a building underneath the walls and

LAYOUT AND windows. It holds the structure

together without being
COMPOSITION dominant. When we apply a grid to a
project, the elements are arranged in
GRIDS a way that makes sense. The text is
placed consistently and images relate
I/BASICS to each other in scale. Now, imagine
a world without grids and consistent
WHY GRIDS AND PROPORTIONS proportions.
- There are hundreds of terms used to
describe what we do as
designers and just as many
philosophies about the way we
work, but we all share this: our job
as designers is to create clear
communication. This is achieved with
typography, images, and shape. The
combination of these elements can
be aesthetically pleasing or
repulsive. A layout based on
consistent proportions and a grid is
more likely to succeed than one that
is haphazard and confused.
As human beings, we look
instinctively for pattern and
meaning. With the exception of a few
people on hoarding reality Every building would look like a house
shows, most of us organize our world a cat designed. No two windows
to make sense. We put the towels would be the same size, doors would
with the other towels in the linen be in all kinds of shapes. In print, a
closet. We don't put some in the publication or a newspaper would
freezer and others under the bed. We have no sense of order. One article
organize our books by subject, author, might be large, another tiny, with no
or color. These actions make life relationship to the importance of one
more manageable. This is the core over the other. No two pages would
idea of a grid and consistent match. Reading would be a difficult
proportions. The grid helps the process. Nature is full of grids. A
designer organize the spiderweb, a honeycomb, a shape of a
information with hierarchy and order. galaxy, even a snowflake.
Consistent proportions provide a Using a grid system is simply a
visual sense of unity and clarity. A way of creating the same organic
grid is the same as the steel frame of
structure to information, and that
makes for clear communication.
PROPORTION: THE GOLDEN SECTION
- When I mention the golden
section, many people immediately
walk away. "Oh no, math." They
think. And yes, the golden section is
about math. But the equations have
already been handled, you simply
need to know how to use it to help
your design. First, the golden
section, which is also called the
golden rectangle, or golden mean, is
a proportional structure that has been
in use since the Egyptians. It has
been called the golden
section because the Greeks found it
to be a proportion that is uncommonly
frequent in geometry and nature.
Without getting into complex
mathematics, the golden rectangle is
a form created by using the golden
ratio, 1.618. This ratio is based on the
Fibonacci sequence. If you saw the
Da Vinci Code movie, this was a
sacred and secret geometry. But it's
not really secret. The Fibonacci
numbers are created when the first
number is added to the second in
sequence. For example, one plus one
equals two.
One plus two equals three, two plus
three equals five, three plus five
equals eight, and so on. But so
what? It's an interesting way of
adding numbers, how does it relate to
design? Oddly, it's a sequence that
reccurs in nature with surprising
frequency. When we use these
numbers as measurements, we can
create a series of boxes based on the
units. When they are combined, we
have created a golden rectangle.
Then, by connecting the points of the
rectangles, we create a perfect
spiral. The exact spiral is found
throughout nature, in galaxies, shells,
and flowers. The Greeks determined
the rectangle to be the most pleasing
form to the human eye due to its
seemingly perfect geometry. They
used it on their
architecture. Renaissance painters,
such as Leonardo da Vinci, used the
ratio in his painting and sculpture.
Modern architects use the form, and
graphic designers have applied it to
print for centuries. I use the golden
rectangle as a guide to build a grid
when I want to. It's not mandated, it's
just another option. I can use the
form to determine the shape of a
book, or the grid structure of the
pages. I've used it to create
consistency with a variety of
forms. Even as a device to organize
information on a screen.
The golden rectangle is an amazing
proportion. Entire books are devoted
to it, but in our world, use it as one
possible way to determine a
layout. When it works, it's
wonderful. When it doesn't, try
another approach.
PROPORTION: SQUARE
The square is a remarkably
simple and easy to use
proportion. Any designer who has
worked with a series of squares to
build a layout will praise the
flexibility of this simple shape. The
Japanese applied the square on
much of their traditional architecture
and design. A tatami mat is typically
three by six feet, or two squares. This
series of squares divided the floor of
a Japanese house into many
interesting patterns. We use the
square as a proportional unit more
than any other shape.
A game of chess, ceramic tile, a
photograph, even the pixel on a
screen. In layout design, the square
divides the space into a series of
units. Each unit can be filled with
content such as text or images. The
result is an ordered layout that is
easy to understand. The square has
unique advantages as a proportional
base. First, a series of identical
squares can organize highly disparate
images or shapes.
It can also provide a simple map for
the real estate of a page. Images are
placed in the lower squares, text in
the second, and headlines on the
top. This works in print and on a
screen. A square-based layout in web
design takes advantage of the
inherent building block, the square
pixel. In some ways, it's like
putting a square peg into the square
hole, rather than trying to force the
circle in there. A square proportion
can be used to determine the form of
a publication or to create a structure
inside.
The squares can be used individually
or together. This approach ensures
that the large image will relate to the
small one and the text. The danger of
using a square proportion too
excessively or without variation is
creating wallpaper, or a visual look
and feel that is background
noise. Like the Golden Rectangle, use
the square, but make sure the
content is varied and compelling. And
feel free to change it up, it's your
design.
SYMMETRY AND ASYMMETRY page, I have a set of guides for scale
and placement.
- It's hard to imagine, but the
differences between symmetry and
asymmetry have destroyed If
friendships, built design I
movements, and been aligned with
politics and social values. I'd love to
be that rigid and committed to one
approach, but either can work
beautifully with a grid. Many people
are inherently drawn to
symmetry. While we aren't perfectly
symmetrical ourselves, the basics
hold true. We have two eyes, two
arms, and two legs. Mirror images of
the other side.
We look at symmetrical design and
designate it as "classical" and
"traditional." But it can be compelling
and dynamic with a good grid and
proportions. Asymmetry allows for
more flexibility in design. It is a set of use a grid based on a consistent
elements that are not mirror proportion, the elements will be
images, but a balancing act. This placed and scaled on the grid, giving
creates a stronger sense of energy me the structure I need. Since the
and dynamic than a stable grid is mathematically consistent, the
symmetrical layout. But this allows elements on the grid will also be
for more flexibility and a huge range consistent. The grid creates a system
of options. of units. I can scale an image to be
one unit wide, the next image is two
How large is the content? Where is it
units, the last one is three units. And
placed? What are the
I can place the text to fit within the
relationships? This is where a good
same structure. The content will
grid comes to the rescue. I could
always have a mathematical
spend a week moving things around if
relationship wherever I place the
I randomly place my elements on a
pieces and however I scale them
page. I could run the headline at the
within the grid.
top and make it big, or I could center
the headline and make it a giant date The negative space will also be
in the corner. This might take consistent. This helps solve the
days, and I would be working with no issues of creating balance in
structure. When I add a grid to the asymmetrical design. It's almost
impossible to create a composition
that is unbalanced. The secret to
success with both symmetry and
asymmetry is consistent
proportions. The history of symmetry
and asymmetry is filled with hard-line
manifestos for both
approaches. Fortunately, we live in a
time when designers are free to
work with symmetrical and
asymmetrical layouts.
It's doubtful that anyone will refuse to
acknowledge you because you used a
symmetrical layout on your last
project.
II/THE PIECES horizontally. Gutters provide space
between the columns.
ELEMENTS OF A GRID

- In my course, Foundations of Layout

and Composition we covered the
anatomy of a grid, but it never hurts
to recap the information. There are
multiple types of grids. Column
based, modular,
complex, symmetrical, and
asymmetrical. But they all share
some common elements. Margins,
columns, gutters, hanglines, and
markers. When I design a grid, I work
with points and picas rather than
inches. These units of
This helps the reader delineate the
measurement have been used in area of one column of type from
typsetting for centuries.
another. If they are too tight, the
A pica is close to 1/6 of an inch. It is reading is difficult. If they are too
made up of 12 points. A point is equal wide, the information will appear to
to one seventy second of an be unrelated. Markers are the
inch. This is the terminology we elements that remain the same on
use when we talk about a type size every page. Page numbers, or folios
like 12 point Helvetica. This isn't as some people call them, running
required. It's a personal preference of feet, or running heads. You can place
mine. I like this unit of the text in one column, or two. The
measurement because it relates to images are scaled to whatever size
the typography. The margin separates you want within the columns.
the content from the edge of the
You can create an asymmetrical, or
page. symmetrical layout. The grid is just a
It can be generous, or structure, not a hard line set of
tight, depending on your layout rules. You can follow it as rigidly as
concept. I like to use simple you'd like, or as loosely as you
measurements such as 4 like. Now it's up to you to breathe
picas. Columns guide the content life in to a very simple structure.
vertically. You can create one
column, two columns, or 20
columns. It's entirely up to
you. Hanglines help the reader
understand the real estate of a
page. They provide a guide to hang
content consistently,
TYPE OF GRID underlying structure. A grid will
organize the information and make
- Content will always drive the type of sure that the primary message
grid best suited to a layout. This remains the most important element
creates commonalities in different on the page.
media. This is great because the grid
structure can help a viewer quickly As I stated earlier, the content and
identify what he or she is seeing. A form will help determine the type of
book with mostly one kind of text, like grid for your project. And remember
a fiction book. May use a single that the viewer will recognize the
column, minimal typographic type of information by the style of the
variation, and generous grid before they read the content. For
margins. Now compare that type of example, we know that a
grid with a magazine grid. Magazines newspaper has news just by seeing
use a multiple column structure that the format of the layout.
allows for side-bars, multiple images,
pull quotes and other elements to
grab the viewers attention.
A magazine designed with a fition
books grid will no longer read as light
magazine content. Newspapers use a
modular grid that allows for maximum
flexibility, as the content length and
type can change day to day. A
newspaper grid tells the viewer that
he or she is looking at
information. Websites use a type of
grid, typically 12 columns suited for
the screen. Like any medium, some of
these forms have been used so
often that they are mistaken for hard
and fast rules.
The content will dictate some of the
structure. But I prefer to challenge a
preconceived idea if a better solution
exists. Exhibition design relies on a
strong proportional consistency and
three dimensional grid structure. The
grid will inform flat surfaces as
well as placement of the exhibition
cases and items. Even posters that
may seem simple on the
surface succeed with a strong
WHICH GRID IS RIGHT designers who use the same basic
grid structure on every piece.
- It would be simple to provide a list of
projects and the corresponding This is great if you can do this and
correct grid. There are the basic the work is fresh and clear. But I
guidelines directed by the specific think a wedding
final media. We know that announcement should look different
newspapers, books, websites, than a newsletter. And modifying the
exhibitions, and posters have unique grid based on the content and
grid requirements. These are tried intended use creates the important
and true and exist because they difference.
work. Within these, there are
variations that can be used. Knowing
which variation is best is based on
your idea and the content.
My first job is to determine the
message and from that message, the
attitude or personality will help
determine the type of grid to
use. Let's take the example of a
booklet for a surf shack in
Hawaii. The client has asked me to
use images, the logo, and given me
text about the activities. This is the
first question I ask. What is the
message? If it is catering to a more
traditional audience at a high-end
resort, I might use a symmetrical
grid and treat the images like fine art
in a gallery with an ample border.
I make a grid with margins, two
columns, and three hang lines. This
divides the pages equally in
half, vertically and horizontally. If the
message is that the surf shack is hip
and modern, the grid may be
assymetrical. I'd probably use
imagery that is contemporary and
bleed off the edges. The grid will have
three columns and an odd number of
hang lines, forcing me to be
assymetrical. There are some
DESIGN PROCESS
- I could talk about the conceptual
dynamics of a grid, and the process
to design it, and sound very
smart. But when I start working on a
project, my process for designing the
grid structure isn't that
complicated. Let's assume I know
what my message is, and I've decided
what format is best. My first step will
be to map out all of the pages in a
publication or content on a poster, in
a sketch. This works to do a rough
organization before I commit the time
to pour the copy into the file, and
place images.
Once I know my basic layout, I begin
working with a grid. Now here's the
part that is far less complicated than
you might expect. If you are using
Adobe InDesign, start with a basic
grid. Mine is almost always the
same. I begin with margins of similar
sizes. I like to leave extra space on
the bottom to place the page
numbers, and because it has a better
visual balance. Next, I work with a
basic six column structure. This gives
me the flexibility to use all six
individually, or run content across the
columns.
It's a very flexible structure. Using
the Create Guides option, I add six
hanglines based on the margins, not
the page. I want the hanglines to
relate to the proportions of the
columns, and this looks more
unified. Now, I begin working with my
content. I follow my organization
sketch and place the items within the
structure. Don't worry about making it
perfect right now. This is a rough
draft to make sure the grid works.
If the layout isn't working, don't force
it, add more columns. Double the
amount to 12. It's still the same
proportion, this just gives you more
options. Once you're pleased with the
basic layout, you can go back in and
fine tune each element. And don't be
afraid to change the grid. I've worked
on projects and been completely
finished, and then decided to go back
and alter the grid. It's a back and
forth process. Create a grid, layout
the content, modify the grid, and
relayout.
The grid isn't fixed in concrete. It's
just lines on a page.
III/BOOKS
DESIGN MASTER GRID
- Book design has a long
tradition going back to Medieval
manuscripts. And like anything with a
deep history, there are all types of
rules and theories about the right way
to design a book. Graphic design
didn't exist as a profession before the
1940s. Printers and graphic artists
designed the books. It was more of a
trade and an art form. Grids in book
design were fairly identical. The page
typically had one column and the
marker was on the bottom. In the
20th century, as the graphic design
profession emerged, book grids
became more flexible and varied.
Designers introduced concepts of
asymmetry and looked at other
cultures besides European
classics. This makes designing a
book much more interesting. Again,
using InDesign, I create a grid on the
master page. I start with similar
margin sizes, but may add a little
extra to accommodate the gutter if I
think it's a thick book. If it's a book
with one or two kinds of
information, say mostly text, I create
a two column grid. If it's more
complex, I'll work with more columns.
I add two or three hang lines based on
the margins with Create
Guides. Again, if the book has more
varied content, I add more. This gives
me the flexibility I may require to
work with different kinds of text or
images. I then add the marker
using Insert Special Character
Markers. In book design, the page
numbers are referred to as folios. And
the information, such as the book title
or chapters, are running feet or
running heads, if they're placed on
the top of the page.
When I've completed creating my grid
on the master page, every page in my
book will now have the same
grid. Think of it as the wood frame of
a house. I can now begin adding
walls, windows, and furniture. Every
room can look different, but will feel
unified because the same structural
framing holds the whole house
together.
WORKING WITH CONTENT
- Once I've designed my grid on the
master page, I now have a master
grid and format for my book. The grid
is applied to every page in the
document. Now it's time to add the
content and see if it works. Books
have very specific requirements for
content. I know it may sound stuffy,
but these exist to help the
reader. The content at the beginning
of the book is called front
matter. This includes the half title,
title page, library of congress CIP
data, contents, forward, and
introduction; in that order.
This content is laid out using the grid
as a guide. I work with consistent
type sizes and try to determine one
primary hang line for my
content. Next, the text pages. This is
the main body of the book. These may
include chapter pages, foot
notes, images, and captions. I place
the content within the grid based
on consistent usage, such as all text
is two columns wide and all captions
are one column wide.
Images can be placed within the
column structure. Use the entire text
area or bleed off all four
sides, depending on the
content. Make a rule such as all
images are the same width and their
height varies. Typically, images will
be different proportions and will not
all fit in the same area exactly. If I
have captions, I determine whether
they will always be placed next to,
below, or separate from the
image. Any of these is acceptable as
long as it's consistent throughout the
entire book.
The tricky part of book design is
creating a consistent system that
helps the reader know where and how
to find information. Since all the
content will not be identical, the grid
needs enough flexibility to
organize the information without
pushing you into a corner. Again, if
something just won't work, one page
has information or content that can't
fit within the structure, rather than
cheating, modify the grid, add a
column or hang line, give yourself
more options and flexibility.
SYMMETRICAL GRID

Books with large amounts of

continuous text, or similar images are
a good candidate for a symmetrical
grid. These are usually the simplest
grid structures with one column. The
same grid is duplicated in mirror form
on the opposite page. Working with a
simple symmetrical structure can
create a classic and elegant
The scale and typeface can be used to
solution. It can also be dull and gray
create a dynamic relationship with
as each page is basically a big block
the text. Try several variations. I like
of gray text.
to work in multiples of the same
A grid centered on a page with sizes. If the body text is 8 point, try
identical, and small margins will the headline at 24 point.
create a big, bland block of
The headline, subhead, or any other
content. In this example, however,
element is centered on the text
the negative space of the
block, not the page. The space
margins, and placement of headlines,
between the headline, subhead, and
can create a dynamic
text, is another place to create
structure. Following classical
tension on the layout. Add an
proportions, 1.5, 2, 3, 4, with ample
ornament, like a rule or typographic
margins, creates more tension
element if the layout needs more
simply by not resting in the exact
visual interest. Once you've
middle of a page.
determined the layout for a page with
The text is scaled to be the width of a headline and a text only page, stick
the column. A good rule to remember, to a system. This is now part of the
is not exceed 52 characters with any grid.
line length. Any longer, and the
If the headline is centered on the text
reader will give up. The headlines can
at the top of the grid, and the text
also create a dynamic. 
starts at a lower hangline, use this
throughout the book. Symmetrical
grids are challenging. You have fewer
options to move the type left or
right and play with headlines and
images to add tension. But done well
with care and consistency, they are
timeless.
IV/ PUBLICATIONS AND MAGAZINES
Column and modular grids
- A publication such as an annual
report, brochure, or company
booklet, will typically have more
varied content than a book. Trying to
fit introductions, letters from the
CEO, diagrams, texts, and all types of
images into a simple grid is
challenging. I don't suggest doing
that. The grid in this instance needs
to be more flexible, and allow for
unexpected elements that may only  The modular structure still contains
appear once. In the case of a the columns, but adds a layer of
magazine, or series of compositional control over highly
publications, you need a grid intricate content. It also works well
structure that anticipates with multiples of images at different
needs before you know the content. scale and proportion. The column and
One approach is a column structure modular grids are more flexible.
with hang lines. Set up a grid on the Without the rigidity of a simple
master page with multiple grid, the content may seem too
columns. Rather than adding six disparate and unrelated. Here it's
columns, double that and make important to work with a clear
12. This gives you more typographic system of consistent
options without changing the typefaces, styles, and sizes. Unlike
proportions. The same holds true for the grid structures we've already
the hang lines. Instead of six, try discussed, rather than adding more
12. You still need to maintain columns if things aren't working, it
consistency of placement and style of can be better to eliminate
the content, but this more complex some. Once you get up to 24 columns
structure simply makes that easier. on a page, you don't really have a grid
Another approach, if the information is at all.
quite complex, is to work with a
modular grid. The columns and hang
lines work together to create square
modules. This takes a little
math based on the proportions of the
page.
WORKING WITH COMPLEX CONTENT this. Think of this as another
voice, stepping in to tell a different
- Clients rarely turn over content for a story separate from the rest of the
publication in a nice neat package. I page. Raw data is dull, so I like to use
usually receive a file of different text the opportunity to incorporate charts
documents, a hard drive of images and diagrams. I use multiple ways of
and data in raw form. Putting this all delineating the information, bar
back together again in a cohesive charts, pie charts and diagrams,
way is challenging at best, but that's whatever.
the fun part of the job. My first step is
to edit. Go through all the documents
and begin to prioritize all the
information. Often there will be
multiple duplication's of information.
For example, one article may tell the
story of research and development on They will appear cohesive as long as
a project. Another may be the way they are sized to stay within the grid
team members found information on structure and relate with color and
that same project. These basically typography. Complex content
tell the same story. Combine them or requires not just a more complex
delete one. I do the same with any grid, it also needs to walk the fine
raw data. What can be edited to make line between dull rigid sameness and
the document more dynamic and not incomprehensible dense
repetitive, is a list people duplicated information. Working with a grid and
with the information that can be maintaining real estate and
combined into one list. typographic standards will allow
Now that I've edited the information, I for more visual diversity. That's more
can begin to design the grid. Clearly, fun for you and better for the reader.
I'll need a structure that allows for
flexibility, but at the same time I need
to be rigorous about the rules with
real estate and typography. The
reader needs as much help as
possible to navigate the complex
content. So apply guidelines such as
all images sit below a hang-line and
all captions run above. Begin with
one typeface in different sizes rather
than several that can be confusing.
Use the page dynamically. You may
need to divide the spread into clearly
different types of information. A
sidebar is a good technique to do
ASYMMETRICAL GRIDS
Book grids were almost uniformly
symmetrical until the 1920's when
several typographers began exploring
asymmetry as an option. This broke
away from the centered axis
structure and created a more modern
and dynamic grid. The result was a
divide in book design between the
traditional book makers and young
graphic artists advocating a new way
of designing. An asymmetrical grid is
more complex than a symmetrical
grid. There will be several columns
and more hanglines.
The pages don't mirror each
other, they are duplicates. Unlike a
fiction book that requires a single
column, an asymmetrical grid is good
for a book with more complex
information such as diagrams,
images, sidebars, and types of
copy. This grid has more to do with
real estate than a center grid. The
page is divided in to regions. Text,
images, captions, and headlines are
placed in the same place from page
to page.
This helps the reader understand the
content. It provides a consistent road
map that would be convoluted with
only one symmetrical column. The
type of graphic variables are the
same with all grids. Don't exceed the
52 character line length, and work
with compatible type sizes. Maybe it's
because I worked with metal type for
a long time, but I stick with real sizes
like 8 or 9 pt. Stay away from sizes
like 8.235 pt.
Once you start using odd fractional
sizes, the relationships between sizes
falls apart, and the grid will seem
awkward. Since there are so may
options with an asymmetrical
grid, maintain consistency with
placement once you've landed on a
solution. Use the grid to define where
and how large each type of
information is. Like symmetrical
grids, aymmetrical grids rely
on consistent proportions to work.
The grid locks all of the different
elements in place. The result is a
book that can contain complicated
information, but be accessible and
clear.
MULTIPLE GRIDS

- I wish there were only one way to

make a successful grid structure. It
would be much easier to explain if I
could say "Do this. And this. And it
will work." But the types of
information we encounter are so
varied that this is impossible. You
need multiple grid concepts to work
with many types of
Now, bear with me. This is the math
content. Sometimes, this variation in
part. If a monthly article's grid has
content exists in one
eight columns that are 5 Picas wide,
publication. Think of a magazine, for
and the hang lines are 7 Picas apart, I
example. Magazines have monthly
base the feature's grid on the same
articles that are the same in each
measurements. But the feature's grid
issue, and features in the center of
has only four columns. These
the magazine that can be different
columns are 11 Picas across. The
each time.
column widths relate to each other
If all the content used the exact same mathematically. I can apply different
grid, the magazine would lose the rules to each structure.
delineation between
On the monthly column grid, images
these. Proportions are at the core of
can be a maximum of 4 columns
employing multiple grids in one
wide. Text must stay within 2
publication. I can design a grid with
columns. A solid bar runs across the
eight columns for monthly articles,
top of all monthly column pages, and
and four for the features. The hang
all the content hangs from the same
lines on each can change, but I make
hang line. The grid in the feature
sure I'm working with divisions or
sections has less columns, and I
multiples of the same units. I also
allow myself to run text across as
maintain the same margins and place
many columns as I want. I also lay
for page numbers on both structures.
out images to bleed off the
page. Keep the grids together in a
publication.
Rather than mixing them together, I
will use one structure at the
beginning, and one at the end. Going
back and forth can be too jarring and
confusing for the reader. Some
publications demand a level of
gravity. A document on the fiscal
budget is better suited to a one-grid
approach. But when the content
needs to be presented
dynamically, across many pages with
differing types of content, two or
three-grid structures are a great tool.
UNEXPECTED GRID SYSTEMS Simply moving it around weirdly won't
work. Make sure you are still creating
- Too much of the same thing can be hierarchy with the layout and
dull. I'm happy eating the same scale. Of course, every rule is meant
oatmeal for breakfast everyday, but to be broken. There are some
for every meal, probably designers who have mastered the
not. Throwing in something combination of a deconstructed grid
unexpected that may break the rules and typographic circus, but, like
of the grid can add energy into a mixing plaids, patterns, and stripes in
publication. If I follow the logic that a your clothing, it takes practice.
basic proportional system guides my
grid, I can abandon the
traditional equal column, gutter, and
hang line structure. The results can
be exciting and dynamic, but you've
detoured off the straight line freeway
into the unknown.
Be adventurous. Let's start with a
golden rectangle as a proportion. I
create a grid with multiples of the
same form. I can make larger areas
for content and small areas. As long
as they're a connection to the golden
rectangle, this will seem consistent,
or I might use a square system on a
45 degree angle. I can place my
elements where ever I want and at
whatever scale I think works with the
hierarchy. As long as I stay within the
square structure, the layout will
appear harmonious.
In these instances, consistency with
typography is critical. If the grid is
unexpected and fluid, I try to limit the
typographic fireworks by
working with one type face at a
time. The danger of adding 15 fonts
and an alternative or looser grid
format is a design that might feel, not
dynamic and exciting, but just a
mess. When working with an
unexpected or variable grid format,
the content is king.

V/ POSTERS
DESIGN POSTER GRIDS
- Posters are meant to grab the
viewer's attention and communicate
a clear message. Brochures and
publications do a different job. They
provide more complex
information. So, let's proceed with
the assumption that a poster is not
simply a giant brochure. Since we
don't need to create a structure for
large amounts of text and
imagery, the poster grid can be
simplified. This however, is another
instance where the proportions are
critical.
Joseph Mueller Brockman, one of the
greatest poster designers based his
grid system on the golden
section. He aligned typography and
imagery to work within these
proportions. The results led to
powerful and clear messages and
posters that stand out in a crowded
visual environment and are
aesthetically harmonious. When I use
the golden section on a poster I don't
adhere to it as religiously, but apply it
as a general guide, A modular grid
based on squares or rectangles is
another good option for a poster.
This creates a structure to
maintain consistent proportions, but
allows for more flexibility than a
strict golden section grid. 
The most successful examples of a
modular grid rely on dynamic scale
change. Use four modules for one
element and twenty for another. As
with any good layout, scale
change creates energy and
hierarchy. It's easy to look on the
screen and think, "Gee, that's a swell
grid." But I always print it out at full
scale.
Even if I roughly tile the pages
together. It's important to see how
large a column really is, and that isn't
possible on a screen. One final
consideration with a poster is the
final form. If it is to be folded, then
and mailed, pay attention to the fold
lines. I try to align my grid to
these so I'm not running type or
content on the middle of a
fold. There is no one right way to
design a grid for a poster. So try
multiple options. Try a golden
rectangle.
Then a square modular grid. If one
works better, work with that. One
solution may seem great in my
head, and then look like something
the cat dragged in when I make it. So
feel free to explore.
WORKING WITH CONTENTS Or the entire form of the subject can
create the axis of the grid. You can
- I'm going to be frank here. In a
also use the grid itself as an
perfect world at the beginning of a
element, highlighting the
poster project, most clients would
proportion. This is a good solution
say, "Here's my content, the idea, and
when the imagery is not the highest
a few lines of copy." However the
quality and needs a little help. If you
reality is usually more complicated. I
feel that you are trapped and unable
get more content than I can fit on a
to create a dynamic layout within the
24x36in poster. At this point it's my
grid structure, lose it. Design the
job to edit. I don't tell the client that
poster intuitively. When you're
there is too much content and this is
satisfied with the layout put the grid
a poster not a brochure. I find a
back in place. You might need to shift
better solution. Usually this is a
some of the elements a bit But when
redistribution of content.
you do, it will all lock into place and
The posters job is to grab create a harmonious layout.
attention and communicate a simple
message. I design the poster with
that goal. All the excess information
will probably work better on the
clients website. Few people want to
sit with a poster and read multiple
paragraphs. Even after editing and
separating the content I may still
have more then an image and
headline. I use the posters grid to
create hierarchy. Or move some of
the information to the backside of the
poster.
The image on a poster is not just a
rectangle. The imagery itself should
relate to the grid. The Swiss took this
so seriously that they often drew a
golden rectangle on the camera
lens and aligned people to fit
exactly. You probably don't need to
go to those extremes. But understand
how the content of the image is
integrating with the grid. You can use
an element of the image as a guide to
place the typography. A distinct
element such as a prominent
shape can indicate a column size and
hang-lines.
TYPOGRAPHIC POSTERS
- While some posters rely on a central
image to communicate a
message, others are
typographic. The content may be best
expressed with copy or the poster is
meant to be posted and provide
information. Now, everyone I know
tends to freak out a bit when we talk
about typography on a poster. But
don't worry about this too much, think
of typography as pictures of
words. There may be instances when
you need to add more information to
the front of the poster than you'd
like but that's just a good challenge.
The biggest danger when designing a
typographic poster is creating a giant
brochure. The poster may contain
similar information but it still has the
job to grab the viewer's
attention. The grid can help guide the
scale and placement to do this. The
grid here is important to organize the
information and provide
hierarchy. Since I'm working on a
large-scale and have a large amount
of content to handle, I create a grid
with 16 columns and 12 hanglines.
This will give me the flexibility I
need. The next step is to determine
the levels of importance. Now,
everything on the poster is
important but if everything is
screaming at the same level, nothing
is heard. Once I've organized my
content into the headline, subheads
and body text, I can begin the
layout. In these instances, I use a
column grid. This helps me organize
the body text and maintain
consistency. A line length that is the
same from column to column will help
the viewer understand the types of
information.
A common error is to make the type
too large on the body text of a
poster. Nobody is going to read
multiple paragraphs from a passing
bus. The chances are good that the
viewer will walk up to the poster and
read them. So don't feel that all the
type need to be huge. I still work with
sizes that are related, if the body text
is 12 point, the subheads are 18
point, introduction copy is 24 point
and so on. Without the grid the type is
simply floating with no relationship.
Aligning it to the grid structure will
maintain a cohesive layout, the scale
of the typography will create the
energy. So that I don't drive myself
mad with too many choices, I start
with one typeface only and change
only the scale. If I have 12 fonts on a
page, the viewer can be
confused, trying to understand
why one type of information is in
bodoni while another in
garamond and the third in something
decorative. I also religiously adhere
to the same alignment on all
typography.
I'm sure someone more talented could
work with flush left, centered and
flush right text on the same
piece. But I find it to be confusing and
unrefined. Once the type is in place, I
play with color. I try a solid
background and different colors. Copy
and paste the page onto several
pages and do a few versions. You're
the only one who will see these so
explore. Typographic posters demand
more structure than a singular
image but the results can be
spectacular.
Stick with the grid and a simple
typographic language and you'll do
fine. The grid will provide the
necessary structure and let you play
with the layout issues such as size
and color without being overwhelmed
by a big empty canvas.
ALTERNATIVE CONCEPTS The result will be a design that is
dictated by rules and the grid, not by
-A grid does not always need to any intuitive creative process. This
be a clear structure of columns and could be great or awful, but it's a
hang lines. There are alternative good way to break out of a creative
approaches that rely on rut. Creative freedom is the great
experimentation or intuition. These part of alternative grid
are no less valid than the traditional structures. There is no wrong
grid. Like all projects, the solution. I can't guarantee that every
approach is defined by the solution will have successful
communication. The basic concept of hierarchy and legibility. But good
a grid is to create cohesive design is the product of
structure. Imagine that your client is exploration. And sometimes success
an experimental school of comes from way of working a 180
architecture. Applying a rigid and degrees from your comfort zone.
traditional solution will not
communicate radical new ideas.
The solution is to use alternative
structural ideas. You might base the
grid on something specific to the
client. Maybe the shape of the
building provides the grid. From this,
you can create a grid that is not like
any other. The angles of the grid will
provide the illusion of space and can
be dynamic and dramatic. When I
work in this method, I design the
poster based on a traditional, modular
grid, and then skew everything
together to make the perspective.

Another concept is to create a set of

rules before beginning to design. For
example, I'd write out the rules
first then begin the design. All date
and time information must be 24 point
Bodoni, and placed in the upper right
corner. Any images must be the
entire width of the poster and hang
from a central hang line. All headlines
must be 84 point Helvetica and
placed at the top left. And all body
copy must be eight point, and sit in
one central black column.
VI/ OTHER FORMATS shifts to fit while staying on the
grid. There are multiple concepts in
WEBSITES web design that evolve all the
- Obviously, I like grids. They provide time, but the constant remains that a
structure and consistency. They grid provides clarity and structure to
make my life better. When I began the website.
working with website design, I The information presented is often far
applied my traditional approach to more complex than a printed book or
grids and soon found this didn't brochure and is presented in multiple
work. A printed page ways on different pages. The grid
requires margins, columns, and creates unity and a consistent
markers. But a website is not experience.
limited by the size of the book or
poster. Information exists
dimensionally with pulldowns,
hovering texts, and pop
outs. Websites need a grid
structure to aid in navigation and
information.
On a website, the real estate
allocation is critical. Is the navigation
bar on the top or the side? Are all the
images one size and can be opened in
a separate window? That real estate
relies on a grid structure to keep the
page from becoming a chaotic
mess. When images, text, and shapes
align, we access the information
faster. There are many courses on
Lynda.com that do a great job to
address the technical aspect of
creating a grid on a website.
In terms of layout, I found a 12-column
grid to be a good basis in web
design. This structure works in
both 960 and 1200 pixel widths. Now
that website design is
responsive, meaning the layout can
change based on the size of the
window, columns are based on
percentages that add up to 100
percent. When the window is
expanded or reduced, the content
INSPIRATIONS
- When you start working with
grids, you start seeing them
everywhere. Just like I have an album
on my computer for color palettes,
and another for design inspiration, I
have one for grids. When I need that
little kick, I'll visit these
examples. It's not about copying, but
thinking differently than I normally
do. If I find something interesting, I'm
not gonna try to recreate the grid
exactly, I just need to get the gist of
the structure. I find this to be a great
exercise. Understanding how
something is built under the hood.
I found this magazine in an old
bookstore and immediately bought
it. I love the order and chaos,
combined. How can so many little
birds look so organized? When I built
the grid over it, I discovered that it
was a simple square, modular
grid. One of my favorite designers is
Ken Briggs, who did beautiful posters
for the National Theatre in
London. He had an incredible sense of
scale, and the ability to create
excitement with a limited typographic
palette. Once the grid is clear, I can
find how the poster is both precise
and unexpected.
Herb Lubalin did things with layout in
the 1960's and 70's that are still fresh
and remarkable. This spread, for a
story on Marilyn Monroe, breaks all
the rules of making type into
shapes and creating odd negative
space. Laying the grid over it, I see
how the proportions are rigidly
maintained, pulling all the elements
together and mixing the fluid forms of
Marilyn's image with the hard-edged
rectangles of the typography.
I don't limit myself to looking only at
print. Lance Wyman's signage
program for the 1968 Mexico City
Olympics, is a symphony of squares
and color. I was completely surprised
that the forms were so simple when I
explored the grid structure. One of
the trickiest layout problems is
organizing a whole batch of different
images, all with different
shapes. This can turn into a real
mess, fast. Erik Nitsche's grid for a
book does a beautiful job of
maintaining structure.
Of course, the master of grids, Josef
Muller-Brockmann, did more than
simply use one structure of
columns. This grid alone is so simple
and flexible, but when I add the
golden rectangle, it's clear that
nothing is arbitrary or not the same
proportion. Finally, one of the
greatest of grid examples is Lou
Dorfsman and Herb Lubalin's Cafeteria
Wall for CBS. The complex
typography with hundreds of
typefaces and sizes mixed with real
objects is a true symphony.
This would only be possible with the
use of the rigid, underlying grid
structure. Start an album on your
computer, and drop in any example
that you find interesting. You don't
need to know what the grid is
yet. Take some time and explore how
it was structured. In a way, this is
like the classic way painting was
taught to art students in the
1800's. By sitting in front of the Mona
Lisa and replicating it to understand
how it was made.