Jan Tschichold is an advocate of clear and clean design. He begins his case by stating typography has been split between two ideals : “Beauty” and “ Clarity”  with the Old Typography favoring beauty and the New Typography favoring clarity. Tschichold discusses his findings on the old typography claiming that “The old typography … recognized only one basic form, the central-axis arrangement, but allowed all possible and impossible construction elements (typefaces, ornaments, etc.)”. He picks apart the old typography’s style as he claims it was mostly “ornamented” and it presented “inorganic” layouts that did not have a logical flow when reading. He demonstrated this on page 36 by comparing a fellow associate’s work on a German poster and does his own take. Tschichold heavily points out that clean typography that is legible and designs that have clean layouts that can be easily tracked and understood by the human brain is what makes good design and most traditional typography and layout are done wrong due to it’s chaotic nature and main goal of appearing beautiful.

Karl Gestner’s thoughts on design were extremely rigid and methodical. Gestner proposed the idea of intense organization and criteria. Gestner believed that intelligence should pave the way for modern design and to do that would require a rubric to understand the problem and complete certain segments of the criteria in an orderly fashion. He rectified the thought that design was a problem that constantly needed a solution, going on to state that “ The more exact and complete these criteria are, the more creative the work becomes.”. He would even go as far as to create a chart as shown on page 59, with immense details and design terminology in a grid format of each possible term that could be applied to any design. Gestner would go on to quote Albert Einstein stating that the table he created was “...a scale of proportions that makes the bad difficult and the good easy.”, implying that his chart could very well be a solution for designers to understand the rights and wrongs and design and what to incorporate to be more effective.
Josef Müller-Brockmann strongly preached about the usefulness of the grid. Brockmann exclaims that the grid system leads to future design due to its organization and simplicity, going on to demonstrate this by saying “The use of the grid system implies the will to systematize, to clarify…the will to cultivate objectivity instead of subjectivity”. He mentions that the grid allows designers to piece together what elements go where on the page and this opens up creativity inside the minds of good designers. It is also worth to note that Brockmann shows his entire grid layout on page 62 where it is 128 x 90.5 cm with one giant header element, followed by an assortment of grids ranging from a 3 by 5 to a 2 by 4 and so forth. He stood by the belief of a measurement system as he thought organization came from proper measurements, symmetry and order. In short, Brockmann preferred a more direct and mathematical approach as opposed to Gestner’s rubric system and Tschichold’s simplistic and analytical approach; however, all of these designers stressed the important common trait of organization which they believed makes excellent design as opposed to traditional type and layouts.