The first reading of The New Typography caught my attention. The reading makes great use of examples and provides great explanations of new typography. I especially enjoyed it when it discussed why typography has changed. Consequently, it is in deliberate opposition to the old typography that was crafted to be beautiful and whose clarity did not surpass what we need today. According to the author, The New Typography is distinct from the old by putting its initial focus on developing its visible form from the text’s functions. Using these principles to process a text will usually generate a rhythm that is different from that of older symmetrical typography. The functional design demonstrates the rhythm of asymmetry. Observing new typography, I see that the taste of the designers has affected it greatly by expressing what they like about it. As a result of New Typography, the author’s work changed a great deal. His love of symmetry and classical training was abandoned, and he championed modern typography, which led to the next decade of progress in typography. Typefaces have always intrigued me, so I love to experiment with them in my free time. I love to play around with colors and experiment with new ideas. 

The second reading is about Designing Programmes. This reading was great for explaining the solution to the problem. A part of solving things is describing the problem. Making creative decisions based not on feelings but intellectual criteria indicate not being influenced by feelings. These charts about how to choose, look and express indicate not to be influenced by feelings. Programs are created to find determining elements and combine them to solve the problem of deciding the means. To put it another way, designing requires techniques. With the help of the morphological box, not all solutions were found. However, all of those found can be assigned a place within it and analyzed. As designers, we face so many challenges working with new elements daily and learning through these programs. Illustration, photoshop, illustrator, and many other programs. 

While reading the third reading, I became more interested in grid and design philosophy. The article about the grid was also very informative. According to the author, the use of the grid as an order system is an expression of the designer’s mental attitude. This is because it shows the designer’s commitment to constructivism and looks to the future in the context of his work. Using the grid system means working within the rules of universal validity, as Müller-Brockmann notes in the reading. Using graphic design, lectures, and publications, authors have popularized the grid and advocated Swiss typography internationally. There are so many details about typography, design programs, and grids in these readings that teach new elements about the new elements. The authors of these articles have all given a great example of work, and they have all shared their stories of the elements.