

House, E-1027 27 Points Rothenberg Siedlung Elm Place Toronto-Dominion Bank Villa Savoye Fagus Factory Willis Tower, Zonnestraal GLASPALEIS SANATORIUM

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16 Points 9 Points La villa Savoye est une villa construite de 1928 à 1931 par l’architecte The Fagus Factory, a shoe last factory Le Corbusier, sur la commune française de Poissy, dans les Yvelines. Située sur un terrain de sept hectares, cette construction, baptisée in Alfeld on the Leine, Lower Saxony, « les Heures claires » par ses propriétaires et qualifiée de « ma- Germany, is an important example of chine à habiter » par son architecte, achevait la période dite des villas blanches de l’architecte. Elle est constituée d’un parallélépipède early modern architecture. Commis blanc soutenu par de fins pilotis et couverte de fenêtres en bandeau et surmonté de toits-terrasses. Elle mesure 9,40 m de haut, 21,50 m sioned by owner Carl Benscheidt who de long et 19 m de large. Le site est inscrit, avec 16 autres œuvres wanted a radical structure to express ARCHITECTURALES DE LE CORBUSIER, SUR LA LISTE DU PATRI- MOINE MONDIAL DE L’UNESCO EN 2016. VILLA DE WEEK-END the company’s break from the past, POUR LA FAMILLE SAVOYE (PIERRE, COFONDATEUR À LILLE EN

de l’Illinois aux États-Unis. Il atteint 344 5 Points Zonnestraal was built as a tuberculo- are not transparent are very sterile the engineering required to satisfy the mètres de hauteur (100 étages) et fut dessiné sis sanatorium in the 1920s and 1930s. and smooth in appearance making very patient’s needs. In fact, the architects The building features the classic design hygienic surroundings. The buildings preferred to refer to themselves as par Bruce Graham. La flèche de l’antenne cul- of the sanatorium, which focuses on are arranged in a loose ‟pin-wheel” building engineers. After abandon- as much open space and fresh air as design that created separation be- ment in the 1980s the building was possible. However, it still embodies the tween patients’ rooms, giving each of submitted to UNESCO’s list of World mine à 456,9 mètres de hauteur. Il est familière- definition of the modern architecture them the adequate amount of sun- Heritage Sites. However, with this by the immense amount of repetition light needed for therapy. The distribu- submittal, the building’s structural ment appelé « Big John » par les Chicagoans. and the avoidance of superfluous tion of space in this manner created deterioration could not be solved decoration. The building is mostly made the ability for every patient to have by demolition and rebuilding. Instead Sa construction a été achevée en 1969 : il était of transparent materials to allow a sunbathing balcony that was unob- new techniques of concrete repair as much light as possible to enter the structed by any other patient’s room had to be used. The presence of tuber- ALORS LE PLUS HAUT IMMEUBLE DU MONDE patients’ rooms. With this transpar- or building. The design of this architec- culosis and the sanatorium played a ency, the building runs a large risk of ture can be referred to as Heliothera- large role in modern architecture. overheating. However, the architects peutic Architecture (Light therapy) Though it was not the first building to EN DEHORS DE NEW YORK. AUJOURD’HUI, UNDERSTOOD THESE RISKS AND AND WAS ACTUALLY A SHORT LIVED FEATURE A NEARLY ALL GLASS INCORPORATED A COOLING SYSTEM STYLE IN ITS PURPOSE FOR THER- ARCHITECTURE, AFTER THE SANA- IL EST LE QUATRIÈME GRATTE-CIEL LE PLUS IN THE BUILDING; SOMETHING APY BECAUSE OF THE DISCOVERY TORIUM PERIOD, THE STYLE OF ALL THAT WAS NOT COMMON AT THIS OF THE CURE FOR TUBERCULOSIS. GLASS BUILDINGS STAYED A CON- ÉLEVÉ DE CHICAGO, APRÈS LA WILLIS TOWER POINT IN TIME. THE SURFACES THAT HOWEVER, THIS STYLE FOCUSES ON STANT IN MODERN ARCHITECTURE.

LL Lettera Text – Specimen 16 Lineto Type Foundry LL Lettera Text Bold 58 Points Axe 45 Points Gropius Monumental House Haus am Horn Chuey 35 Points Maison Riehl DOM-INO 330 North Wabash 47 Points Edifício O’Hara House PERL HOUSE

Copan, Energy 27 Points Rohm and Haas Plaza, Flora Temple Oheb Shalom Urbig House lamson hewlett Villa Sarabhai, Wirin LIBRARY House

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the factory was designed by Walter 7 Points In 1969, Sears, Roebuck & Co. was the area bounded by Franklin Street on the largest retailer in the world, with about east, Jackson Boulevard on the south, GROPIUS AND ADOLF MEYER. IT WAS 350,000 employees. Sears executives Wacker Drive on the west and Adams decided to consolidate the thousands Street on the north, with Quincy Street CONSTRUCTED BETWEEN 1911 AND of employees in offices distributed running through the middle from east throughout the Chicago area into one to west. This latter site was decided upon, 1913, WITH ADDITIONS AND INTERI- building on the western edge of and preliminary inquiries determined Chicago’s Loop. Sears asked its outside that the necessary permits could counsel, Arnstein, Gluck, Weitzenfeld be obtained and Quincy Street vacated. 13 Points & Minow (now known as Arnstein & Lehr, The next step was to acquire the prop- Le 875 North Michigan Avenue anciennement LLP) to suggest a location. The firm erty; a team of attorneys from the appelé John Hancock Center est un gratte-ciel consulted with local and federal authori- Arnstein law firm, headed by Andrew TIES AND THE APPLICABLE LAW, THEN ADSIT, BEGAN BUYING THE PROPERTY situé au 875 North Michigan Avenue dans le OFFERED SEARS TWO OPTIONS: PARCEL BY PARCEL. SEARS PUR- THE GOOSE ISLAND AREA NORTHWEST CHASED 15 OLD BUILDINGS FROM 100 quartier de Streeterville à Chicago, dans l’État OF DOWNTOWN, AND A TWO-BLOCK OWNERS AND PAID $2.7 MILLION TO de l’Illinois aux États-Unis. Il atteint 344 5 Points L’intuition agit par éclairs inattendus. ment!» «On devait reconstruire les rement à des colliers qui sont fixés au mètres de hauteur (100 étages) et fut dessiné Voici en la conception pure et totale villages détruits en quelques mois sommet de chaque poteau; les poteaux de tout un système de construire, envis- aussi!» Le cauchemar serait ainsi vite de béton sont coulés à pied d’œuvre par Bruce Graham. La flèche de l’antenne cul- ageant tous les problèmes qui vont oublié. On a donc conçu un système et dressés avec le système de coffrage naître à la suite de la guerre et que le de structure – ossature – complément ci-dessus. Une société technique moment présent a mis à l’actualité. indépendant des fonctions du plan livre en tous endroits du pays, des os- mine à 456,9 mètres de hauteur. Il est familière- C’est quinze ans après seulement, en de la maison: cette ossature porte satures orientées et groupées à la et à l’occasion de la Loi Loucheur que simplement les planchers et l’escalier. demande de l’architecte urbaniste ment appelé « Big John » par les Chicagoans. Le Corbusier et Jeanneret peuvent Elle est fabriquée en éléments stan- ou, plus simplement du client. Il reste appliquer intégralement les principes dard, combinables les uns avec les ensuite à installer une habitation à Sa construction a été achevée en 1969 : il était de la maison «Dom-Ino». Il a fallu quinze autres, ce qui permet une grande diver- l’intérieur de ces ossatures. Le format années d’expérimentation. de mise sité dans le groupement des maisons. de l’ossature ‟Dom-Ino”, la situation ALORS LE PLUS HAUT IMMEUBLE DU MONDE au point localisée sur les divers détails Ce béton armé-là est fait sans cof- toute particulière des poteaux, per- du système. pour permettre d’atteindre frage: à vrai dire, il s’agit d’un matériel mettent d’innombrables combinaisons à la réalisation. Le problème posé de chantier spécial qui permet de de dispositions intérieures et toutes EN DEHORS DE NEW YORK. AUJOURD’HUI, ÉTAIT LE SUIVANT LES PREMIÈRES COULER LES PLANCHERS DÉFINITI- PRISES DE LUMIÈRE IMAGINABLES DÉVASTATIONS DE LA GRANDE VEMENT LISSES DESSUS ET DES- EN FAÇADE. ON AVAIT CONÇU L’IDÉE IL EST LE QUATRIÈME GRATTE-CIEL LE PLUS GUERRE DANS LES FLANDRES EN SOUS AU MOYEN D’UN TRÈS SIMPLE D’UNE SOCIÉTÉ, SŒUR DE LA PRE- SEPTEMBRE 1914. «LA GUERRE ÉCHAFAUDAGE DE POUTRELLES MIÈRE QUI VENDRAIT, ELLE, TOUS ÉLEVÉ DE CHICAGO, APRÈS LA WILLIS TOWER DEVAIT DURER TROIS MOIS SEULE- DOUBLE T ACCROCHÉES TEMPORAI- LES ÉLÉMENTS DE L’ÉQUIPEMENT

LL Lettera Text – Specimen 18 Lineto Type Foundry LL Lettera Text Bold Italic 58 Points Austere 45 Points Honest Asymmetrical International Industrial Primary 35 Points Large panes of COLORS glass, Limitations 47 Points Constraints Modernist NO ORNAMENT

Disciplined 27 Points Ribbon windows Flat roof Steel and Concrete Truth to Materials form follows Undecorated FUNCTION VISIBLE STEEL FRAME

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16 Points 9 Points Gropius and Mies were best known for their structures of glass International Style, architectural style curtain walls spanning steel girders that form the skeleton of the building. Important examples of Gropius’s work are the Fagus that developed in Europe and the Works (Alfeld-an-der-Leine, Germany; 1911), the Bauhaus (Dessau, United States in the 1920s and ’30s Germany; 1925–26), and the Graduate Center at Harvard Univer- sity (Cambridge, Massachusetts; 1949–50)—all of which show his and became the dominant tendency concern for uncluttered interior spaces. Mies van der Rohe and his followers in the United States, who did much to spread the Inter in Western architecture during the national Style, are most clearly identified with glass-and-steel middle decades of the 20th century. SKYSCRAPERS SUCH AS THE LAKE SHORE DRIVE APARTMENTS (CHICAGO; 1949–51) AND THE SEAGRAM BUILDING, DONE The most common characteristics of JOINTLY WITH JOHNSON (NEW YORK CITY; 1958). OUD HELPED

International Style buildings are 7 Points In the 1930s and ’40s the International itations inherent in the International Style. Style spread from its base in Germany The bare and denuded quality of the RECTILINEAR FORMS; LIGHT, TAUT and France to North and South America, steel-and-glass “boxes” that embodied Scandinavia, Britain, and Japan. The clean, the style by then appeared stultifying PLANE SURFACES THAT HAVE BEEN efficient, geometric qualities of the and formulaic. The result was a reaction style came to form the basis of the archi- against modernist architecture and a COMPLETELY STRIPPED OF APPLIED tectural vocabulary of the skyscraper renewed exploration of the possibilities in the United States in the 1950s and ’60s. of innovative design and decoration. The International Style provided an Architects began creating freer, more 13 Points aesthetic rationale for the stripped-down, imaginative structures that used modern The International Style grew out of three pheno- clean-surfaced skyscrapers that be- building materials and decorative mena that confronted architects in the late came the status symbols of American cor- ELEMENTS TO CREATE A VARIETY OF PORATE POWER AND PROGRESSIVE- NOVEL EFFECTS. THIS MOVEMENT 19th century: architects’ increasing dissatisfac- NESS AT THIS TIME. BY THE 1970S SOME BECAME PROMINENT IN THE LATE 1970S ARCHITECTS AND CRITICS HAD BEGUN AND EARLY ’80S AND BECAME KNOWN tion with the continued use in stylistically ec- TOCHAFE AT THE CONSTRAINTS AND LIM- AS POSTMODERNISM. GLASS AND lectic buildings of a mix of decorative elements 5 Points Les premières réalisations embléma- ticipent également de cette tendance. Saarinen dont l’éclectisme se mani- from different architectural periods and styles tiques du style international aux États- Le siège de l’ONU à New York est feste dans l’auditorium Kresge du Unis sont les réalisations de Ludwig l’illustration la plus remarquable du Massachusetts Institute of Techno- that bore little or no relation to the building’s Mies van der Rohe à Chicago, le Centre style international après 1945. Il fut logy (1956), l’arche de Saint Louis technique de General Motors de Eero construit le long de l’East River sur un (1967) ou encore dans son travail sur Saarinen à Detroit, le Seagram Buil- terrain acquis grâce à une donation les terminaux des aéroports de New functions, the economical creation of large num- ding de Ludwig Mies van der Rohe et le de John Davison Rockefeller Junior. Il a York et Washington DC. L’Allemand Lever House de Skidmore, Owings été inauguré le 9 janvier 1951 et de- Walter Gropius, fondateur du Bauhaus, bers of office buildings and other commercial, and Merrill à New York. Le building de vient le symbole de l’internationalisme enseigne l’architecture à Harvard la Philadelphia Saving Fund Society et du progrès. Il applique la conception et construit avec Pietro Belluschi residential, and civic structures that served présente un plan original en forme de T de bâtiments séparés selon leur fonc- l’immeuble controversé de la Pan Am majuscule et joue sur les effets de tion. Le gratte-ciel abritant le Secré à New York (1963). Il forme les grands A RAPIDLY INDUSTRIALIZING SOCIETY, AND dissymétrie. Ses concepteurs, George tariat des Nations unies culmine à 164 architectes de la génération sui- Howe et William Lescaze, sont parve- mètres et se présente sur deux faces vante. Ludwig Mies van der Rohe arrive nus à rendre un effet propre au style comme un mur-rideau de verre et alu- aux États-Unis en 1937 et applique THE DEVELOPMENT OF NEW BUILDING INTERNATIONAL, UN EFFET DE PEAU MINIUM, ALORS QUE LES AUTRES SES CONCEPTIONS DU CLASSICISME TENDUE SUR UN SQUELETTE MÉ CÔTÉS SONT COUVERTS DE PLAQUES MODERNISTE À NEW YORK (SEA- TECHNOLOGIES CENTRING ON THE USE OF TALLIQUE. LA FAÇADE HORIZONTALE DE MARBRE. ENFIN, LA PÉRIODE DE GRAM BUILDING, 1958), CHICAGO ET LES GRANDS PANNEAUX DE L’APRÈS-GUERRE EST MARQUÉE PAR (UNIVERSITÉ À SOUTH SIDE). IL EST IRON AND STEEL, REINFORCED CONCRETE, VERRE DU MOMA DE NEW YORK PAR- LES ŒUVRES DU FINLANDAIS EERO L’ARCHITECTE LE PLUS FÉCOND DE

LL Lettera Text – Specimen 20 Lineto Type Foundry LL Lettera Text Black 58 Points Azkona 45 Points Ingalls Rink Corporate HQ Kleinhans music HALL CBS 35 Points JK Buildings BUILDING Maison Feldmann 47 Points EDF Tower Oare Pavilion RICE HOUSE Flaine 27 Points Sunning Plaza, TWA Green Building Flight Center Usine Claude-et-Duval hill college Vivian Beaumont Theater HOUSE Waterfront Tower

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16 Points 9 Points “Even in modern art, artists have used methods based on calculation, “Color has driven photography entire- inasmuch as these elements, alongside those of a more personal and emotional nature, give balance and harmony to any work of art.” ly from the domain of reading and “I made the first Moebius strip without knowing what it was.” M. Bill banished it to the realm of viewing”. “I feel a deep obligation to tradition in so far as it is the conduit of timeless values. My efforts to educate myself, to understand the “Lithographed posters fulfilled, interconnections in Constructivism for instance, explain perhaps my openness to other disciplines such as art and architecture. These and in principle continue to fulfill, the supplied the spiritual and aesthetic soil for the growth of a corre- most important demands imposed SPONDING PERSONAL FORMAL IDIOM, AN ARCHITECTONIC TY- POGRAPHY THAT CONFINED ITSELF TO ESSENTIALS AND FOUND by the large format: visibility, simplic- A CONTEMPORARY EXPRESSION FOR UNIVERSAL VALUES.”

ity of message, originality of form, 7 Points “I became a graphic designer by accident. Afterwards I enrolled to study graphic At school I was loath to write much design at the Zurich Gewerbeschule.” SINGULARITY OF COLOR SCHEME, for compositions so I put in illustrations “Bill, Lohse, Neuberg and Vivarelli were instead. My teacher enjoyed them and my mentors. The first two through AND INTELLECTUAL CLARITY.” thought I had talent. He suggested that their artistic works, publications and I should pursue an artistic career: gra- their activity in the Swiss Werkbund, “THE SUPER-REALISTIC LIKENESSES vure etching or retouching, for instance. and Neuberg as a critic and designer, had So I was apprenticed as a retoucher in a lasting positive influence on all areas a printing works. I lasted one day because of design. I, too, in my work – and thanks 13 Points I said that this wasn’t artistic work. to good collaborators – was able to “that appear in television and in advertising fail After that I was apprenticed to two make a positive contribution in the 1950s to create the contrary or counterimages elderly architects. With them I lasted four and 1960s. My students in Zurich WEEKS. THEN I WENT TO SEE ALL THE BETWEEN 1957 AND 1960 ATTRACTED necessary to engage the viewer’s participation. GRAPHIC DESIGNERS I FOUND LISTED IN ATTENTION LATER WHEN THEIR THE TELEPHONE DIRECTORY BECAUSE WORKS WERE PUBLISHED IN NEUE Such literal translations hinder constructive I WANTED TO FIND OUT WHAT THEY DID. GRAFIK.” JOSEF MÜLLER-BROCKMANN thinking, absorption in the subject matter, and 5 Points “No great work is created without establish rational-objective founda- Gutenberg has striven for order. poignancy of recollection; they are ultimately material rules, without knowing tions that are accepted by all and The grid is an organisational system about stress ratios or the laws of per- which can be developed individually.” that enables you to achieve an counterproductive, producing no afterimages ception. Sometimes I would set “The grid allows endless individual orderly result at a minimum cost. my students to an introductory exer- variations. The Italian Roberto Lan The task is solved more easily, cise of depicting a dam burst terio found rich, wide-ranging solu- faster and better. It brings the arbi- that continue to exist in memory.” A. Hofmann typographically to bring out the dif- tions using the grid, the Germans use trary organisation of text into ference between expressive and it soberly, the Swedes fill it with a logical system in keeping with the “The subject matter suggested the need informative design. We always got imagination. Its applications are as content. It can demonstrate uni interesting, and occasionally varied as the designers themselves. formity that reaches beyond national for imaginative design.” J. Müller-Brockmann hilarious, results. Tomorrow or in ten For the naïve designer it is no more boundaries, a boon to advertising or twenty years’ time aesthetic than an aid. The grid has existed in from which IBM, for instance, has “EVERY MOVEMENT OF THE NOH ACTOR tastes will have changed, but laws town planning, in China for instance, profited. Objective-rational design last and are independent of time. since at least 1500 BC. Rectilinear means legible design, objective The golden section, for instance, streets are the most economical information that is communicated IS MEASURED AND BURSTING WITH TENSION. IS A SIMPLE, ELEGANT RATIO SOLUTION. WHAT I DID WAS APPLY WITHOUT SUPERLATIVES OF PROPORTIONS THAT IS UNDER- THE GRID SYSTEM TO GRAPHIC OR EMOTIONAL SUBJECTIVITY.” NOTHING IS LEFT TO CHANCE, YET IT IS FULL STOOD BY ALL CULTURES AND IS DESIGN. THE IMPULSE TO DO THIS JOSEF MÜLLER-BROCKMANN PRESENT IN BOTH MAN AND DID NOT COME ONLY FROM ARCHI- “I WANTED TO EXPLORE THE LIMITS OF LIFE AND POETRY. JAPANESE TEMPLES NATURE. IN TEACHING I TRY TO TECTURE – TYPOGRAPHY SINCE OF MY ARTISTIC ABILITY. I HAD

LL Lettera Text – Specimen 22 Lineto Type Foundry LL Lettera Text Black Italic 58 Points American 45 Points Kweitel Airlines IBM, Lufthansa NASA de Bijenkorf 35 Points Morningstar BRAUN New Haven 47 Points CBS, CFF RailRoad, Next PIRELLI CWS, Enron 27 Points Rabobank, Scrib Erco Shell, SLM Swissair, Turmac, UPS Ford, Geigy Westinghouse KNOLL YALE UNIVERSITY PRESS

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16 Points 9 Points “As a young man I was intrigued not only by psychology but also by “Asymmetry is the rhythmic expres- graphology. When I met people who interested me I would read their handwriting and was rarely wrong in my judgements. But this sion of funtional design. In addition gift began to disturb me, especially in my dealings with clients, to being more logical, asymmetry has where it would unnecessarily prejudice discussion. So I abandoned it overnight. Later I paid the price for giving up these analyses the advantage that its complete when I took on partners and employees whose handwriting would have given me an early warning of trouble ahead.” Müller-Brockmann appearance is far more optically ef- “Type production has gone mad, with its senseless outpouring fective than symmetry.” J. Tschichold OF NEW TYPES... ONLY IN DEGENERATE TIMES CAN PERSONAL- ITY (OPPOSED TO THE NAMELESS MASSES) BECOME THE AIM “They should make new ways to OF HUMAN DEVELOPMENT” JAN TSCHICHOLD “THE WHITE RE-

better design buildings and books. 7 Points “White space is to be regarded as an ac- Similarly I hadn’t found anything inter tive element, not a passive background.” esting written about the history of THE COMPUTER WAS THE END OF “The aim of every typographic work — the poster.” “All design work has a politi- the delivery of a message in the shortest, cal character. It can be socially oriented, SWISS TYPOGRAPHY!” EMIL RUDER most efficient manner.” Jan Tschichold or humanist, or conservative. Italian “I have always regarded a book as a Futurism was bellicose, but that has “TEXT IS COMMUNICATION OF CON- design opportunity, nothing more. It was nothing to do with Modern typography. more like enjoying myself in my free El Lissitzky’s poster ’Beat the Whites time. I was motivated to write something with the Red Wedge’ was not Modern typo- 13 Points on the history of visual communication graphy but design with geometric forms. “The sanserif only seems to be the simpler script. by the insight that from the beginning Jan Tschichold’s New Typography, It is a form that was violently reduced for lit- man has used images as a defence against by contrast, was poetic, transparent and HIS INNER AND OUTER WORLD, HIS OPEN, NOT AT ALL DESPOTIC OR TY tle children. For adults it is more difficult to read FEARS OF A THREATENING ENVIRON- RANNICAL. I HAVE NEVER UNDERSTOOD MENT. AT THE TIME I KNEW OF NO BOOK WHY TSCHICHOLD REVERTED TO than serifed roman type, whose serifs were THAT DEALT WITH THIS SUBJECT. CENTRED TYPE, UNLESS IT WAS OLD never meant to be ornamental.” Jan Tschichold 5 Points “The designing of whole alphabets and only deliberately contrived encoun- between what is creative, imitative “I feel a deep obligation to tradition in so far the study of historical letter forms ters of elements and confrontations or merely intellectually calculating. remain indispensable to the teaching of values can lead beyond the After four worthless years of war as it is the conduit of timeless values. My efforts of the form. At the same time, how- letters to new forms of expression.” I wanted to have a positive, construc- ever, new paths must be explored so “I have always known that my illus tive role in society. I couldn’t improve that a sense of the finest distinc- trations, drawings and paintings are textual-pictorial communication to educate myself, to understand the intercon tions can be cultivated, so that the entertainment. They were quite through my artistic work but I could basic elements of our letters can good, but harmless. I was also success- do so through rational-objective nections in Constructivism for instance, explain appear in a new form, and so that those ful in using a mix of surrealistic typography and functional, unmanip special abilities for combining are illustration and factual information ulative photography. No one can perhaps my openness to other disciplines such developed which lettering will demand in exhibition designs in the 1940s exceed his or her limitations. Any time in the future. The creation of all those and 1950s, but the lack of objectivity I tried I failed. My limitations are AS ART AND ARCHITECTURE. THESE SUPPLIED symbols and logotypes which are disturbed me. So for the ’Landi 1964’ closely circumscribed – I have not an ever and more striking feature [the Swiss regional exhibition], come far – but I have kept my sense of of the world in which we live calls for I eschewed all playfulness and subjec- humour because I have accepted THE SPIRITUAL AND AESTHETIC SOIL FOR THE A NEW AND FRESH APPROACH TIVITY AND ARRIVED AT AN OBJEC- THEM. SWITZERLAND IS A COUNTRY TO LETTERING ON THE PART OF THE TIVE TYPOGRAPHIC-PICTORIAL OF THE NORM. GENIUS FLEES THIS GROWTH OF A CORRESPONDING PERSONAL DESIGNER. IN THESE LOGOTYPES SOLUTION. I HAD TO TEACH MYSELF LANDSCAPE, THIS ZURICH GEMÜT- THE COMBINATION OF LETTERS CAN HOW TO LOOK CRITICALLY AT LICHKEIT, THE CULTURE OF THE FAR- FORMAL IDIOM, AN ARCHITECTONIC TYPOG- BE MORE OR LESS OBVIOUS; BUT MY WORK AND MAKE DISTINCTIONS MER AND THE BURGHER. IT IS NO

LL Lettera Text – Specimen 24 Lineto Type Foundry Technical Information

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LL Lettera Text – Specimen 25 Lineto Type Foundry