The grid systems book is rather extensive, I am going to highlight certain points that I think are most valuable Its incredible that a book published in 1968 about layout and grid systems has not dated and is still used as a fundamental source of reference for designers today.
Please note- these are not my own ideas but the ideas of Muller Brockmann.
He starts with suggesting that designers should use the standardized din system. This is because the papers are always stocked by manufacturers and you also minimize waste and so increase production costs. "A firm wishing to have corporate identity will also have to introduce uniform paper sizes, for information printed on standard paper makes a great impact on the reader". I will use the din system in my literature for the TW.
The typographic measuring system is the point. There are 798 points to every 30 cm. The type height (height to paper) of 62 2/3 poitns was fixed in 1898. Now, typesetting can be stated in mm and inches and not just points. I think that to aid the simplicity of my explanation of my system that I am going to create, because paper sizes work on millimeter sizes then I should consider explaining typesetting with millimeters also.
Brockmann suggest that column width should be determined by how easily the eye reads the information at a distance of 30-35 cm (if the material is held to be viewed). A well known rule by typographers is that as a set standard, seven words per line is a comfortable amount to read. The leading also effects how easily the type is read, a more heavily leaded type creates a light and open feel.
Kerning also needs to be considered, spacing between letters must be consistant throughout so that the text is easier on the eye. Particularly long lines of text become tiring on the eye, and short ones do too.
Naturally, the width of the column is determined by type size.
Large type will not look right if the margins of the document are too small. If the type is too close to the edge of the page then it will distrupt the overall balanced feel of the design.
The eye struggles to focus on lines of text where the leading value is too small and so the type is set with too narrow gap between each line. If the gap is too wide then there is also a struggle to read the information as the eye finds it difficult to link each line of information.
"when the reading is smooth and easy, the meaning of the content of the words is grasped more clearly; they acquire more character and expression and etch themselves more sharply on the mind."
When there is more than one type face used, careful attention should be placed on adjusting the leading so that they work with one another. They should compliment each other.
A document with a correct margin aids the pleasure of reading and also how easily the information is understood. You can calculate the margin using the golden ratio etc. Th wider the margin, the less chance of cropping areas of the text when the literature is trimmed (I actually hadnt thought about this but I think it is a really relevent point). I need to carefully consider the margins so that the placement of information does not look awkward. Too low and it could look like it is dropping from the bottom of the page.
Type size can distinguish a difference between headers and primary information to the body of the text. Bold and itallic can also achieve this. Clear differences of type sizes aids the quick understanding of larger amounts of text.
The job and the amount of text and type of information must be carefully considered befrore you should start the design work. I must decide on the photographic style, paper quality, the typeface, document size and the way that it is going to be printed all before I decide upon a way of designing.
2 columns for text allows for more variety with positioning of the text column. For instance, it could start in the first or second column and extend over 2 columns. 3 columns increases this possibility even more, but the type size has to be considered when deciding upon a column width and grid system.
Generally, the smaller the column width, the smaller the typeface should be.
In a sophisticated, successful grid system the images, type and titles all work together and align with each other for ease of viewing. Asymmetry can be created through the experimentation of the grid system.
There are limitless possibilities for layout when working with a grid system. I as the designer must find the right layout for each problem. Even very small grid divisions can have a very large amount of layout potential.
Above- examples of image and type with a 20 grid field and a larger right margin. The gutters create a white area that has an importance of structure and separation of information and ease of reading and understanding.
Here, the same grid system is applied to show different ways of presenting type and image. Notice the amount of variation possible with one grid system of 20 modules.
Photographs must be constructed with the grid in mind so that they work with consistency and so that they look like they are part of the grid system. Brockmann suggests that the photograph should be constructed with a mental image of where it is going to be placed and the containing area of grid that it will be placed into.
I have loved this musica viva poster ever since I saw it first. I think the asymmetric layout is so strong and the composition is so pleasing on the eye. Here, he explains how it was created. It is a grid 4 and a half fields wide and 4 fields deep. Musica is set with irregular kerning so that a rhythm is created. The lines of the type of information at the bottom align with the text of the viva and musica. It creates a sense of "sever but elegant architecture."
No comments:
Post a Comment