Graphics Reference
In-Depth Information
Margins not only frame parts within pages, they also contain
supportive elements (marginalia) such as running heads, folios, and
captions.
The elegant margins shown in Figure 5-26 have proportions
identical to the page. The margin ratio is 2 margin units to 3 to 4 to 6,
as indicated. In other words, the bottom margin is twice as high as the
top margin. Jan Tschichold has pointed out that this complex series
of column-to-margin ratios, based on the golden section, is found in
numerous medieval manuscripts. (For further discussion of margins,
see Chapter 4.)
5-24 Variation in size,
column to column.
5-26
3
5-25 Variation in size
within a column.
4
2
6
Paragraph breaks within a column greatly influence the
relationship between a column of text and its surrounding margins.
A break may be introduced as an indention, as a space interval, or as
a combination of both. Designers have also developed their own ways
to indicate paragraphs (Fig. 5-27 ). The overall page organization will
determine the most suitable method.
When columns, margins, and their interrelationships are clear
and appropriate to content, the result is a printed page of distinction.
Every problem demands a fresh approach, yet an ordered unity that
is responsive to the meaningful blend of form and counterform is
always the goal.
5-27 Placement of a
bullet (a typographic
dot used for emphasis)
upon intercolumn
rules designates
new paragraphs in
this booklet design.
(Designer: Jeff Barnes)
independence in the student.
“Accordingly, handicraft in the
workshops was right from the start,
not an end it itself, but laboratory
experiment preparatory to industrial
production. If the initial products of
the Bauhaus looked like individual
craft products, this was a necessary
detour for the groping student whom
we avoided to prod with a foregone
conclusion.
We salvaged the best of
experimental education and added to
it a carefully constructed program of
information-based design that
produced non-commercial products
that worked. It was a different school
with different people with different
goals in a different time. Our aim
was to produce designers who had
the will, the ability, and the ethical
base to change American production
for the better.
I was somewhat concerned that this
might be a middle of the road
 
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