The Laserwriter fonts were licensed by the respective mfgrs to Adobe, which produced them in PostScript format and then licensed them to Apple along with PostScript etc. To my recollection, Adobe, not Apple developed the “Symbol” font, based somewhat on Times. Courier was never trademarked by IBM, so Adobe created a “stroke-based” version of it (to reduce file size) and used the name without license from IBM. Hofmann also allows the serif on the number “1” to hang off the grid line so that the body of each number aligns with the letters below, thus creating a more satisfying visual rhythm. He brought the mathematical principles of the Concrete art movement into all his design work which is especially evident in his use of flexible grids. Because he saw grid systems as an extension of Concrete geometry, he denied claims that he invented the design grid. The PC represents the second big revolution in typography since Gutenberg, but to take full advantage of it you still require a thorough, basic classical training in design. People who haven’t mastered the conventional graphic techniques won’t be any better on a computer. The computer has a considerable impact on teaching, but it is also a valuable tool. YSS: Expressive typography is the foundation of your work. Was New Wave the translation into type of a subjective, youthful sensibility?

These included Chicago, New York, Geneva, Monaco, San Francisco, and a few others, but not the later PostScript “core set” of Helvetica, Times, Courier, Symbol, which were not released until the PostScript LaserWriter came out in 1985. Additional faces, including Palatino, New Century Schoolbook. Bookman, Avant Garde Gothic, Zapf Chancery, and Zapf Dingbats came out with the LaserWriter Plus in 1986. Armin Hofmann (born 29 June 1920)is a Swiss graphic designer. Hoffman followed Emil Ruder as head of the graphic design department at the Basel School of Art and was instrumental in developing the graphic design style known as the International Typographic Style.

Before the Swiss Style Design

A scholar by default,Ruder was named a typography instructor at theSchule für Gestaltung, Basel (Basel School of Design) in 1947. The limitation of sans-serif fonts led designers to use big typeface families. Univers was one of these sans serifs that included multiple weights and widths. The use of large type families helped create emphasis, contrast, and hierarchy within a design. Comparison of distinguishing characters in Akzidenz-Grotesk, Folio, Helvetica, and Univers 55. Licensed under Given this domestic reception, how did Neue Haas Grotesk, under the name Helvetica, become the celebrity typeface of today? Why did it triumph over Univers? Pre-History YSS: The course at the Merz Academy was unstructured, in contrast to your current teaching methods at Basle, which demand strict discipline from your students. How do they react to these methods?

These three things—Helvetica, ITC and Steve Jobs—all collided in 1984, the year that the first Macintosh computer, replete with typefaces, was released. The Macintosh core font set was a combination of the then-most popular typefaces and typefaces that filled out a stylistic and functional range, with the latter being chosen by the dominant type manufacturers at that time. Thus, there were four typefaces (Helvetica, New Century Schoolbook, Palatino and Times) from Linotype and four typefaces from the International Typeface Corporation (ITC Avant Garde Gothic, ITC Bookman, ITC Zapf Chancery and ITC Zapf Dingbats). In addition, there was Courier from IBM and Symbol from Apple itself.* 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. What if Frutiger had agreed to the alteration of Univers italic in the early 1960s? Hoffmann had not balked at the slight changes needed to fit Helvetica to the German linotype machine in 1960. Further adjustments were necessary to make it work with English and American linotype machines, something that was not completed until early 1965. Thus, there was a small window in which Univers could have been made available to English and American designers before Helvetica was. And thus it, instead of Helvetica, could have become the crown prince at the Linotype company. Besides, even reproductive design is a necessary step in the process of human development, for it gives rise to new creativity. The problem with design today is that it often has little to do with content. It’s more about the designer’s ego, full of references only the initiated can understand. The general public doesn’t get the information. Because of this, I find myself in an incredible state of conflict. I’m not designing any more.The subtle addition of the ‘c’ not only avoided a possible trademark fight with a Swiss sewing machine manufacturer, but it made for a more pronounceable and hence memorable name for non-German (and non-Latin) speakers. BUT… YSS: But isn’t the new technology necessary for new ideas? What about the computer, which you introduced into your typography course at Basle in January 1985? 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.

The bookrepresents a critical reflection on Ruder’s teaching and practice as well as a lifetime of accumulated knowledge. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry’s art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts — quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Peignot, and afterwards, it was produced by Linotype. What if the financial entanglement among Haas, Stempel and German Linotype had not existed? If a German foundry other than Stempel had owned part of Haas, the deal with German Linotype may never have happened. Both Bauer and Berthold, viewing Neue Haas Grotesk as a rival to their own types Folio and Akzidenz Grotesk, respectively, would not have supported a license.For Ruder what matters the most in type design is precision, proportions andlegibility. Type is here to communicate and that is all for Ruder. Univers is classified as a neo-grotesque sans-serif, based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths The book teaches about typography related techniques with theories , diagrams , philosophy and practical examples. Some things are outdated which can't be avoided as it has been over 50 years since this book was first published , it is still quite helpful for anyone studying typography. Emil Ruder (March 20, 1914–13 March 1970), played a key part in the development of the International Typographic Style. Ruder began his design education at the age of fifteen when he took a compositor’s apprenticeship. By his late twenties Ruder began attending the Zurich School of Arts and Crafts where the principles of Bauhaus and Tschichold’s New Typography were taught, leaving an lasting impression on Ruder. He helped Armin Hofmann form the Basel School of Design and establish the style of design known as Swiss Design. He taught that, above all, typography’s purpose was to communicate ideas through writing. He placed a heavy importance on sans-serif typefaces and his work is both clear and concise, especially his typography. His artwork is distinguished from others on the basis of his holistic approach to designing and teaching. He employed a systematic practical method of teaching that not only involved theory but philosophy as well.