According to Jan Tschichold, people should design with the purpose of clarity. He believes that old typography was outdated for his time. Its focus was geared more towards “beauty” when beauty wasn’t seen as the most important thing. He thought that designers should step away from the principle of arranging everything on a central axis. The reason for that is because makes legibility tougher. He also believes designers shouldn’t use so many typefaces at once.

Karl Gerstner believes that design should be approached with a programme that will generate a number of different solutions. The reason for this is because there will never be just one solution, but there will be one solution that works best over the others. He insists you don’t make creative decisions based on feelings, but by intellectual criteria. Gerstner designed a programme using a method by Fritz Zwicky that was intended for scientists and not designers. He called it “the morphological box of the typogram”.

Josef Muller-Brockmann was a designer that popularized the grid. He thinks that the grid is not only a good way of bringing order to disorder in designs but also a good way of showing a designer’s focused work ethic. Gerstner believes that a “designer’s work should have clearly intelligible, objective, functional, and aesthetic quality of mathematical thinking.” The visual creative work should be a representation of the character of the designer.