In all three of the articles a central theme of change is present throughout. The emphasis of analysis and careful plotting and planning is at the forefront of most of the discussion and it shown to replace the old of design which was “pretty”. Gerstner is the one that explains the mathematical formula of design he states “The typographic grid is a proportional regulator for composition, tables,
pictures, etc. It is a formal programme to accommodate x unknown items.
The difficulty is: to find the balance, the maximum of conformity to a rule
with the maximum of freedom.” The point of creating the grid and creating the morphological box of typogram is the organize the exact purpose of your design. The components down to its size, color, and purpose. This emphasis of grid layouts is explained further with Brockmann.
Brockmann philosophy is centered around using grid layouts to simplify and clarify the design. The complexity of the grid layout is simply to organize the layout of the typography so it’s easier and more concise to the viewer. He states ” Constructivist design that is capable of analysis and reproduction can
influence and enhance the taste of a society and the way it conceives forms
and colors.” In a way Brockmann believes that the grid layout leads itself to being more visually appealing while also not compromising clarity in the design itself. Which is also echoed in Tschichold article as well stating “Above all, a fresh and original intellectual approach is needed, avoiding all standard solutions”