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Grid Systems in Graphic Design: A Visual Communication Manual for Graphic Designers, Typographers and Three Dimensional Designers

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JMB: I try to keep this orientation open and alive. For instance in the case of typefaces, I exploit what brilliant people have created in the way of knowledge, imagination and psychological truth.

Grids aren’t just restricted to web and graphic design. Almost every profession where any form of design is implemented has a grid system, which professionals use as a guarantee for positive element positioning. It has become almost professionally vital to use grids in all modern design practices. What Grid Systems Are Available?This volume provides guidelines and rules for the function and use for grid systems from 8 to 32 grid fields which can be used for the most varied of projects, the three-dimensional grid being treated as well. Exact directions for using all of the grid systems possibe presented are given to the user, showing examples of working correctly on a conceptual level. Or simply put: a guidebook from the profession for the profession. JMB: I had the idea in 1955 of founding a periodical for rational and constructive graphic design to counter the excessively irrational, pseudo-artistic advertising I saw around me. I allowed the idea to develop and then asked Lohse, Neuberg and Vivarelli if they would like to collaborate. The magazine appeared from 1958 to 1965.

JMB: I have always regarded a book as a design opportunity, nothing more. It was more like enjoying myself in my free time. I was motivated to write something on the history of visual communication by the insight that from the beginning man has used images as a defence against his inner and outer world, his fears of a threatening environment. At the time I knew of no book that dealt with this subject. Similarly I hadn’t found anything interesting written about the history of the poster. Column grids are useful for layouts that contain discontinuous information. When you use a multicolumn grid, it’s possible to create zones for different kind of content. For example, you can use a particular column just for an illustration. Notice in this multicolumn grid that one column is reserved for images and captions. (Image credit: Thinking With Type) Whether you work in print or in web and mobile design, you need to understand the basics of grid theory. Anatomy of a Grid JMB: In Japan I saw Noh theatre for the first time and was instantly captivated. Every movement of the Noh actor is measured and bursting with tension. Nothing is left to chance, yet it is full of life and poetry. Japanese temples also had a profound effect on me. I discovered the secrets of Zen landscape architecture only a couple years ago when I spent two days out of four in Kyoto studying Zen gardens.We are not aware of these things in our daily work but we are capable of helping, however modestly, by thought and action. It would therefore seem desirable to try to indoctrinate the younger generation to induce in them an attitude of mind that puts the general welfare before their own interests. The logical consequence of this would be aimed at achieving harmony between national and international levels. YSS: Many now famous graphic designers have worked in your studio. One repeatedly hears that they felt happy and highly motivated there. How did you achieve that?

JMB: The design of the music posters is a special case in that they were not sales oriented – their appeal was intended to be artistic. The stylistic difference between the posters with pictorial geometric forms and the purely typographic ones is that the latter contain no pictorial interpretation of the musical programme. Without exception they are free creations that took shape within the underlying grid system. For the most part the effect of these posters is lighter and more poetic. How many columns?” is the first question designers ask when starting to work with a grid. Adobe XD allows you to specify the number of columns, the gutter width and the column width. JMB: As a young man I was intrigued not only by psychology but also by graphology. When I met people who interested me I would read their handwriting and was rarely wrong in my judgements. But this gift began to disturb me, especially in my dealings with clients, where it would unnecessarily prejudice discussion. So I abandoned it overnight. Later I paid the price for giving up these analyses when I took on partners and employees whose handwriting would have given me an early warning of trouble ahead.JMB: You’re right. By anonymous I mean neutral, rational typography which has nothing to do with banal typography. Our western typefaces are based on the universal shapes of circle, square and triangle. That makes them rational and objective and gives them an elegance that is recognisable by all cultures. A classical Roman, for instance, is equally good for many purposes and is thus objectively useful. It is not seen primarily as an individual type but as legible and anonymous. When I was asked to do the logo, headline face and layout for the German cultural magazine Transatlantik, I told Hans Magnus Enzensberger that I was not the right man. For me a periodical is too open a vehicle. The quality of the text varies and I have no idea what form it might take in the future. To draw a typeface is too difficult for me. I am not a genius, I am mediocre. People like Bodoni, Garamond, Caslon or Baskerville were type designers of genius. I don’t consider the Transatlantik type good. I must stand by this, though it’s uncomfortable. Others must know that what I leave is not good.

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