Chapter 5

Chapter five focuses on the importance and meaning of the typographic grid. It explains that space is the common denominator for all typographic communication. When typographic elements are introduced into space, they create subliminal divisions, and these divisions create spatial structure. Divided space is perceived as a system of proportional relationships. One must understand that the typographic grid is a system of proportions. A grid ratio is a mathematical relationship between two or more grid measurements and it governs the size and placement of typographic elements. The natural division of the golden section is the basic square. Squares in combination lend an infinite variety of visual patterns. Squares basically will never go out of style because Paul Rand used them as metaphorical building blocks. They seem to be forever-contemporary. Before any decision is made about the typographic structure, a designer must become thoroughly acquainted with the amount of text, its content, the audience for which it is intended and the medium used for its delivery. Grid structures will often require adjustment throughout the design process. Multi-column grids are unique in that they provide boundaries for typographic elements and define the “active” space of the page, which creates a dominant axis for the alignment of elements from page to page. Modular grids are formed by the intersections of horizontal and vertical lines. The units provide zones for the placement of different parts of information. In general, the more complex the grid structure is, the more flexible the organizational possibilities. Improvisational structures evolve in response to the specific elements of information as opposed to modular grids, which are predetermined organizational grids. Typographic designers build typographic information environments for clear and accessible information. Once it is known which elements are more important than others, they are translated into typographic forms reflecting their hierarchal status. Working with improvisational structures call for a firm understanding of asymmetrical composition, the dynamics of positive and negative space, and the essential role of visual contrast among typographic elements.