Graphics Reference
In-Depth Information
4-30
Spatial interaction
and compositional
balance are achieved
when modules define
void spaces that are
integral to the geometry
of the page.
Grids allow for the distribution of
typographic elements into a clearly intelligible
order. Within the internal structure created,
headlines, text, captions, images, and other
parts of the message are integrated. The areas
occupied, which correspond to specific
modules or groups of modules, are referred
to as spatial zones. After identifying all the
parts of a message, the designer assigns
them to specific zones. The result is a logical
hierarchy of parts, and information that is more
accessible to readers (Fig.
4-29
).
In the tradition of modern design, the
spatial zones within a typographic grid are not
violated. The designer works within the grid
framework to objectively present information,
while utilizing the principles of ABA form
to establish relationships between the parts
and to imbue the composition with rhythmic
and textural variety (see “ABA form,” pp.
106 - 110). But rules can be broken and risks
are possible; skilled designers are capable
of violating the grid to optimize clarity and
maximize visual effect.
A successful grid is a performance,
a concerto of typographical instruments
working independently yet together. In the
end, individual images and sounds work
toward a common goal. What is perceived as
the whole is greater than the virtuoso of any
individual part (Fig.
4-30
).
The following examples reveal variations
on the modular typographic grid used
inventively across various media. In a highly
complex information environment, it is
necessary to provide audiences with articulate
structures that also resonate visually. This
is as true for topics as for websites and other
delivery venues (Figs.
4-31 to 4-36
).
Typographic Design:
Typographic Design:
The whole duty of typography, as with calligraphy, is to
communicate to the imagination, without loss by the way,
the thought or image intended to be communicated by the
author. And the whole duty of beautiful typography is not
to substitute for the beauty or interest of the thing thought
and intended to be conveyed by the symbol, a beauty or
interest of its own, but, on the one hand, to win access for
that communication by the clearness and beauty.
Form and
The whole duty of typography, as with calligraphy, is to
communicate to the imagination, without loss by the way,
the thought or image intended to be communicated by the
author. And the whole duty of beautiful typography is not
to substitute for the beauty or interest of the thing thought
and intended to be conveyed by the symbol, a beauty or
interest of its own, but, on the one hand, to win access for
that communication by the clearness and beauty of the
vehicle, and on the other hand, to take advantage of every
pause or stage in that communication to interpose some.
Form and
Communication
The whole duty of typography, as with
calligraphy, is to communicate to the
imagination, without loss by the way,
the thought or image intended to be
communicated by the author. And the
whole duty of beautiful typography is not
to substitute for the beauty or interest
of the thing thought and intended to be
conveyed by the symbol, a beauty or
interest of its own, but, on the one hand, to
win access for that communication by the
clearness and beauty of the vehicle, and on
the other hand, to take advantage of every
pause or stage in that communication
to interpose some characteristic & restful
beauty in its own art. We thus have a
reason for the clearness and beauty of the
Communication
4-29
Progressing from simple to complex, these grids
systematically illustrated a diverse number of modular
configurations.
4-31
The topic
American Graphic Design Timelines
features a highly flexible grid that makes it possible
for readers to compare and contrast timelines of
several related themes, including major events in
world and U.S. history, cultural events, and American
graphic designers, companies, organizations, and
publications.
Timelines in all sections are organized in a nine-
column grid, with each column corresponding to a
decade in the twentieth century. As readers turn the
pages, this time-oriented structure remains constant
from section to section, making it possible for
information to be studied in context.
Depending upon need, readers may take any of several
pathways through the topic. It may be read traditionally
as a linear narrative from section to section, or it may be
used as a reference book where readers make specific
connections by comparing the information found on the
timelines. (Designer: Keith Jones)
