&

\ ~ X~˜ >/P˜ *7&˜ %˜ /˜ 6˜ #@2˜ !˜ ~?/˜ 5@*˜ 0#~ ˜ ?&6˜ 8~E˜ ~ &3
˜ < ? 0 ˜ &˜ =˜ ~ ”’~ 1˜ @˜ 7~ ˜ =!?˜ ~ %<˜ 0 ˜ &˜ =˜ ~ ”’~ 1˜ @*7~ ˜ ~ !?˜ ~ %<˜ ?
F & / ~*~ ˜ !?˜ +˜ ?˜ ~ ˜ *0~ ˜ ~ ˜ @˜ ~ ˜ ~ *?˜ V˜ +˜ > ˜ ~ ˜ ~ 0~ ?~ ˜ !˜ ~ ˜ ~ In his designs, Crouwel sought to
- 9 ˜ =˜ ~ 5~ F~ ˜ ~ #~ ˜ $˜ > ˜ ~ ˜ >˜ 9˜ ~ <~ 5~ ˜ !˜ ~ #~ ˜ $˜ ~ ˜ ?˜ >˜ 9˜ ~
˜ $ ˜ G˜ 2~ ?˜ ~ ˜ =˜ 8˜ ~ ˜ ~ ˜ ~ /~ ˜ < ˜ ~ ˜ 2˜ ?˜ ~ ˜ ~ ˜ 8˜ ~ ˜ !˜ ~ /~ ˜ ?˜ ~ strike a balance between form &
K~ ˜ ~˜ ~ ˜ ~ |~ ˜ ?˜ ~ ˜ ~ ˜ <˜ ~ ˜ 4˜ ~ !~ ˜ ~ ˜ ~ |~ ˜ ~ ?~ ˜ P˜ ~ ˜ ~ ˜ 4˜ ~ ˜ ~ function. He said: “I feel myself be-
˜ * ˜ ~ ˜ !˜ ~ ˜ ~ ˜ ~ ˜ *˜ ~ \~ ˜ ~ ˜ ~ ˜ ?˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ \~ ˜ ~ ˜ ~ ˜ !˜ ~
˜ ~ ? ~ ˜ ~ ˜ ~ ˜ 3˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ *˜ ~ ˜ ~ ˜ $˜ ~ ˜ 3˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ &˜ ~ ˜ ~ ing a modernist, a functionalist, but
aesthetics always stands in the way”

g
˜ ~ ˜ ~ ˜ 0˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ?˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ L˜ ~ ˜ ~ ˜ 6˜ ~ ˜ ~ ˜ ~ ˜ ~
? ~ ˜ ~ ˜ ~ ˜ ~ ˜ *˜ ~ ˜ ~ ˜ ~ ˜ 6˜ ~ ˜ ~ ˜ !˜ ~ ˜ ~ ˜ ~ ˜ /˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ?˜ ~ ˜ ~
˜ / ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ l˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ *˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~
˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ :;˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ :;˜ ~ ˜ ~ ˜ !˜ ~ ˜ ~ ˜ ~ ˜ ~
˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ &˜ ~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
In his designs, Crouwel sought to strike a
balance between form and function; he said,
THE QUOTED
˜ ~ ˜ ~ ˜ ?˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ *˜ ~ ˜ ~ “I feel myself being a modernist, a func- CROUWEL
˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ *˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ !˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ ˜ ~ tionalist, but aesthetics always stands in
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ the way.” In his designs, Crouwel sought to QUOTE 1  "I FEEL
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ strike a balance between form and function. MYSELF BEING
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
  He said: “I feel myself being a modernist, a
A MODERNIST, A
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ FUNCTIONALIST, BUT
functionalist, but aesthetics always stands in
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ AESTHETICS ALWAYS
the way.” In his designs, Crouwel sought to
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
strike a balance between form and function. STANDS IN THE WAY."

Gridnik Was Designed

˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
QUOTE 2  “A DESIGN
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ SHOULD HAVE SOME
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ TENSION AND SOME
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ EXPRESSION IN

in 1967 by the Dutch

˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ITSELF. I LIKE TO
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ COMPARE IT WITH THE

ri
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
LINES ON A FOOTBALL
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ ˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ FIELD. IT IS A STRICT

Graphic Designer +
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ GRID. IN THIS GRID
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ YOU PLAY A GAME
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ AND THESE CAN BE
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
NICE GAMES OR VERY
BORING GAMES.”

Typographer
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ QUOTE 3  “YOU CAN’T
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ DO BETTER DESIGN
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ WITH A COMPUTER,

d- i k
Wim Crouwel
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ BUT YOU CAN SPEED
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ UP YOUR WORK
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
ENORMOUSLY.”
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~ His Colleagues
˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~˜~
˜ ˜ ˜˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ Nicknamed Him

“Mr. Gridnik”
Because Of His
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~
Dedication to
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~
*
Grid Systems
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~

19
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~
n
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~
˜~˜~˜~˜~˜~˜~˜~˜~

67
˜~˜~˜~˜~˜~˜~˜~˜~
The Swiss “rational” style referenced modern THIS STYLE REFERENCED ˜~˜~˜~˜~˜~˜~˜~˜~
production processes and the mechanical MODERN PRODUCTION ˜~˜~˜~˜~˜~˜~˜~˜~
perfection sought in modern industry.
Crouwel was impressed. The Swiss “rational”
PROCESSES AND ˜~˜~˜~˜~˜n˜~˜~˜~
style was an objective approach to design
THE MECHANICAL ˜~˜~˜~˜~˜~˜~˜~˜~
used by typographers and graphic designers PERFECTION SOUGHT IN ˜~˜~˜~˜~˜~˜~˜~˜~
in Switzerland and Germany. MODERN INDUSTRY ˜~˜z˜~˜~˜~˜~˜~˜~
* ˜~˜~˜~˜~˜~˜~˜~˜~
CROUWEL WAS INFLUENCED
Crouwel Designed ˜~˜~˜~˜~˜~˜~˜~˜~
Crouwel was Crouwel designed Gridnik in
impressed by the 1967 for use as a simple type- ˜~˜~˜~˜~˜~r~˜~˜~
BY THE RATIONAL STYLE Swiss style, a rational
writer face. As a young designer, ˜~˜~˜~˜~˜~˜~˜~˜~
Crouwel had been impressed by
OBJECTIVE approach the Swiss “RATIONAL” style, ˜~˜~˜g˜~˜~˜~˜~˜~
OF SWISS TYPOGRAPHY

Gridnik for Use

to design used by an objective approach to design ˜~˜~˜~˜~˜~˜~˜~˜~
& GRAPHIC DESIGN typographers and used by typographers and graphic ˜~˜~˜~˜~˜~˜~i~˜~
graphic designers designers in Switzerland and ˜~˜~˜~˜~˜g˜~˜~˜~
  CROUWEL was impressed by the Swiss in Switzerland and Germany. ˜~d~˜~˜~˜~˜~˜~˜~
  The Swiss style referenced ˜~˜~˜~˜~˜~˜~˜t˜~

as a Simple
“rational” style, an objective approach to
Germany in the early
design used by typographers and graphic modern production processes and ˜~˜~˜r˜~˜~˜~˜~˜~
designers in Switzerland and Germany in the 20th century. the mechanical perfection sought i~˜h˜~˜~˜k˜~˜~˜~
early 20th century.   This objective style in modern industry. Crouwel was ˜~˜~˜~l~˜~˜a˜~˜~
impressed, and influenced by
  The Swiss style referenced modern referenced modern ˜~˜~˜e˜~s~˜~˜~˜m

Typewriter Face
the Swiss designs and graphic
production processes and the mechanical production processes aesthetic. ˜b˜~˜~˜~˜~j~˜~˜~
perfection sought in modern industry, and was and modern industry’s ˜~˜o˜~˜i˜~˜~˜~
used by Swiss designers in the 1900s. t~˜n˜~b~˜~h~˜d˜~
˜g~˜e˜~c˜~n~˜a
˜~˜i˜~˜p˜~˜r˜~l˜~
In Addition to Gridnik, Crouwel Designed 4 Other Typefaces: Fodor, Stedelijk, New Alphabet 1 2 and 3, and Catalogue. f˜ ~o w ~˜h˜~xk˜~˜qo~
~f y~˜m˜~˜v˜~˜s
x˜c˜~lu˜b˜t~˜rj~z