In addition to that Ruder’s twenty-five year of teaching enabled him to compile a heavily illustrated book, titled Typographie: A Manual for Design. Eventually, the book was followed as the primary text for graphic design and typography programs held in United States and Europe. In fact, it played an instrumental role in propagating and spreading the Swiss style. In 1967, a Swiss publisher Arthur Niggli had the book republished in several other languages including French, English and German. Moreover, he penned down a book on basic grammar of typography and published it as Typographie. He pursued the craft of letterpress printing with utter dedication and devotion.
Among other methods employed by Ruder in his artwork, one of them was contrast. Furthermore, he stressed that the aesthetic affects are not to be discounted even when the primary goal of typography is communication. According to him such indulgences result in losing the actual purpose of printing that is legibility. Despite Ruder’s inclination toward pictorial thinking, he never found himself indulging in merely playful designs. He introduced new laws of composition that seemed to be in accordance with the modern times. That is when Ruder revolutionized the traditional typography by divorcing it from all the previous conventional rules that it followed. Post World War II there came a time when most of the domains of applied arts failed to come up with a new form of expression. Notwithstanding his innovative style, Ruder fell short of luck when he ran in the competition for the cover design of Typographische Monatsblätter as he could not win. Typographic Monthly was a famous trade publication of the era. Besides teaching, Ruder also contributed as an editor and writer for Typografische Monatsblätter. Their successful teaching methods culminated in receiving somewhat an international reputation. Hence began there long period of collaboration on several art projects. The same year he met one of the notable graphic artists, Armin Hofmann.
By 1947, Ruder was promoted as the head of the Department of Apprentices in Applied arts.