G r i d A l t e r a t i o n s

Transcription

1 W h y u s e a gr i d? Ac c o r d i n g t o Jo s e f -Mu l l e r Br o c k m a n n, Th e r e d u c t i o n o f t h e n u m b e r o f v i s ua l e l e m e n t s u s e d a n d t h e i r i n c o r p o r a t i o n in a gr i d s y s t e m c r e at e s a se n s e o f c o m - p a c t p l a n n i n g, intelligi bilit y a n d c l a r i t y, a n d s u g g e s t o r d e r - l i n e s s o f d e s i g n. Th i s o r d e r l i n e s s l e n d s a d d e d credi bilit y t o the infor mation and induces confidence. J u n i o r 2 G r i d A l t e r a t i o n s I n f o r m a t i o n p r e s e n t e d w i t h c l e a r a n d l o g i c a l ly s e t o u t t i t l e s, s u b t i t l e s, t e x t s, i l l u s t r a t i o n s, a n d c a p t i o n s w i l l n o t o n ly b e r e a d m o r e q u i c k l y a n d e a s i ly, b u t t h e i n f o r m a t i o n w i l l a l s o b e b e t t e r u n d e r s t o o d a n d r e ta i n e d in m e m o r y A s a valuable fra mework for structuring t ypographic and pict o r i a l e l e m e n t s, t h e g r i d p r o v i d e s a co h e s i v e n e s s t h a t c a n i m p r o v e legibilit y a n d t h e c o m m u n i c a t i o n o f i d e a s.

2 J u n i o r a a 2 GRID d e t a i l s 1 M a r g i n s Margins define the perimeter of the page and determine the position of text and illustrations. In a traditional layout, the margins are based on mathematical proportions. For the modern page, the structure of the columns defines the margins. In any page layout, consider the relationship between both right and left pages. In a traditional text, the goal is the creation of maximum tension in the proportions chosen for margins. Margins that are well-proportioned enhance reading pleasure. All the famous traditional typographic works of previous centuries have been carefully calculated using the Golden Section or some other mathematical formula.one formula for achieving well-proportioned margins on a traditional layout is the ratio of the sides 1:2, the top and bottom 1.5 : 3.Careful study of the book design of wellknown exponents such as Gutenberg, Caslon, Garamond, Bodoni display beautiful versions of the classical page A modern layout bases margins on organization of text, image and categorization of information. Although the margins in a modern grid are less important, practicalities such as binding and printing methods affect margin decisions. Keep margins wide enough to compensate for inaccurate page trimming. If margins are too small, the reader feels the page is overfull and text may be obscured while holding the page. If the margins are too large, there is a sense of extravagance and the feeling that short text has been made to go a long way. Review the works of 20th century pioneers such as Jan Tschichold, Karel Teige, Josef Müller-Brockmann, for strict definitions of the modern grid. Read The Grid, ppg.9-26, 67-80, Bringhurst pg G r i d s /Co l u m n s /Fi e l d s Read Bringhurst pg The traditional layout is comprised of a one or two columns defined primarily by the margins. The goal is for a continuous flow of text without interruption. The modern page is comprised of regular subdivisions of space into intervals and fields (modules) known as a grid. The amount of fields is determined by the content and its hierarchical demands. The challenge is to design the cor-

3 When preparing a layout, the number of columns on a page is an important point to be considered: one column for text and illustrations leaves little flexibility for variation of size and placement. However, the one column grid is frequently used in traditional layouts in which a continuous flow of text is desirable. Two columns for text and illustrations gives more scope: the would be necessary to maintain the proper word count. Loss of unity between layouts can be caused by too many columns offering too many design options. When preparing a layout, the number of columns on a page is an important point to be considered: one column for text and illustrations leaves little flexibility for variation of size and rect grid for the content - neither overly flexible or inflexible. Determining the appropriate grid for content is a balancing act with multiple components. Look at the content within the document. Ask a series of questions: how much text is there? Are there images, diagrams, charts or other types of information that must be included? Clarify the content. While the purely typographic grid may need only columns and a few guides, a piece that contains multiple levels of information, data and imagery may demand a more complex structure of fields to define clear placement and hierarchies of content. The right width of column is essential for an even and pleasant rhythm of reading which enables the reader to relax and concentrate wholly on the content. Overly long or short lines cause reader fatigue. There should be 7-10 words per line for text of any length characters per line is fine, with 66 characters being ideal. Do not justify less than 38 characters. Multiple columns work well with characters per line. Continuous text layouts tend to fill the text field from top to bottom, while a modern layout tends to hang the text from a top axis line. When preparing a layout, the number of columns on a page is an important point to be considered. A modern grid uses more than one column for text and illustrations for flexibility of placement. One column (or field) is frequently used in traditional layouts in which a continuous flow of text is desirable. Two and three columns for text and illustrations gives more scope: the text and images may remain in the columns or encompass both columns. These columns can be subdivided to form four and six columns, expanding flexibility. Do not make more columns than necessary. Too many columns offering too many design options causes loss of unity between layouts. Do not create extraneous columns. 3 T y p e f a c e Read Bringhurst pg type t y p e type When setting up a document consisting of large amounts of text, use In Design, Quark, or comparable text program, never PhotoShop or Illustrator. For multi-page documents, set up master pages with an established grid. Use style sheets to manage the typography and make multi-page document more accurate and hierarchical levels easier to maintain. Design a grid most capable of organizing the essential text and images. Reevaluate the column quantity best suited to maintain the proper word count. Point size can be altered to accommodate text but it should not go below 8 points for ease of reading. Adjust your top and bottom margins as necessary to align the text to the grid exactly. Leading can be adjusted as well to align text to the fields. The reader should be able to read the text easily and comfortably. This depends on

4 t i t l e the typeface, point size, line length and the leading. Printed matter in a normal format is generally read with the eyes at a distance of 14 inches. The size of the type should be calculated with this distance in mind. Both too small or too large of type causes reader fatigue. Knowledge of the quality of a typeface is of the greatest importance for the functional, aesthetic and psychological effect of printed matter. Study classic serif fonts ideal for text design, such as Garamond, Baskerville, Caslon, and Sabon. Study modern typeface designers such as Adrian Frutiger, Matthew Carter, Zuzanna Licko and Sumner Stone. The designer can learn the timeless criteria which produces refined, legible and artistic typefaces through critical evaluation. 4 P a r a g r a p h d e l i n e at i o n Read Bringhurst pg Consider variations of paragraph delineation. Variations might include indention, weight change, a drop cap, outdents, leading. Compare whether legibility or visual interest inspires your decision making. Meggs - An important goal for the designer is to distinguish typographically one thought from another, clarify content, and increase reader comprehension. Clear separation of paragraphs in a body of text is one way to accomplish this goal. A common practice is to indent each paragraph one to three ems. Paragraphs can also be separated by inserting additional leading between them. Often this amounts to one line space. This method should be avoided if the text is comprised of a multitude of short paragraphs. Do not use an indent and open leading at the same time. Outdents, ornament or drop caps are possible if used in a limited amount. 6 T i t l e Read Bringhurst pg. 61, The title identifies the writing and entices the viewer into reading the information. It can be dramatic or quiet, large or small, but it should be the main element in the typographic hierarchy. Often the title is set in the same typeface as the main text. If

5 the typeface is different, use a clearly contrasting typeface. The meaning of the title and the content of the text may play a role in determining typeface selection and placement. 7 P a g e n u m b e r (f o l i o ) 5 Page numbers function primarily as a reader s aide. Usually, but not always, a table of contents is included in books or magazines that include page numbers. When numbering pages, the right page of the spread is always the odd numbered page and the left page of the spread is always the even number. When setting up page numbers, use the master page spread for page number placement consistency. Evaluate the typeface, size, weight and structure of the layouts when selecting numbers. 8 O t h e r s Introductory paragraph One way to lead the viewer into the text is by emphasizing the first paragraph. Options include changing weight, size, leading, or spacing of the text. Extending the first paragraph to fill additional columns is one method. Always keep text alignment across columns. Diminuendo is an effect popular in pre-20th century layout. Other methods include scale, weight, wider leading and other contrasts. Gr a p h i c s, Ph o t o s & Illustration A call-out (pull-quote) is a word, phrase or sentence pulled out of the original text Illustrations, graphics and photography may serve two different roles, one role is to inform and the other is to set a mood/decorate. Informative graphics are used as a means of reinforcing or explaining the content of the text. Place these graphics clearly within the structure of the layout. Use captions to explain information based photographs and illustrations. Mood setting images consist of texture, surface, stylizations, image collages, etc. Place these in the layout to reinforce or offset the structured content of the page. Do not obscure text that is meant to be read. Call-o u t s, a d d i t i o na l text A call-out (pull-quote) is a word, phrase or sentence pulled out of the original text, copied and presented in a way that contrasts the text, and presented in a hierarchically emphasized way to entice the viewer. Also

6 1 Footnotes use superscript in the text, but on the note itself use the same point size as the text, but with an outdent. See Robert Bringhurst s The Elements of Typographic Style, 68/69 (Hartley & Marks) Details such as captions, sidebars, footnotes 1 & other text additions need to be carefully analyzed 9 b i n d i n g f i n i s h i n g Assess the content of each project and determine an appropriate way to organize the information. Establish the parameters of the document very quickly. Develop an appropriate grid and place the text in the document in its general position and point size. Make a storyboard and/or thumbnail version of the document. Since the final binding, paper, cover and other elements will affect the layout and final costs, it is important to evaluate these ingredients as soon as possible. Once decided, have your paper representative (or personally assemble) a full-size dummy of the final document. Have it bound and use the selected paper. This dummy will give you the look and weight of the final document without the content. Adjust your grid if necessary based on the dummy. 10 b r e a k i n g THE g r i d While the grid is useful in many typographic situations, it is not always necessary or required. Even a developed grid has the potential to be manipulated and deconstructed. Overlapping grid structures allow for different layers of information to alter hierarchies or create a more three dimensional surface. c o n s i d e r Deconstruction of the grid through breaking apart modules or columns; using verbal or conceptual cues to inform the text which giving it a voice; optical, painterly organizations; and the use of chance and spontaneity. read Timothy Samara s Making and Breaking the Grid