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Grid Systems: Principles of Organizing Type
 
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Grid Systems: Principles of Organizing Type [Anglais] [Broché]

Keir Elam
2.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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Book Description

Although grid systems are the foundation for almost all typographic design, they are often associated with rigid, formulaic solutions. However, the belief that all great design is nonetheless based on grid systems (even if only subverted ones) suggests that few designers truly understand the complexities and potential riches of grid composition. In her best-selling Geometry of Design, Elam shows how proportion, symmetry, and other geometrical systems underlie many of the visual relationships that make for good design. Now, Elam brings the same keen eye and clear explanations to bear on the most prevalent, and maybe least understood, system of visual organization: the grid. Filled with extensive research and more than 100 informative examples from the Bauhaus to Nike ads, Grid Systems provides a rich, easy-to-understand overview and demonstrates a step-by-step approach to typographic composition. It suggests design strategies that transcend simple function and reductionist recipes to allow grids to become a means of truly dynamic communication. Any designer, educator, or student will benefit greatly from this elegant slim book, chock-a-block full of colorful examples, helpful vellum overlays, and Elam's insightful analysis.

About the author

Kimberly Elam is chairperson of the Graphic and Interactive Communication Department at the Ringling School of Art and Design in Sarasota, Florida.

Détails sur le produit

  • Broché: 120 pages
  • Editeur : Princeton Architectural Press (1 octobre 2004)
  • Langue : Anglais
  • ISBN-10: 1568984650
  • ISBN-13: 978-1568984650
  • Moyenne des commentaires client : 2.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 83.591 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Kimberly Elam
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6 internautes sur 6 ont trouvé ce commentaire utile 
Gridlock! 20 novembre 2005
Format:Broché
I became aware of how important grids are when I was at art college and came across the first issue of a new design magazine, 'New Graphic Design' in 1958. Published in Switzerland in English, German and French and containing dozens of pictures, without a strict grid all the issues of this stunning publication would look a mess. The grid, put simply is a framework which allows several elements (photos, graphics, text, display type etc) to be placed in a rectangle and all work towards one aim, clarity of presentation. Virtually all publications use a grid (in its simplest form it could be called the type area) check out the page number position in a magazine, always in the same place defined by the grid.

Having used grids for years I'm surprised that there is so much confusion but that was before I read through Kimberley Elam's book. The straightforward becomes the obscure despite the good intentions. The most useful parts are the pages that use a see-through overlay, revealing the essence of the grid and nicely some disasters, too. What could be simpler than the two examples shown on page thirty-eight and nine, Christof Gassner's 1960 redesign of one page of a theatre programme, from the dull and confusing to something so elegant and simple. What is really interesting about the page is that it is all done with type only. Page forty-five uses another overlay for the contents spread of a book (designed by Drenttel Doyle Partners in 1988) the see-through reveals a simple grid but the actual spread is a complete mess with type everywhere, even the three words 'Table of contents' is letterspaced in two typefaces, roman and sans.

The two examples of the grid I've mentioned perhaps sum up the problems that a reader of this book might have, most of the European grid examples shown use the grid to simplify the placing of all the elements on a page, especially the typography. The American examples show basic grid versions that are virtually ignored when it comes to placing the page elements. This becomes evident in the last pages of the book where thirty-four design thumbnails are shown, one would not know they conform to any grid at all as each example shows a mixture of display type, text setting and graphics in no coherent order, in fact the very opposite of what a grid is supposed to do with these same elements.

I think 'Grid Systems' is pretty hopeless in explaining the virtues of this essential design format and strangely there is a real dearth of titles about the subject, perhaps it's just a bit too narrow or technical for most graphic art publishers. The great Swiss designer Josef Muller-Brockmann had a go at explaining it in his excellent 'Grid Systems in Graphic Design' (ISBN 3721201450) though it's not mentioned in the bibliography of 'Grid Systems' two of his other books are.

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