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[5]: 149 Ruder published a basic grammar of typography entitled, Typographie. The text was published in German, English and French, by Swiss publisher Arthur Niggli in 1967. [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.
A 1969 Swiss poster in International Typographic Style A 1959 Swiss poster. The style emerged from a desire to represent information objectively, free from the influence of associated meaning. The International Typographic Style evolved as a modernist graphic movement that sought to convey messages clearly and in a universally straightforward ...
Typography: An Encyclopedic Survey of Type Design and Techniques Through History. New York: Black Dog & Leventhal. ISBN 1-57912-023-7. Hartmann, Silvia (1998). Fraktur oder Antiqua. Der Schriftstreit von 1881 bis 1941 (in German). Frankfurt am Main: Peter Lang. ISBN 3-631-35090-2. Macmillan, Neil (2006). An A–Z of Type Designers.
Typography utilized to characterize text: Typography is intended to reveal the character of the text. Through the use of typography, a body of text can instantaneously reveal the mood the author intends to convey to its readers. The message that a body of text conveys has a direct relationship with the typeface that is chosen.
Caslon is the name given to serif typefaces designed by William Caslon I (c. 1692 –1766) in London, or inspired by his work.. Caslon worked as an engraver of punches, the masters used to stamp the moulds or matrices used to cast metal type.
Much imitated was the Thorowgood "grotesque" face of the early 1830s. This was arrestingly bold and highly condensed, quite unlike the classical proportions of Caslon's design, but very suitable for poster typography and similar in aesthetic effect to the (generally wider) slab serif and "fat faces" of the period. It also added a lower-case.