Grid

Theory

a.

invisible lines

Almost every layout has axes, invisible guidelines along which the key elements — text blocks, headlines, illustrations — are arranged. These guidelines are the elements of the grid. A grid can be very primitive and, for a book with a simple structure, may merely to be the baselines and margins of the text. Or it can be very complex, since it will have to deal, say, with the variety of texts, headlines, photos, announcements and graphics that make up a newspaper. For a multi-column magazine, the grid may unexpectedly change the number of columns from section to section, or on a website extend or compress in response to the width of the browser. 

 

The structural basis of a composition is not always visible to the inexpert eye, but a layout without a grid is unlikely: it is almost surely there.

 

 

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formerlyyes.com online store

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Swiss Design Awards landing page

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SMFB advertising agency main page

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Sight Unseen online store

Grid

Practice

e.

structure and

integrity

 

 

 

In designing print publications (and all the more for digitals), grids make it possible
to determine practically any parameter. They are truly a universal tool. But in most cases the grid determines only several of the most important features of any layout:
the width of the text area, the size of type and leading, and the division of the text in columns.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

f.

proportionality

 

 

 

 

Everything in the fine arts depends on proportions and relations. The experience of artists in earlier centuries hinted at the existence of elusive laws of beauty, responded to by all viewers, that were at bottom mathematical. Painting, icons, photography are obvious examples: the canvases of Botticelli, icons in churches and the photographs of Cartier-Bresson — all have the axes of the Golden Ratio. Many designers are in the habit of calculating everything — format, grid modules, relationships of type sizes. There exist two basic kinds of proportions — the rational and the irrational.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

g.

modular scales

 

 

 

Grids are generally thought to be of two kinds — typometric and metric. In fact, this division is largely artificial, and the very concepts of “typometric” and “metric” are rather the names of two different systems of measurement (the first measures in points, the second in millimeters). One can speak of two principles of page design, each depending on what you make of first importance: the relationships between the classical typographic parameters such as type size, leading, text area and page format or the subordination of all layout elements to the precise, independent structure
of a module.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Design School

Design Almanac

Typography

Grid

Color

Animation

about

The Readymag Design Almanac is made with Readymag—an online graphics editor that enables the creation of interactive web projects without coding. Each chapter of the Almanac is prepared by Readymag’s editorial team in partnership with skilled professionals, exploring the fundamentals of contemporary design.

team

 

Curator

Anton Herasymenko

 

Designer

Zhdan Philippov

 

Managing curator

Diana Kasay

 

Editor (Typography)

Anton Terekhov

 

Editor (Grid)

Dima Demishvili

 

Editor (Color, Animation)

Tsvetelina Miteva

 

Translator

Howard Goldfinger

 

Advisors

Type Journal