Emil Ruder's 1967 manual *Typographie* codified the Basel School — grotesque type set flush-left on a rigorous grid, where negative space is an active compositional force, not leftover. This system reads the book's ink-black letterpress plates: near-white Univers and Helvetica become figure against a saturated black ground.
Discipline is the point. Structure carries the meaning; ornament is absent. Primary red, yellow and blue appear only as rare studio-study spots — never a rainbow, never decoration. Every rule is a hairline, every measure counted.