In these 3 articles, we can see 3 systems where the designers rule under 3 different styles. This is a direct response to that part particularly. Josef Muller-Brockmann rules his work under the laws of universal validity, the use of the grid in the process of creation is a must be. The grid allows the work to be constructive, oriented, and organize. Those characteristics give a clear view which will be the objective of the project while is being built. The best example of that, it is “the morphological box of the typogram” developed and explained in his “In Grid and Design Philosophy”
As for Karl Gerstener, the system that he created to bring the extraordinary set of works that he did during his life. He started a path that almost all designers of our time are transiting. In which, we combine the arts with science. He was able to adapt amazingly the ever-evolving field of computer programming to what we called design. He translates topics like blueprints, outlines, and grids into the programming language, he used similar guidelines in both environments, and that allowed him to translate his work from one environment to the other with the maximum fidelity. This uncapped the possibility of creating drafts on paper. Where he can decide the color, appearance, thickness, and even place where the typefaces will be integrated into a project.
Jan Tschichold rules under a system where the clarity and order are the primordial bases of his designs. He claimed that in the past, the typography design was centered in a sole form of central arrangement and beauty. This put great limitations on the possibilities of the designer to express through the typography itself. In the “New Typography,” Tschichold stated the view of bringing forth an unambiguous form of communication with your audience. He emphasizes the appreciation of simplicity. You must be able to not using unnecessaries elements or too many ornaments. And you can fill the eyes. But not overwhelm the eyes of our audience.