In Jan Tschihold’s word, typography has changed throughout generations. In the old days, typography was mainly about “beauty. Typographers would add adornment and additional decorations to make it beautiful. For example, center the type, using different typefaces and type sizes, other design elements like blocks of color…etc. However, today’s typography was different from what typography was in the old days. Typography today is about clarity and not beauty. This means typefaces and sizes are being limited, simple design elements with no additions ornament. And, of course, it’s being played off with readability and legibility.
Clarity, readability and legibility in typography have been much more emphasized under what Karl Gerstner said. In Design Programs 1964, Karl Gerstner developed a program called the morphological box. The morphological box was a box that guides the sizes, columns and alignments with tiny little boxes that interact with each other. Under this box, designers could quickly know the proportion and keep the consistency with contrast. In Karl Gerstner’s word, typography was a board game. This means there are many ways of solving problems; in this case, the problem is to clarify the text. For example, reading direction, letter spacing, weights, and all these elements make the text more readable and legible. However, that doesn’t mean that it works every time. Typographers are here to experiment on making things work and pick the one that best fits the solution.
On the other hand, Muller Brockmann pushed the idea of Karl Gerstner’s morphological box, and he simplified the grid. I would say Muller Brockmann pushed the concept of the grid by a mathematical approach. It’s because by looking at the grid, he was dividing a piece of paper by proportion in a precise way. He also explains that if we divide it like this, it can determine where the text should locate, what sizes of the text should be, where the color goes to, and what spaces are being left with. From what Muller Brockmann did and how he explains it, I think Muller Brockmann was making a mathematical theory toward posters or any kind of printed works. It’s because what he approached can be replicated in any type of work. For example, make proportional guidelines out of a book, a poster, magazines …etc. These rules can be applied everywhere, like a mathematical theory that would work every single time. And when it’s being applied, structure and orientation will be formed.