Jan Tschichold emphasized the change in typographers priorities; reforming their typographical designs to have a stronger sense of clarity rather than “beauty,” or the aesthetic of the typography. Not only does Tschichold speak about the change in typography in this sense, but also the responsibility a typographer has with this change in mind. Tschichold states, “It is up to the typographer to express this relationship clearly and visibly through type sizes and weight, arrangement of lines, use of color, photography, etc. The typographer must take the greatest care to study how his work is read and ought to be read.” According to Tschichold, a typographer should design in a way that is clear and uses other forms of design to relate to one another in a logical relationship; they work well with one another and in harmony.

Karl Gerstner seemed to believe design was more effective when using a more mathematical approach. In “Designing Programmes,” there is an abundance of numbers, equations, units, and quite frankly, a whole lot of things I barely understood. Math has never been my strong suit, so seeing his explanation on the grid with all these numbers, directions, and orders was a lot to take in. I do love this concept though. The amount of different layouts and creative solutions you can create with this grid is very interesting. To Gerstner, a designer should be able to combine the elements of their design; “The creative process is to be reduced to an act of selection. Designing means: to pick out determining elements and combine them. Seen in these terms, designing calls for method.”

Similar to Karl Gerstner, Josef Müller-Brockmann believes in a structured grid for designers. Brockmann states, “The use of the grid as an ordering system is the expression of a certain mental attitude inasmuch as it shows that the designer conceives his work in terms that are constructive and oriented to the future.” While I agree it may be beneficial to designers to have an initial layout to build off of, I don’t think it’s necessary at all. It may help some, similar to gesture drawing sketches may help an artist get the initial layout of motion in the drawing, but I don’t believe it needs to be followed by designers in order to work in terms that are constructive or aimed to the future. Clearly akin to Gerstner, Brockmann believes a designer’s work should be clear, functional, and involve mathematical thinking.