Grid Research 1

Grids
Research
Sarah Robins
Grid Research 2
Published and Written by Sarah Robins
Copyright Sarah Robins 2010
All rights reserved. No part of this publication may be
reproduced, stored in a retrieval system, or transmitted
in any form by any means, electronic, mechanical,
photocopying, recording or otherwise, without
permission of the copyright holder.
Design and Art Direction Sarah Robins
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Contents
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Introduction
Previous Work With Grids
Grid Background
Book Deconstruction
Playing with The Grid
Horizontal & Vertical Lines
Diagonal Lines
Shapes & Curved Lines
How People Use Grids
Experimental Books and Formats
Experiments & Ideas
Developments
Final Outcome
Rational
Bibliography
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Introduction
Introduction 7
The purpose of this research project is to gain a stronger
understanding of the grid and the way it is used.
The research will be looking at the choices and considerations
made when constructing a grid. I will be concentrating on
grids used in book layouts as I have a specifc interest in book
publishing. This research and eventual outcome will be aimed
at young designers starting out in design as it will show the
importance of the grid and how it can improve your work.
The aim of this is to remove the intimidating complicated
appearance of grids through discussion and experiments by
injecting an element of play to the grids.
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Previous Work
Using Grids
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The Drawing Room
This project was a collaborative piece for an art gallery called The Drawing Room.
Myself, Yessica Diez and Brook Kirby worked on a publication promoting the gallery
for an up and coming fundraiser auction where artiest donate a piece of work to
be sold at this even in order to raise money towards the running of the gallery. Our
collaborative decided to produce a three-piece catalogue with three different paper
sizes, A5, A4 and A3. We worked on a booklet each and the way we decided to retain
the continuity between the booklets was to use the same grid and colour styles.
Our group found that the combination of diagonal and horizontal lines was inspiring as
it added moment to our layouts. So we developed out own that we could all work on.
Previous Work
Using Grids 11
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Walk in The Woods
For this project I was asked by a book publisher to produce a series of sample layouts.
The book was about woodlands all over Britain supported by the Woodlands Trust.
Essentially the book was about the beautiful images but there was a reasonable
amount of text to be considered in the layouts as well. So I had to produce a grid
that would accommodate both these elements. I decided on a grid the used a more
traditional rows and columns as I felt that this was sympathetic to the content and also
was ft for the purpose. This worked really well here and there is obvious rhythm and
continuity throughout the spreads.
Previous Work
Using Grids 13
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Grid Background
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A grid subdivides a page vertically
and horizontally into margins,
columns, inter-column spaces,
lines of type, and spaces between
blocks of type and images. These
subdivisions form the basis of a
modular and systematic approach
to the layout, particularly for multi
page documents, making the design
process quicker, and ensuring visual
consistency between related pages.
What is a Grid?
Grid Background 17
This whole business of grids is so
diffcult for graphic designers. Most of us
love them.
A grid is generally a series of straight
vertical and horizontal lines.
Ultimately, its not the notion of the
grid that is importantits the hand
that constructs, the brain that computes,
and the insightful eye that exploits these
invisible structures.
A graphic-design grid is a bit like magic
sets of intersecting lines that help the
designer decide where to put things,
but that generally no one else sees. The
benefts of using a grid are diverse,
ranging from the psychological to the
functional, and, of course, the aesthetic.
The grid embodies all the contradictions
that designers struggle with. This is the
designers very own enigma code that
can elevate design discourse to that of a
science, and eradicate the creative block
by virtually flling the blank page.
Grids: Creative Solutions for Graphic Designers
Lucinne Roberts
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Simple Modular Grid
Modules Gutter Columns
Grid Background 19
Margins
Flowlines
Spatial zones
Markers
Here we are looking at the elements
of a basic modular grid and what each
element is called, this will be essential to
know through out this research to help
understand the language that will be used.
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A Brief Grid Background
Modern graphic design as we know it, is a young
profession, but incidences of grid use predate
the Romans and Greeks. In early history mans
relationship with nature guided him towards a sense
of proportion. Renaissance artists used grids as a
mathematical solution to scaling up their sketches so
that they would proportionately ft monolithic murals.
There are different types of grids that use different
mathematical structures, but they all have the same
purpose of retaining proportion. Some designers are
followers of the grid and for them it has become
the unquestioned part of the working process that
yields precision, order and clarity (Samara, 2005:
9). However, others are against the use of the grid,
considering it is symbolic of Old Guard aesthetic
oppression, a stifing cage that hinders the search for
expression (Samara, 2005: 9).
Grid Background 21
As a starting point, it is useful to examine briefy a
selection of mathematical structures commonly used for
designing grids. To start with, the Fibonacci sequence is
used to create an aesthetically pleasing increment in size,
using a ratio of 1:618 = Phi.
The system is named after Leonardo
Fibonacci (1170-1250) an Italian
mathematician who popularised the
decimal system to Europe. The sequence
refers to the infnite sequence of
numbers, 0, 1, 1, 2, 3, 5, 8 etc in which
each number (Fibonacci number) is
the sum of the previous two (Collins
English Dictionary 3rd ed. 1994).
Alternatively, the number could be simply
multiplied by Phi, which would also give
you the next number in the sequence.
Fibonacci numbers also work with the
Golden Ratio by using two sequential
numbers as measurements for a rectangle;
this is how you can create a Golden
Rectangle. In fact arguably most aspects
of natural human life conform to the
Golden Ratio, for example the human
body and petal composition on fowers.
34
21
1:1.618 = Phi
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There is also a system that can be used to create page
layouts, known as the Van de Graaf Grids. These
grids use 40% of the page, which creates calm and an
aesthetically pleasing composition. This gives us a grid
that is very practical but also beautifully proportioned
on a visual level and can be used with any size format,
creating a simple but effective layout and composition.
Van de Graaf Grids
Grid Background 23
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89,144
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Rule of Thirds
A much simpler grid to follow is the Rule of Thirds, mainly used in photography to
create a simpler but more dynamic composition. In the rule of thirds, the elements
are spaced out to ft evenly within a 3x3 column and row layout. The elements of an
image are either placed on the crossover of lines or within the rectangles to spread out
the image, giving an element of space.
Grid Background 25
Grid Research 26
All these grids refect or
infuence one another as they
all have the same purpose, of
retaining proportion and clean
space. They also are produced
in similar ways by using
measurements based around or
multiplied from Phi.
Grid Background 27
Today the grids that are more
commonly used resemble the
Rule of Thirds or the more
developed Van de Graaf Grids with
rows and columns using a gutter
between the lines producing what is
known as a modular grid.
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Grid Basics: Letterpress
Beginnings of grid systems
When typesetting in letterpress it is important that all the metal type is lined
up and locked together tightly with in the type chase frame. This means that all
the horizontal and vertical lines need to line up neatly to enable this to happen.
This is a very physical example of a grid it shows how important it is, as in this
case, if not spaced out and locked together the pieces will fall out.
I spoke to a fellow student that had spent time in letterpress developing their
skills. I asked them their thoughts on the grid grids (or verticals and horizontal
lines, locking up) with in Letterpress and any terminology with in letterpress
that might help. I also asked:
When composing your text, did you think about the grid at any point? If so
when and how?
When locking up the type before inking and putting on the roller bed, how
important is it to have everything locked up tightly with the horizontal lines?
How did you work out which metal blocks go where? Was this diffcult to get
it all to ft?
Grid Background 29
All the type produced in letter press uses horizontal lines. (I think) It is very
hard to create diagonal lines unless you turn the actual paper around before
you feed it through the press. It is easier to turn the paper than the type.
It is important to make all the line lengths the same when composing your
type. You set you lines in a metal thing called a stick. In order to make all
the line lengths the same you set your stick to your longest line length then
fll your shortest line length with spacing which are blank blocks of metal;
thins, mids, thicks, ens, ems. I think thats the correct order of them from
smallest to largest.
The line lengths need to be the same length so it is easier to move the whole
block of type from the stick to lock it up for printing. If they fall apart it is a
headache! Believe me you dont want to mess hours of preparation work.
I didnt really use a grid during my project because I was just creating
experimental work, but if you are creating something on a grid then you would
have to keep the grid in mind.
I dont think I looked at many books but feel free to look at my blog I kept
during my project. It is very informal thought. It is:
http://carlyl.wordpress.com/
Feedback From Someone Working In Letterpress
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Book
Deconstruction
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This example looks at a combination of text and image.
It is a relatively simply grid, resembling the rule of thirds
twisted on its side. The grid keeps the page in proportion
using simple page layouts but also ensuring continuity
and rhythm through out the book.
Example 01
Book
Deconstruction 33
Grid Research 34
Example 02
Book
Deconstruction 35
Here the text heavy layout, it is slightly more complicated using more lines to make it
up. The grid uses four columns and fve rows per page as well as gutters and margin.
This is to accommodate all the different sections within the different spreads including
the more illustrative layouts. Although there are more lines in this grid that the
previous deconstruction, it offers more possibilities of different out comes, and also
the chance to break out of the grid as and when is suitable.
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Example 03
Book
Deconstruction 37
Looking image heavy layouts where the majority of the spreads consist of one large
image of the Vogue magazines cover with two small columns underneath. Due to
this on frst look the grid appears to be very basic. However, as you continue to look
through the book it becomes clear the grid needs to accommodate text heavy spreads,
at the same time as retaining continuity throughout the layouts in the rest of the book.
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Example 04
I have continued to deconstruct book spreads. However, for the next
few pages I have scanned the spreads instead of photographing them.
This is to help gain more accurate results, as the spreads are completely
fat to enable me to overlay the grid lines in a symmetrical manor.
Book
Deconstruction 39
This grid uses margins but mainly
vertical line creating columns with
gutters between them. The multiple
columns are evenly space across the
spread, this enables the text and images
to places on the page in a balances way.
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Example 05
Book
Deconstruction 41
This grid uses the grid
used in this spread is
very simple as the spread
mainly consists of one
wide column of text and a
slightly narrower column
for the captions with a
gutter separating the two.
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Example 06
Book
Deconstruction 43
This grid was rather
diffcult to deconstruct as
there is a lot going in this
spread. I think to ascertain
the grid used throughout
this book, I would need
to look at further spreads
to fnd an average of grid
lines used. However, the
main structure consists
of vertical lines.
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Playing with
The Grid
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Playing with Layouts
I start off generally playing with the active space on the page, positive and negative
space doing some rough layouts, not thinking about the grid. Then looking at shapes
and line, before looking at grids themselves, by just plonking elements on a page to
build up some interesting layouts.
Playing With The Grid 47
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Horizontal &
Vertical Lines
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Horizontal & Vertical Grids
Horizontal &
Vertical Lines 51
Firstly I have looked at horizontal and verticals grid that I have found. These grids are
a combination of more traditional ones that use columns and also some more original
ones. The more original grids are made up of shapes overlapping one another and
grids that use various horizontal lines to divide up the page.
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Horizontal & Vertical Layouts
Horizontal &
Vertical Lines 53
These are spreads that use the horizontal and vertical grids. The misconception about
horizontal grids is that initially they can be quit boring using straight columns not very
exciting. But they are only limited to how you as the designer want to use them, so it
comes down to using the grid to the best of your abilities and breaking away from the
traditional grid. These layouts here are quite interesting not using the traditional rows
and columns proving that they can be fun and inspirational.
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Here I am playing around with doing rough horizontal and vertical layouts using
newspaper and tracing paper to get my hands on doing the grid and have a look at
them. This was quite a useful exercise to do for ideas generation before you head
to your Mac. However, I am use to doing it on the computer and fnd it easier and
quicker to place page elements and re size parts in InDesign.
Horizontal Grid Experiment
Horizontal &
Vertical Lines 55
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Horizontal Grid Experiment
This experiment is a continuation from the previous page. I have taken the previously
drawn grid, scanned it in and recreated the grid using InDesign. I have then used
this grid to produce a quick layout using the horizontal and vertical lines. In this case
the difference between the two methods is rather small as it is simple to recreate the
straight lines using either method. However, the outcome is pretty unexciting and
versatility of the grids could be utilized more.
Horizontal &
Vertical Lines 57
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Diagonal Lines
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Diagonal Grids
Diagonal Lines 61
Here are some examples of diagonal grids. Some of the grids here would probably be
more suitable for use on a poster design rather than book design. However, they are
very interesting elements these could be used in book design grids. When composing
layouts, you would not use every single grid line; they would just be an interesting grid
that would be used through out the book retaining rhythm and continuity. For example
the star shape on the left page wouldnt be very useful within a book as it is just too
complex. Although, it could be used on a front cover or a title page or an element
taken from it to be used with a simpler grid. The same goes for the other grids, they
will produce interesting layouts but they would need taming down in some way to be
used in book layouts.
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Diagonal Layouts
These are examples of book spreads that have used diagonal lines in the grids. They
are quite conceptual layouts, which are interesting to look at. The frst examples
doesnt use any text in the layouts, it is composed from just images. This is probably
what diagonal grids are more suitable for, as images can be edited to ft in and the
legibility of copy would prove to be quite a challenge in this kind of layout. The
other spread examples are a more simplifed. The examples on the left page using the
diagonal shapes for the text boxes is a really interesting way of using a combination of
the grid an text weight to create interest in the page.
Diagonal Lines 63
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Diagonal Grid Experiment
Here I have used the same method as before, but applying the page elements to
diagonal lines that I have randomly drawn. An interesting way I could develop this,
is to use diagonal shapes to cut out the body text, in a similar way that has been use
in the previous page. Opposed to just laying out horizontally set text on to the
diagonal grid lines.
Diagonal Lines 65
Grid Research 66
Diagonal Grid Experiment
As previously mentioned this experiment is a continuation from the previous page.
I have taken the previously drawn grid, scanned it in and recreated the grid using
InDesign. Using the diagonal lines I have placed in some page elements to create a
layout. In regards to laying out the page elements this was slightly easier as there was
the opportunity to chop and change the layout to achieve the most effective outcome.
I think that diagonal lines in this layout create an element of movement. However, this
grid would be diffcult to use with a large amount of copy, as there is no rhythm in the
line placement, meaning that the elements could potentially start to overlap.
Diagonal Lines 67
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Shapes &
Curved Lines
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Shapes & Curved Grids
Shapes &
Curved Lines 71
These grid examples are looking at shapes and curves, but mainly circles. This is
quite a modern thing, to be able to use curves and circles in grids. This is because
the traditional methods of typesetting in letterpress or similar methods using metal
type would need to keep to mechanical straight lines. This would be how all the page
elements would be locked together and put through the printing press to prevent parts
falling out. This means the ability to digitalize thing enables us to push the boundaries
and introduce curved lines meaning we can produce more inspiring and original grids.
The grid lines on their own appear as an abstract image, which I fnd inspirational and
a good starting point to an interesting layout.
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Shapes & Curved Layouts
Shapes &
Curved Lines 73
The frst set of examples that we are looking at use a series of circles inside one
another getting larger from the centre. You can see this produces rhythm throughout
the page layouts and it is an interesting and beautiful way of handling body text.
Initially I thought the grids using circles and curved lines would mainly be used in
image heavy layouts but it have been used well in this context.
The layout example used one the top of the right page is a visually interesting layout
as it is eye catching. However, the legibility could become an issue as the layout could
become diffcult to track with your eyes. This is due to a mixture of horizontal and
vertical lines of text, being mixed with strong curved lines competing for the readers
attention all at the same time.
The last example seems to be a compromise between two other layouts as it is a lot
more legible for the reader. It has found a happy medium between going all out being
experimental and raining it back in to keep the legibility and get the job done. This is
important, as the main job of a layout is to convey a message.
Grid Research 74
Shapes & Curved Experiments
Shapes &
Curved Lines 75
Im repeating the previous exercise of producing a grid by hand onto tracing paper
using curved lines and shapes for layouts. This method is quite an interesting way of
playing with the curved grid. However, due to the playful nature of this being a rough
messy thing the importance of the margins on the page can easily be forgotten, as you
can see here, as the text is very close here. But the most important thing here is the
element of play and using this for inspiration.
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Shapes & Curved Experiments
Again, this experiment is a continuation from the previous page. I have taken
the previously drawn grid, scanned it in and recreated the grid using InDesign.
To create the layout on the opposite page I have laid out the page elements using
the curved lines given in the grid. Creating this layout in InDesign was much easier
than doing it by hand, as it was possible to be more accurate with the lines and recreate
the shapes needed to refect the curves in the grid. The outcome of this grid is very
playful but the copy could be easily lost off the edges of the page, making legibility
a potential issue.
Shapes &
Curved Lines 77
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Grid Research 79
How People
Use Grids
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How People Use The Grid
I sent an e-mail out to my fellow students explaining that I would like to gather a
general idea on how people use grids (in any context) or what grid they use. I asked
them to send me a copy of the grid that they are currently working on in the form of
a screen shot. Here are some of the grids that are being used.
How People
Use Grids 81
Grid Research 82
How People
Use Grids 83
Generally the feedback was the some people done use a
traditional grid they do the frst couple of layouts then
introduce some guidelines to make things line up and
introduce continuity. Some students use the same grid
regardless of what they are working on, as their grid
would consist of small squares. Other students are a lot
more technical in their grid design, one student would
decide on the type style (font choice and size) then use
the guide of 66 characters or eight to nine words to a
line to help them arrange the columns. I was also made
aware that it is possible to down load a ready-made grid
to apply to your layouts.
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Experiment
For this experiment I collected a series of grids that use the more traditional
horizontal and vertical lines using different spacing. I printed them out all to a similar
height and prepared them by sticking the grids together ready to be used for book
spreads. Then with a pad of layout paper, I asked fellow student to produce three
layouts: text heavy, images heavy and mixed layout choosing the most suitable grid
for each layout. They took the chosen grid, laid it under a sheet of layout paper then
drew a rough layout that would follow the grid. It was interesting to see which grid was
chosen for each task and also what they did with that grid.
How People
Use Grids 85
Grid Research 86
How People
Use Grids 87
This was a useful exercise as I have learnt from the frst problem that arose. I didnt
give the participants of the experiment a subject or purpose for the spread. So they
could have done absolutely anything, however this has highlighted that the grid is
defned by its content.
If I were to repeat this task I would carry it on using InDesign. I would have a tighter
brief and provide a folder of content and a selection of grids for the experiment
participants to chooses from ensuring I would receive more accurate results and it
would be easier to draw a conclusion from this exercise.
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Grid Research 89
Experimental
Books
Grid Research 90
I decided to have a look at experimental books next as I know I want to produce a
book of some sort for my fnal outcome, but at this stage I am a little stuck on how
to take this further and combine the idea of producing a book with my exploration
of the grid.

First we are looking at book using different colours. I like the way it has been put
together as it has a window integrated throughout the book changing in size on each
page, then the book is closed it is possible to see the layers building up. I like the idea
of layers and lines building up to make one fnal outcome and this element of layers
building up, has room for development.
Experimental Books
Experimental Books 91
The Yokohama book, I like hoe the pages have been made up from scraps of paper
pieces together in a collage style to form the pages of a book. I have picked this page
as it uses graph paper with text drawn onto it. This is an interesting way of doing this,
as this book is a collection of interesting pages with out any real function other than
an inspiring object. This lead me to think about producing a book on just grids in a
similar way to font books that the reader can just fick through looking for inspiration.
Although grid books do exist there are not as many around as font books and they are
a little intimidating to someone who is new to grids.
I like this idea of cutting up a normal relatively unexciting book in an interesting
way to introduce a 3D element to the page and allowing something uninteresting to
become exciting.
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Experimental Books
Experimental Books 93
On researching experimental book formats I came across these book produced by and
artist and designer Elizabeth Jackson. Her introduction to this project explains, This
work is a personal response to the elemental characteristics of glaciers, snow and ice.
The project presents an emotive, poetic and sculptural reading of the landscape.
Jackson has used the physical form of the book to document her fndings from her
research. The books are sculptures that are an effective way of illustrating the fndings
in an interesting way. However, Im not sure that this would be useful for my purpose.
I like how this book looks at if it has been eaten away, with all the pages intertwined
together, different colours and pages showing through. I dont this that this would
be particle for my project as the appearance of a book lost and will not relate to
the grid at all.
Grid Research 94
Packaging a Series of Books
Experimental Books 95
After looking at the possible book structure and doing some initial idea sketches I
started to consider if the book or even a series of books would be packaged and how.
Here we are looking at the possibility of colour coding the books in some way. I have
also considered the possibility of using fat boxes that the books would ft in, or the
use of lose sheets of paper in the box forming the conceptual book. I also considered
having the grid books packaged in the style of the game Connect4, where all the
books would slot into a frame and introducing an element of play to the books. I feel
that this would not be such a practical option as the four books in a frame would be
either rather large or the books would need to be really small to make them practical,
which is not a route I want to go down. The fnal option is the books and elements all
ftting into on box with all the elements linking together through design and layout.
This is the most realistic option but cannot be defned until the fnal outcome has
been developed.
Grid Research 96
I have produced a book looking at the linear nature of the horizontal and vertical
grid. I have been inspired by this childrens book where the pages are chopped up
horizontally and as the reader randomly turns the page sections a different image
is created each time with many out comes possible. I have adopted this idea to play
thing the grid. I have done this by using diffdent elements such as headings, various
combinations of body text and also a blank section in different orders so that the
reader can easily and quickly make up different layouts.
This was quite an interesting exercise. However, the nature of the 3 sections was quite
limited, as normally a designer would have things overlapping and being less rigid. This
reason prevented this idea from going any further. If I wanted to develop it, I could
somehow fnd away of overlapping or having foldouts to over come these issues.
Three Piece Book Experiment
Horizontal &
Vertical Lines 97
Grid Research 98
Grid Research 99
Ideas &
Experiments
Grid Research 100
Initial Idea Sketches
Here are some initial sketches of possible fnal outcomes. I have decided that a book
is the most logical outcome for the research I have collected. This is because I have
concentrated grids for book spreads, so I feel that it is only logical way to document
this is in the form of a book. However, I need to fnd away of doing this that helps
to eliminate the intimidating complicated appearance of grids while at the same time
injecting an element of play through interaction.
Ideas & Experiments 101
Grid Research 102
This is a mock up is looking at the possibility of using four books; one of each with
just grids, text layouts, image layouts and mixed layouts and having them packaged in
the style of a puzzle. I made a dummy of each book and cut them into shape for them
to slot together. On refection I dont feel that this will work as it doesnt have much
relevance to a grid and there is only one way of it ftting together. The nature of a grid
is that there are numerous possibilities and this mock up is limited on one out come,
which goes against the idea of the grid.
Mock up
Ideas & Experiments 103
Grid Research 104
Sketches
Thinking about all the information that I have gathered so far I produced some quick
rough sketches. This was useful as the more I did the more playful they become. It
is also possible to see the repetition and patterns that arise in grids highlighting the
common themes.
Ideas & Experiments 105
Grid Research 106
Sketches
As you move away from the more traditional lines of horizontal grids, the more
experimental the grids look, producing an abstract image which would prove
inspirational when considering layout.
Ideas & Experiments 107
Grid Research 108
Grid Research 109
Development
Grid Research 110
1st Mock-up Of Final Idea
Development 111
I have thought everything I have done so far, the sketches, research and experiments.
Then decided that I want to produce a booklet that show cases text heavy, image heavy
and mixed up grids using a variation of horizontal, diagonal, curved and mixture of all
the lines in the grid.
I have produced a booklet that covers all of this. In the booklet, I drew out some
rough layout with text images headings. Then over the layout I stuck in some tracing
paper and then drew out the grid from the spread. Which means the reader can see
either the layout or grid on its own or the two together.
My initial thoughts on this, is that the logistics of producing this could be very diffcult
and also very expensive and the tracing paper is stuck to each individual page and
could also make the book think in one spot. The feedback that I received on this is
that people may not want to see the grids on top of the layouts, as this would be a lot
to take in.
Grid Research 112
1st Mock-up Of Final Idea
A suggestion that was made was to produce two books. One book contains just the
grids and the other containing just the layouts with content in the same order and the
other book. The book that contained the grids I would have any thoughts bout the
layout or grid so that the reader could cross-reference information between the two
books. Another suggestion that was made is to consider the use of acetate of some-
thing that is transparent or translucent so that when all the grids are in the book it will
produce an interesting effect of all the different grids layered on top of one another.
I would need to be careful with this idea as I would need to have title pages for each
section and I wouldnt want this to interfere with the grids. So maybe use a border
and have all the headings in the border to reduce any confusion. This would also be
benefcial, as this will accommodate the different sizes of book spreads.
Development 113
Grid Research 114
2nd Mock-up Of Final Idea
Here I have taken on the ideas for the previous mock up and developed them in to a
booklet show casing a collection of 12 layouts with 12 different spreads covering the
various uses of book spreads. For example, text heavy, image heavy and mixed content
spreads. I have held on to the idea of overlays with the grids on, but have decided to
keep them separate in some way, for them to be used as insets, which would be more
practical for the user.
However, to explore the different grid styles effectively I feel that it would be more
practical to produce more spreads and a variation of layouts for each grid, to gain
an stronger idea of how the grids work. So the most practical outcome would be
to produce a book that
uses12 different grids
under four categories of;
Horizontal and Vertical
grids, Diagonal grids,
Curved grids and mixed
grids. In order to keep this
exploration constant and
fair each grid receives the
same treatment by having
three layouts for each
that are; image heavy, text
heavy and a combination
of the two.
Development 115
Layout Paper
The use of layout paper
for the insets is not very
successful as the paper is
a bit too thick meaning
that the reader is unable
to see the layout of the
spread underneath easily,
without pressing on the
page to see through.
Grid Research 116
Tracing Paper
The use of use of tracing paper seem
to work very well, its translucent enough
to see the layout underneath but not
too transparent for it to be to visually
confusing. The nature of tracing paper
holds the creases well.
In completing these three
experiments with different
materials I discovered it
would not be suitable to
produce a book with just
grids in. This is because
when the page are printed
with grids on either side it
would be impossible to see
the grid on its own making
it pointless having the
book, as it would just be a
confusion of lines.
Development 117
Acetate
The use of acetate is effective.
However, when it is overlaid on to the
spread it is a lot for the reader to take in
as the acetate it completely transparent,
so the combination of the layout and the
gird lines is more confusing than helpful.
Due to the nature of acetate, it doesnt
hold folds very well and
it pops back open when
folded. It also will not stay
fat when open out, so
this is not a very practical
material to use.
Grid Research 118
Grid Research 119
Final Outcome
Grid Research 120
Final Outcome
Final Outcome 121
I chose to have the insets printed on tracing paper and packaged in a separate slipcase
that refects the books cover as I found that this was the most logical solution.
However, I feel that this would have been more effective and practical if this were
packaged together. An Ideal way of doing this would have been, to bind the book as
hard back and for an envelope to be inside the front cover for the slipcase, as I feel this
would offer a neater look for the book.
I have uses a clear navigation system trough out the book, by having the pages named
and numbered with the relevant grid number and chapter heading in the top right
corner in both the book and the insets.
Grid Research 122
Final Outcome 123
Here is an example of some of the spreads in the fnal book. I am really happy with
how they have turned out as; they show the exploration of the grid. They also illustrate
how the uses of the tracing paper over lays introduce an element of interaction
with the grid, which is what I set out to do. This has been done by removing the
intimidating appearance of the grid making them more playful and introducing the
hands on approach.
Grid Research 124
Grid Research 125
Rational
Grid Research 126
The aim of this project is to gain stronger understanding of the grid system.
This is essential to help develop the skills needed to construct and use a
grid effectively. To keep this research relevant to myself I concentrated on
and developed grids used in books due to my interests in book publishing.
The outcome from this research was required to appeal to young designers
similar to myself, looking for a way to remove the intimidating and sometimes
complicated appearance of grids. This was done by, introducing an element of
play and interaction, through discussion and experimentation. The result of
this research the importance of the grid and how it can improve your work has
been highlighted.
As a starting point I began by looking at what I already know about grids. How
and where I had used the grid in my previous work. I found this an interesting
starting point realizing I already knew more about grids than I frst thought,
as the projects use the grid to retain continuity and rhythm throughout the
further spreads. I also gathered my contextual knowledge of grids, looking at
the background and various types of grids.
The next step was to look at other existing grids at work in various spreads.
This was done by, looking at existing spreads and deconstructing it, to reveal
the grid that has been used this was very useful to help me understand how
other people have applied the grid. However, my frst few deconstructions
were not too successful as the spreads had been photographed, they were not
fat images so it was diffcult to lay the lines on to the page. The second set of
deconstructions was more successful as they were scanned and it was clear to
see where the lines had been repeated.
I then started to combine the elements of play, experimentation and existing
grids. In doing this I discovered that there are different styles of grids. The
different grid styles are based on the type of lines that are used to make up the
grid, they are: Horizontal and Vertical lines, Diagonal lines, Curved lines and
a mixture of any of the three. I found that these grids would be used in one
of three ways; for an image heavy layout, text heavy layout or a combination
of text and image. This means the grid style used will depend on the type of
Rational
Rational 127
book or spreads you are working on. It is also important to consider the type
of content the spreads will be holding, as the content will defne the grid. The
grid will need to be sympathetic and relevant to the content and the intended
audience of the book. This was enjoyable as I was able to get involved in using
the gird in different ways making it fun to use there for less intimidating and
allowing me to be come more creative.
I thought it would be interesting to have a look at how other people used the
grid. So I asked fellow students to show me the grids that they used. The result
was rather surprising, in that many just used the same grid over and over again
regardless on the content of the grid and others downloaded ready made grids.
However, others were very considered and mathematical about their choices,
deciding on their type style and using this to ascertain the type of grid they
produced. I then produced some grids and asked people to draw out their own
layouts on them. This was quite interesting as it raised questions and issues,
that I had not though about until this point. For example I didnt give the
participants of the experiment a subject or purpose for the spread. So they
could have done absolutely anything, however this has highlighted that the grid
is defned by its content.
I then came to a point where I started to think about how I could show
my fndings in my research. I already knew I wanted to produce a book of
some sort, but needed to fnd a way of retaining the element of play and
also showing the importance of the grid structure. To do this I looked at
various experimental books with layers and textures, as well as different ways
of packaging books. I then started to experiment with format and I fnally
developed and settled on the idea of producing a book that explores the four
different grid styles.
The book used12 different grids under four categories: Horizontal and
Vertical grids, Diagonal grids, Curved grids and mixed grids. In order to
keep this exploration constant and fair each grid received the same treatment
by having three layouts for each that were: image heavy, text heavy and a
combination of the two. To retain the continuity throughout the book the
same content was used for every layout, using the same word count for each
Grid Research 128
spread that used text and the same pool of images. The subject that was used
was London zoo as it is a reasonably neutral subject that would appeal to
most ages. This is to enable the emphasis to stay on the grid usage and form.
Included with the book is a series of insets, of the 12 grids, printed on tracing
paper, that enable the user to become interactive with the book by over laying
the grid on the relevant page as they read through the book.
To sum up, both the outcome and the collected research have explored the
different styles of grids. The outcomes from the diagonal, curved and mixed
grids are innovative, conceptual and exciting although they were diffcult to
produce. This is due to every text or image box needing to be customized,
which can be very time-consuming and limiting. Horizontal and vertical grids
are more piratical to work with, as text generally is set along a straight line to
retain its legibility.
However, working with the mixed grids enables the user to combine the ease
of laying out horizontal and vertical grids with the introduction of curved or
diagonal lines to inject excitement and originality to the grid and layouts. Also,
horizontal and vertical lines give the designer the straight guidelines line that
they need, to avoid unintentionally loosing the elements of the page when
the book or spread comes to be printed. These lines indicate the gutter in
the centre of the spread where the book would fold shut and the margins to
prevent copy or images being cropped off or just getting too close to the edge
of the page.
Grids that use horizontal and vertical lines seem to be more effective as the
straight lines refect the media that is being used, for example books are
normally rectangles or squares and the grids refect this. These lines help retain
the legibility and continuity throughout the spreads. The combination of rows
and columns with the injection of a new element such as a curved or diagonal
line can work very well and produce an original set of layouts.
If I were to reproduce my fnal outcome again, I would print it and bind in to
a hardback book to enable the insets to be in a case just inside the cover. This
would be more practical and effective and it would all be one neat package.
Rational 129
Grid Research 130
Grid Research 131
Bibliography
Grid Research 132
Books
A Designers Research Manual
Jenn & Ken Visocky OGrady
Rockport
Experimental Formats.2
Roger Fawcett-Tang
Rotovision
Getting It Right With Type
Victoria Squire
Laurence King
Grids: Creative Solutions for
Graphic Designers
Lucinne Roberts
Rotovision
Grid Systems in Graphic
Design
Josef Muller-Brockmann
Niggli
Grids: Basics Design
Gavin Ambrose & Paul Harris
AVA Publishing
Making and Breaking the Grid:
A Layout Design Workshop
Timothy Samara
Rockport Publishers Inc
Bibliography 133
Notes on Book Design
Derek Birdsall
Yale
Print and Production Finishes
for Brochures and Catalogs
Roger Fawcett-Tang
Rotovision
Recharge Your Batteries John
OReilly and Tony Linkson
How Books
Stop Stealing Sheep & Find
Out How Type Works
Erik Spikermann & E. M
Ginger
Adobe; 2 edition
Swiss Graphic Design
Richard Hollis
Laurence King
Type and Typography
Phil Baines & Andrew Haslam
Laurence King
Grid Research 134
Web Sites
Bibliography 135
http://factore.ca/on-the-foor/35-chromatics-grids-and-the-golden-
section
http://www.graphics.com/modules.php?name=Sections&op=viewarti
cle&artid=620
http://www.inkfnger.us/my_weblog/2006/10/new_letterpress.html
http://www.fllslashstroke.com/slash/
http://glacierproject.wordpress.com/category/books/
http://www.notpaper.net/2008/10/seen_heard_week_three.html
http://www.cmykayleigh.com/2_books/books.html
http://lsdex.ru/page/96/
http://packagingworld.blogspot.com/2009/01/bizerte-book-dvd-
packaging.html
http://benschlitter.com/blog/2007/10/17/erinzams-ecopak-book/
http://tmagazine.blogs.nytimes.com/2009/12/10/gift-guidelet-the-
rainbow-connection/