layout essentials 100 design principles for using grids

Layout Essentials

Layout Essentia Is 100 DESIGN PRINCIPLES FOR

USING GRIDS

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Beth Tondreau

2009 by Rockport Publishers, Inc.

All rights reserved. No part of this book may be reproduced in any

form without written permission of t he copyright owners. Every effort

has been made to locate the copyr ight owners of the material used in

this book. Pl ease let us know if an error has been made, and we will

make any necessary changes in subsequent pr int ings. Every effort has

been made to ensure that cred its accurately comply with information

supplied. We apolog ize for any inaccuracies t hat may have occurred

and will resolve inaccurate or missing information in a subsequent

reprinting of t he book .

Fi rst published in the United States of America by

Rockport Publishers, a member of

Ouays ide Publishing Group

100 Cummings Center

Suite 406-L

Beverly, Massachusetts 01915-6101

Telephone: (978) 282-9590 Fa x: (978) 283-2742 www.rockpub.com

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA

Tondreau, Beth.

Layout essent ials: 100 design principles for using grids / Beth Tondreau.

p. cm.

Includes bibliograph ical references.

ISBN-13: 978'1-59253-472-2

ISBN-l0: 1-59253-472-4

1. Grids (Typographic design) 2. Layout (Print ing) 3. Graphic design (Typography) I. Titl e. Z246.T652008

686.2'252--dc22

ISBN -13: 978-1-59253-472-2

ISBN -l 0: 1-59253-472-4

10 9 8 7 6 5 4 3 2 1

Design: BTDNYC

Diagrams: Punyapol "Noom" Kittayarak

Printed in Singapore

2008035091

For Pat NO LIST OF ESSENTIALS ADEQUATELY CAPTURES YOU.

Contents

HGrids are the most

misunderstood and

misused element in page

layout. A grid is only

useful if it is derived from

the material it is intended

to handle." -DEREK BIRDSALL

Notes on Book Design

8 Introduction

Getting Started 10 Elements of a Grid

11 Basic Grid Diagrams

12 Determine the Appropriate Grid

13 Formatting Text

14 Hierarchy of Information

15 Grid and Image

16 Combining Grid, Type, and Image

17 Color

18 Space

19 Rhythm and Flow

Working Grids "A grid is truly successful 22 Single column only if, after all of the 28 Two column literal problems have been 42 Three column

52 Multicolumn solved, the designer rises 62 Modular

72 Tables and Charts above the uniformity 82 Color as a Dominant Element

90 Color as Organizing Principle implied by its structure 102 Horizontal Hierarchy

and uses it to create a 112 When Type Forms the Grid

122 Filled and Functional dynamic visual narrative 134 Spacious but Not Barren

140 Seemingly Gridless of parts that will sustain 148 Organic Shapes

156 Swiss Grid interest page after page." 166 Grid, Interrupted

174 Grid, Reconstructed -TIMOTHY SAMARA

180 Layered Grid Making and Breaking the Grid

186 Grids and Motion

194 Breaking the Rules

202 Glossary

203 Recommended Reading

204 Contributors

206 Quick Start Guide

208 Acknowledgments

Introduction

H Mr. Rauschenberg ...

gained a respect for the

grid as an essential com-

positional organizing tooL" -MICHAEL

KIMMELMAN, on the importance of grids to the artist Robert Rauschenberg. The New York Times, May 14, 2008, obituary for Rauschenberg

A grid is used to organize space and information for the reader; it maps out a plan for the overall project. In addition, a grid is a holding pen for information and a way to

ordain and maintain order.

Although grids have been used for centuries, many graphic designers

associate grids with the Swiss. The rage for order in the 1940s led to a

very systematic way of visualizing information. Decades later, grids

were considered monotonous and boring-the sign of a "designersaur."

Today, grids are again viewed as essential tools, relied upon by professionals

who are both new to the practice and seasoned by decades of experience.

Each of the 100 principles in this book exists to provide a helpful

nugget as you build a layout, system, or site, and each is illustrated by a

project designed and published (in old or new media) in the last few years. I hope the examples in Layout Essentials will instruct, intrigue,

and inspire, while guiding you to keep in mind a most essential precept

of communication: relate your typography and layout to the material.

Getting Started

ELEMENTS OF A GRID

1. Know the Components

COLUMNS D are vertical containers that hold type or images. The width and number of columns on a page or screen can vary, depend-ing on the content.

The main components of a grid are margins, markers, columns, flowlines, spatial zones, and modules.

SPATIAL ZONES D are groups of modules or columns that can form specific areas for type, ads, images, or other information.

MODULES . rr--~------~----------~----------~-+- FLOWLINES

are individual divisions separated by consistent space, providing a repeating, ordered grid. Combining modules can create columns and rows of varying sizes.

MARGINS are buffer zones. They represent the amount of space between the trim size, including gutter, and the page content. Margins can also house secondary information, such as notes and captions.

10 Layout Essentials

are alignments that break space into horizontal bands. Not actual lines, flowlines are a method for using space and elements to guide a reader across a page.

MARKERS [Kl help a reader navigate a document. Indicating placement for material that appears in the same location, markers include page numbers, running heads and feet (headers and footers), and icons.

BASIC GRID DIAGRAMS

2. Learn the Basic structures

A SINGLE-COLUMN GRID is generally used for continuous running text, such as essays, reports, or books. The main feature on the page or spread is the block of text.

A TWO-COLUMN GRID can be used to control a lot of text or to present different kinds of infor-mation in separate columns. A double-column grid can be arranged with columns of equal or unequal width. In ideal propor-tions, when one column is wider than the other, the wider column is double the width of the narrow column.

MULTICOLUMN GRIDS afford greater flexibility than single-or two-column grids, combine multiple columns of varying widths and are useful for

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MODULAR GRIDS are best for controlling the kind of complex information found in newspapers, calendars, charts, and tables. They combine vertical and horizontal columns, which arrange the structure into smaller chunks of space.

HIERARCHICAL GRIDS break the page into zones. Many hierarchical grids are composed of horizontal columns.

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Basic Grid Diagrams 11

DETERMINE THE APPROPRIATE GRID

3. Assess the Material

Project Good magazine

Client Good Magazine, LLC

Design Open

Designer Scott Stowell

Sketches by a master designer show how a grid evolves.


Content, margins, amount of imagery, desired number of pages, screens, and panels all factor into deciding how to set up a grid. Above all, the content determines the structure of the grid. The grid you use depends on each specific design problem, but below are some general guidelines:

Use a SINGLE-COLUMN GRID when working with continuous text, such as an essay or a book. A single column of text can seem less intimidating and more luxurious than multiple columns, making it suitable for art books or catalogs.

For more complicated material, TWO-COLUMN or MULTICOLUMN grids afford flexibility. Columns that can be further broken into two provide the greatest number of variations. Multicolumn grids are used for websites to manage a huge range of information that includes stories, videos, and ads.

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For a lot of information, such as that in a calendar or schedule, a MODULAR grid helps to arrange units of information into manageable chunks. A modular grid can also be applied to newspapers, which have many zones of information.

. HIERARCHICAL grids divide pages or screens HORIZONTALLY and are often useful for simple websites, in which chunks of information are ordered, to provide easier reading while scrolling down a page.

All grids create order, and all involve planning and math. Whether a designer is working in pixels, picas, or millimeters, the key to the rational order of a grid is making sure the numbers add up.

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Developmental sketches show possible grids for the format of a magazine.

FORMATTING TEXT

4. Put First Things First; Do the Math

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Projects Astronomy and Symbols of Power

Client Harry N. Abrams, Inc.

Design Director Mark LaRiviere

Design BTDNYC

Designer

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Beth Tondreau, Suzanne Dell'Orto, Scott Ambrosino (for Astronomy only)

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Single or double-column grids depend on the content and extent of the text.

Consider the main text first and analyze the project's complexity- most projects have restrictions, such as size, number of pages, and colors. When paying attention to the content, also factor in any project criteria.

Once you know the sizes of the page or screen and your basic text, figure out how the elements fit on the page. If you're working with text only, you can fit your text into the allotted number of pages. If you also need to include images, headings, boxes, or charts, first determine the amount of space needed for the text. The remainder is the amount of space left for imagery, charts, and other information. Often, you will need to simultaneously calculate numbers for all elements.

When you have determined the basic approach to the material and its fit, you can dive into the details of headings and hierarchies. (See next principle.)

TYPOGRAPHY TIPS Type has a texture that springs from size, space, width, and line breaks. The consistent texture of running copy makes it easy for the reader to follow. It also provides a constant size within a story.

When dealing with a lot of copy, the typeface needs to be as functional as it is handsome. If the text forms a continuous story, it needs to be large enough, with enough space between the lines, to encourage a lengthy reading experience. If the col-umns are narrow, avoid gappy word spaces, by either setting type small or, alternatively, flush left, unjustified right.

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A single column of text for this book of astronomical images echoes the idea of deep space.

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A catalog with reams of text employs two columns to contain text and frame images.

Formatting Text 13

HIERARCHY OF INFORMATION

5. Go Easy on the Reader

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Project (on left) Symbols of Power

Client Harry N. Abrams, Inc.

Design Director Mark LaRiviere

Design BTDNYC

Classical typography using the face Bodoni reflects the Napoleonic time period of the artifacts shown.

Project (on right) Blueprint

Client Martha Stewart Omnimedia

Design Director Deb Bishop

Designer Deb Bishop

Contemporary typography is clean, informative, and assertive.

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Does the material have headings? Subheadings? Lists? Bullets? If not, does it need any or all of the above? Make the most important information larger or bolder, or set it in another face to distin-guish it from less-important text. Varying fonts as well as text size and weight can also help set apart different types of material, but keep it simple. If each style doesn't have a clear purpose, many different styles can be confusing.

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For those starting out and using only one typeface, a rule of thumb is to set up a hierarchy by incorporating roman upper- and lowercase and italic upper- and lowercase fonts. For more complex informa-tion, use various typefaces and sizes to set off chunks of text.

Although size matters, space matters just as much. The location of a head and the amount of space surrounding it can also convey importance.

To make a lot of disparate or varied material easy to parse, break it into segments for easy reading. Pull quotes are the visual equivalents of sound bites. Use sidebars and boxes to break information into chunks that can be easily skimmed. Typography can help a user immediately understand the content.

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Varying typefaces and sizes and setting material within boxes are ways to handsomely contain a large range of information.

GRID AND IMAGE

6. Determine an Order

Project etapes: magazine

Client pyramyd /{dapes: magazine

Design Anna Tunick

Images of varying sizes establish a pecking order for visuals.

Rarely are all images in a piece used at the same size. Just as text conveys information, image size indicates the importance of an event or subject. Some companies rank images in size order prior to proced-ing to layout. Others rely upon the designer to define

an order or bring drama to a piece by varying size. Of course, some complex images need to be larger simply for readability's sake. In addition to function and dynamics through size, projects also need variation to keep the reader engaged.

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Images can be half a column, one column, or two columns wide. Occasionally breaking the grid can add drama and call attention to an image. It's possible to signal the importance of an image by the amount of space it fills.

Grid and Image 15

COMBINING GRID, TYPE, AND IMAGE

7. Consider All Elements

Project Mohawk Via The Big Handbook

Client Mohawk Fine Papers Inc.

Design AdamsMorioka, Inc.

Designers Sean Adams, Chris Taillon

Grids control varied imagery in a paper promotion.


Depending on the medium or project, grids can isolate elements, by presenting type in one column or zone and images in another. Most grids in-tegrate type and image, giving each enough emphasis to clarify information for the reader.

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Emphasis on text. Here, the text is by itself on one page, with the image on another.

LEFT AND BELOW: A grid can let an image march across columns in a horizontal fashion, with captions below, or it can stack images vertically, with captions to either side of the image .

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COLOR

8. Define Space with Color

Project Color Design Workbook

Client Rockport Publishers


Designers Sean Adams, Monica Schlaug

Spreads from this book dem-onstrate how color can serve a strong function as well as add a strong and bright presence to a piece.

Color is a way to make modules or sections stand out. Color defines space as well as helps to organize elements within a space. Color also enlivens a page and provides a psychological signal for the kind of message that's being conveyed. When setting up colors, consider the audience. Saturated colors at-tract attention, while desaturated colors support the material in a more understated way. Too many colors can cause a piece to be busy and hard to naviagate.

A CRUCIAL PRODUCTION NOTE ABOUT COLOR We live in an RGB world, in which both clients and designers view almost everything on screen. Colors on screen are luminous, saturated, beautiful, and RGB. However, there is a big difference between color on screen and on paper. Be aware that traditional four-color printing will require the careful choice of paper and a good amount of color correcting to approximate the luminosity of the color seen on screen.

ThH! :MIly ollt no right 01 ~ WilY' to LIM color. Some eotot dultQ proot$S6 .. rid color CQII'IhlMtionJ wen liftl.l'J than othm. boll. ~ "'r~ m,tny Yrq$ to.tdli4wt g\'N.t ttAatu. We efftt tbtsf.lf'ft n4s u" .J'I to iIIpprokh,... Tho _......,... .. pOysIa. tMory. pqddr;Igy. t'QlnIlmia,. ~ m:I u~ lJ\eli!kf W tUtd:i\'!!iy twIll'S] thU _d __ ,. " ,. .. _ ........

Colors can act as containers for separate bits of information.

Color sets off blocks of infor-mation, whether it is used in modules, boxes, or blocks. Modules can be quasi-ornamental-setting off colored boxes against boxes containing text-or functional, helping to differentiate between various kinds of boxed text.

Color 17

SPACE

9. Communicate Using Space

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Project Chuck Close I Work

Client Prestel Publishing

Design Mark Melnick

Like design, art is about space.


Space communicates volumes. Although a grid must be strong and clear enough to hold rafts of information, it's not necessary to fill every part of it. Space sets off the message, giving appropriate room

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for reading and understanding text. By design, a large amount of space creates drama and focus. Space can signal luxury or importance, and the absence of any-thing else on the page transmits a definite aesthetic.

The use of space is a conscious design decision to give the reader pause .

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RHYTHM AND FLOW

10. Pacing Sets the Tone

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Project Design for the Other 90%, exhibition catalog

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Client Smithsonian, Cooper-Hewitt, National Design Museum

Design Tsang Seymour Design

Design Director Patrick Seymour

Art Director/Designer Laura Howell

The flow of layouts tells a lOD% clear story.

Some grids include mechanical, clear, repeated, or marching columns of images or information to catalog as much material as possible. However, most grids also allow for lyrical movement from one block of information to the next, from spread to spread, or

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Continuing a story from one page or spread to the next calls for a sense of movement and variation. Images in varying sizes enliven

from screen to screen. The pacing of material on the page makes a difference in attracting or sustaining interest. Pacing can stem from variation in sizes and positions of images and typography as well as the amount of margin around each image.

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this story and help guide and intrigue the reader. Image sizes can be determined by the importance and quality of the content.

Rhythm and flow 19

"Design and typography

are like a well-tailored

suit: the average person

may not specifically notice

the hand-sewn buttons

(kerning); the tailored darts (perfect alignment); or the fine fabric (the perfect type size) ... they only know instinctively that it looks

like a million bucks." -MARIAN BANTJES

Working Grids

SINGLE COLUMN

11. Give the Subject Matter a Face

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Project For the Love of Animals

Client Henry Holt and Company

Design Fritz Metsch

A simple and elegant page with neutral typography displays restraint and concentrates on readability.


When choosing an appropriate typeface for a page or spread of a single-column grid, consider the subject matter. Some faces are classic and neutral and work with most material, while other faces give a point of view and nearly mimic the topic. A typeface

L

FOR THE LOVE OF ANIMALS

TIx Rill 0/10' Animal Prouttion MtiWmtnt

Kathryn She'lH!/ow

",.W,o.,

can help set an attitude or it can recede discreetly. The type area of the page, type size, and leading (interlinear space) affect the overall fit of the text. No matter how the material fills the given or desired space, proportions are important.

PART ONE

Dumb Brutes

With a simple text design, typographic details are crucial. Letter-spacing and relationships between type sizes contribute to the overall success of a design.

Basic type size is a crucial factor for readab ility. A suc-cessful page incorporates a type size that sits comfortably in the width of the text column. If the type is justified, a type size that is too large in propor-tion to a small text width will result in gappy word spacing.

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-------- .. -~ --....... -.. _----,..._ ........... - .... _ ....... .. -.. - ........ -... _---~-...... ----~-- .. . ... __ Wl-..W __ ... _ .. .... -_ .... _ .. _-_ ...... _ .. --_._ .. __ ... __ ..... _ ................. _-

A classical page design generally calls for a small head margin and a large foot margin. Gutter margins are tradition-ally smaller than the outside margins. Even simple, single-column pages normally take a marker, such as a running head or running foot, and a page number.

Carefully consider the leading, or interlinear space. Allow enough space to avoid typeset-ting that looks like a dense, gray mass. Conversely, setting too much space can result in type that looks more like texture than readable text.

My IIrpdoug/ll', hQlorialJy ,~kina:-b lh;,n .~ Iu\i'e bWi designtd to pn:1Ct anim. from mutrenmtnl . w~ hold lhrir ,bwtn aa:ou.nta'ble:. The .0111 of I"C:KVdi tN, ,qyW Crl~m. E1A and Hank are alien the: mw, of invatiptiom conducted by luthoritict-polict. arunAl control offia:n and humane tn cnbtcc:mcn' agcn who upon IUC'iving rcporu o( JUspcaed animalllbwc a~ cmpG\\-cmt to cn'c:r privinc: prrmiJa. confilcalC: animah if thdr condition WllrnMS if.

0. 1'''. L OY. 0' """M"LI Ih

SINGLE COLUMN

12. Design with Ample Margins

Project Sauces

Client

L.

John Wiley and Sons

Design BTDNYC

L.

Eight hundred-plus pages of hard-core cooking information begs for- and receives- healthy portions of gutter space.

Images are from Sauces, published by John Wiley & Sons, 2008 by James Peterson. Reprinted with permission of John Wiley & Sons, Inc.


If a project contains many pages, a good practice is to leave a gutter margin large enough to keep the text from getting lost in the binding. When the project is a book, a spread that looks proportionate on screen or in laser printouts can change radically once the book is printed and bound. The amount of spatial loss in the gutter depends on the length of the book or brochure as well as the binding method. Whether the piece is perfect bound, sewn, or saddle stitched, it's a good idea to make certain that nothing goes missing.

--0 COLO-PlATO CHICKEN WITH CINGER. SAFFRON, "NO ALWONDS

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STOCKS, GLACU, .... 10 ESSENCES

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Generous margins take into account elements such as charts and sidebars, which are set to wider measures than text. Wide margins also act as buffers for images.

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Single Column 25

SINGLE COLUMN

13. Work in Proportion

L.

Project The Plague of Doves

Client HarperCollins

Design Fritz Metsch

L.

An example of crystal goblet design, this simple text page allows the work of a major literary talent to shine. In her book, The Crystal Goblet: Sixteen Essays on Typography, typographer and scholar Beatrice Warde wrote that

"printing should be invisible," and noted that quiet design is like a crystal goblet:

"Everything about it is calculated to reveal rather than the hide the beautiful thing which it was meant to contain."


Keep proportions in mind, even for the page foot, and leave plenty of space for your page number. THE GOLDEN RATIO Designers often work by eye and instinct to deter-mine the most handsome proportions. They then find that other people working in the realm of space and planning have similar approaches, using similar proportions and ratios. The golden ratio has been used in art and architecture for thousands of years. Also called the golden section, the golden ratio

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her own way. stamping. beoting. and napping her skim So vehement ...... s their dance that the birds all around them popped fnto flight. frightening other birds. so thaI In momenlS the entire field and the woods around It was a storm of birds that roared and blasted down upon the people who nonethcless stood firm with splayed missals on their beads The women forsook modesty . knoned their skim up around their thighs. beld out their rosaries or scapulars. and moved forward They beg;ln to chant the Hall Mary into the wind of beating win!;' Moosbum. who had rarcly been allowed the sight of a woman's lower limbs. took advanlllge of his broth-er's struggle in keepin the censor liglued. and dropped behind In delight. ...... tching the women's naked. round, bmwn Ie!;' thrash forward, he low ered his candelabra. which beld no candles but which his brother bad given him to carry in order to protect his face Inslllnliy he wa5struck on the fore-head by a bird hunled from the sky with such force that It seemed to have been Dung directly by God's hand. to smite and blind him before he carried his sin oC apprea.don any fanher.

At this point In the Story. Mooshum became so agitated that h. often .((ed out the smldng and to our pleasure threw bimsclf upon the floor He mimed his collapse. then opened his eyes and lilted his head and SIll red inlo space. clearly seeing even DOW tbe vision DC the Holy pirit which appeared to him not in the form of a white bird among the brown doves. but in the eanhly body oC a girl.

Our &mill' has maintained something of an historical reputation for deathless romantic encount .... Even my father. a sedate looking seventh grade teacher. was sWepllhrough Ihe second World War by one promi ing gfance from my mother And her Ister. Aunt Geraldl"". struck by a smile from a young man on a passenger train. raised her band from the ditch she stood in picking berries. and was unable to see his hand wave in return But something made her keep picklng berries until nighrfall and camp lhere ovemight, and wait quiedy for another whole day on her camp .. 001 until he came ...... Iking bock to her from the stop sixty miles ahead My unde Whitey dated the Ha kellindian Princess. who cut her braids 01T and gave them 10 him on Ihe nighl she died of luberculo.is He remained a bachclor in her memory until his fifties. when he refonned and then married a small lown ripper Agathe. or "Happy". lelt the convent for a priesl My brother Joseph seduced an Evangelical Chrisd.n from the Cold My f.llhers second

Thr Plagur of VOfJU )jj(

lIN TIIII11UI 1 .. lD1pDl ....... oI_ ... ~~cI .~ b'ood. PIIIlhcNlOUlIOhb~dwI thty thcMd pt.-n' M S.1nI~'J .urinciapWa.and hDIdini miIt.AlI FrnmihM PIClr: they wo...&d ~ 10 Willi&. lhe idoh 1ft .1MtJ; ~fOW,.1Id rih ad tkp Ioudf prIJ~! _ doou H. huuAo lock '-' tllIc:n ~ thr rfow ano.t C:.um.ed.-nona Cam.J,n.-! ~ ...... ~ peo:IIIk. unHb Iht Fmd _4\0 rirwIed .itlI1I:II1 ~ took Ira.It Iniftr;a: Ie 11K ~ IIIU>lI! lit tb.: krill .xl .til tIOI inlnlJMnyin r.a. Iht N~

p-~~Mn: ~_~quIf2damlbh.1IIut lhdoronMC dltl'c:tVJ"'b AIr. When ,brbWttlottndr4 bodIl ...... -.J "'-IS_ up ItfUI boeIiIB .011 Iried ...... them "WIIl:b 11Iir-.. '" I" ~ Mt'IIUnp 41n1i.he.,.. .. ,....unrd lin d.. ~ n.y.-tc'''' lptOUOoI_luwcn .... the budtof 'If'PIai:6lld 11M ~ fi_ or_ ttftt IfId ~~ .. )'W"' thalr The ~ wm- ,.... a1II.I \ldkSow ..dnl hut OIW '-'OUId 'III'TIIII ... nb of ~ (II' ~ .... c6'C'I no ~ ~ fill drtd null'lbrt11w pole tnd lftI.Id ~ 01 tilt n...d YoooII.nd ~ t.kt.m 01 ..... bUnM I!III.. _ awIiIro:I lit the -1P .t ~ binIo Tbcy WUI: I'OoIIIlIIICIl. Mitt, ~ \Ip ., pIo. __ .AiIlaI1IoYo,. .. !ameli Of dubbN doll whl! Db .. left '0 M .... ""'~.., fed tiM: ~ and c-m mof~ wheft die ~ ~ to the.a:.vtnl_ ~ 01 ..,. th! tJIUnrWlQ~ lht....tQl ~ WIhk. end die ~ 10 dwc wt.o ... pcwtMtd lnuct

...,.,.~ 01 the anD! _JL'ftIiIl rn of ItIaIt- crnt'Utn

cousin John kidnapped his own wife ond used the ransom to keep his mis \JeS$ in Fargo Despondenl over a woman. my father's uncle. Octave Harp. managed to drown himself in two Ceel of W1Iler And so on As with my father. these lales of extravagant encounler contrasted with the modeSty of Ihe subsequent morriages and occupations of my rclat;'..,. We are a tn"be oC office workers, ban.k Iellers, book read IS. and bureoucralS The wildesl of w (Whitey) is a sbon order cook. and the most beroic of w (my father) lcoches Yel this current of drama bolds logether th" generations. I think. .nd my brolher and I listened 10 Mooshum not only from suspense but for Instructioll$ on how to beha'-e when our mom"nl of recognition . or perhaps our romontic trial, should arri,-e.

Th, Million Nom'l IN TRUTH. I thoughl mine probably h.d occurred early. for even as I sal there Ii .. ening 10 Mooshum my fingers obsc:ssr.-ely wrote Ihe name of my belC>\'t

TWO CO LU M N

14. Give Columns Equality

~

Project Return to the Abstract

Client Palace Editions, for the Russian State Museums

Design

~

Anton Ginzburg, Studio RADIA

Two columns present information in two languages, Russian and English.


A grid with two even columns can control a large amount of material on a page. Symmetrical columns give a sense of great order and can support variations in image sizes and amouns of space. Perfect for publications with international audiences, two even columns can present the same information in two different languages, coexisting equally.

Traditional justified columns provide a sense of order and comfort for conservat ive editors and readers.

"

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................ '--r--- .... _.,.0. ..... """" ........ 4_ t ........ ~.l'h~ ~ .. ",0(;0,.1('" Nt .. ":ot"""",,H ";"iMI~ .... f!tNf""". " .-... ~;o. ..... ' ....... U ... ...--t. '" " ... ....... _,au_ U""l'fi'""'" fH""'~ .,,,, _, ..... , , _ ............... ...,...I,.. .. ~- ..-. .... _ ,,, ........ lNlI .. Heu .. ,_ -'WO' ........ oiI' 'r" .... ~ f..,,,, If)"'!"N-L\"IIII"~;o.Ih"'h .. ,...,.j' -.-.. t) IH' ...... II" ,.-.rnlb.",n 1I'...r;or-_.n .... __ .,..,..rpunu ... 1,.,"" .. -;, ..... .... ~, ..... ,-..,., ...... .., ....... ""_ ... ,'"""' ..... ... ........ ...- nr~, .., HI .... :"f'I~"" ... ... ...... I'MUa{. II _~ U"'t"L)oj. ""1'''',,,._. -..t ... -;'1 _ ""'r--' r _ .-- ar- _Inlr f . .... .., __ ~ ~ ... ~q~ __ y 0.. f'II!J"oIRTI'''' .... nll ..... IU_ .......... klt ... ...... ........... -. ... ~-

,~ ........ -..u .. ~, u....,_ . ..... u, ...... ......v ...... ..., .. 'u_"V""" .. IOf..."fIQiI n;w,,,." 1!'6t..,,., ,'fM';U.U"IH' """tot' flr-"'" lOnjO.I olllr .. e ..... "-_ " t.JM1 ...... ooiOIII . _WI __ _ .... _ ,.. ., ............. . _I~MU ___ .. f' ___ ........ __ . ~ ... , __

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"

If the column width is wide enough and the text small enough, each of the two columns will present a uniform and readable texture. A tidy text setup can support all sorts of other information r such as boxes. charts, or images.

Two Column 29

TWO COLUMN

15. Design for Function

Project Extreme Textiles

Client Smithsonian, Cooper-Hewitt, National Design Museum: Extreme Textiles Exhibition Catalog

Design Tsang Seymour Design

Design Director Patrick Seymour

Designer Susan Brzozowski

An exhibition catalog weaves different formats together, depending on the needs of the material.


Although a typical approach to a two-column grid employs columns of equal widths, a two-column grid can consist of two unequal columns. When the purpose of an information-rich piece is to be open, readable, and accessible, an option is to construct a

. -.

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--------------

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grid containing a narrow column and a wider column. The wider column works well for running text and enables the author(s) to deliver a coherent running narrative, while the narrow column can hold material such as captions, images, or tables.

--

TEXTILES,

..

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---

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FIBER . STRUCTURE. AN O F U NCTI O N

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Used for captions, a narrow column can work readably. whether the caption appears on a chapter opener or a text page. Note that chapter open-ers often have more space before the text starts (also known as a sink, or drop) than a normal text page.

Successful and balanced grid construction employs a wide column that is double the width of the narrow column. The type in the narrower column is set in the same typeface as the running text but in a lighter-weight font. Using varying font weights adds rich texture.

--

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_ .... e ..... _liIIbtle.ur-......... "' ........... ... ........ 1IIt:u.l ......................... -.... ....... ..--a.r,.. ..... ....,._v..-.LiIIII_Itf'IUIfUI..,.. ..... U. .loIIl'f7IIIIIII,..,.. ................ Iior.tW_~ ......... --.. ... -.-....... d_ .... ~ISbItL,..~ .. It.a.. ......... "'~ ......... _____ hl''' ..... _ ................... ~ ...... ,"-"' .... _ .. ,.....a. .......

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ft. ___ __ ....... ,.,.,..... I c:= tdiloll tI,.t..d corbolilibet ..... M p!opd cha .... COCIOA duld to conduct ellc:1nd.ty ia a bghlbuib 1M patllloMei 1l1ll111la. 0..17 In 1_ po.- lib'.,......~. hot! CIIIt.. ~"a h" ...... Ir.-gth. high, mocIv.lvelibM. OItidiaid thoMt ~ lrocn pol'l'OCf'rlOGltriS. (PAN) Of pI~..-- libNs.ca.tbaD.llnadl, GIld .od.'u..ary cs.pe.dJIIiI an Ib .. ottlog ea..noJ. oed~" .oaufoctuN,'

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II _. __ ._ .......

- -_ .... -- .....

LHI .... dlo.e.fOfftIU' ..... llth ..... tUco:ttIoft..hbtt_'.U .. .awlultl wMn IlMd III CMro.poc.aDdalikHaOtl ... ftbic:Ie .. 1hIyolM .ok. lew atraag. .ffidenllpCWtaequIpmem."-'ocIlag. cmbaa rlhdGreempta

"~""~Wfconet"'~PdlNpe~a"och.IcUoo rlMn. .. Fi .. 6 .... corbanlibenanWVI'HbllotOihloralal ..... lAIkh,.11 IJI ouler appcu_1, aubon. 6beta pwIIDCI wwbnovaUmoplC IIcmtn ("I)J lID Itm'Cll.IOOT)01Id """" bu"'~ 1IOJO_'hoer.m .. $pItt-ODd dirinll:.....,. Una. la hlg' ~tO'IWII!L Il

AUIlID' AIa_1dI.1UCb N ""'Sol tDuPMQood1Wo:roo CTefjiA1 aM iamoas tor dwir

... 1. ~ _til GIIII otMr larmac:i halIlSlic: pI(IIK&Iota. CD -.11 em kit c:uI...mta_cmdmm-~btJlkdtr~lopedllll.bol.a..armllida G'f .... ,""VbeecntMtbtPlrt-g'"'~dIa'Mate-tuJtr~Gndp!ldl:ed d ... 17 IDgltbm.HtUdtlD(jlIa hJgh-... Dd.tr.hig: ... ~uatiMn.. u

~olld~IILotPIW. .. u.dlftOM1aladJrlOOl'~ rot!'" GDd CClMtI'IICtiM cow... Oftd fI'O'I'ide aedwmkal ptOtec:tlae Ia optJcal fib..- cabIM.. .. Ub cadtIJft. ~~U. maII:doIa amb lipl alJaah eo-J**I" cmd spar1I .. ~ hul ara.w. a.a.. the added od_~" Impad ~DCtCl8d eMf'ITobeorpCjoa.

LIQUID C.YstAL .OLYM'. tLe,. Allhwgh IpilA hom dlll".1II1 poIr-er. oM fOCM'M.l.CPIl...m.bh

Gfo.mkliia their 1Uftlam,1_pott ...... ~aJMI....". abitlqcioa. ... lI atabelr _IUlril, to UV ligIIL C-pored to ammIch. VICIIG_ fCUJ-l, ilia an" CO/II,..tdaU, 0'f0t1cdM LCP.lI mot. I.Po," 190"'. hell ..,. .. , OtlJbUW"ond ,MowltlttftlQda'" ......... to h"h McnJ*011U'" v.ct.rcm 01_ ... qIQ .... G.a." a" HMP Ia di.ene.lanol ~a.bllil., CUld cui rHhlollc.::II"UMd 10 wt_.Us lor A-nan Cup ~ bt:Oatob:!. llrur-lW ... topM.coWMaod rMll.t.Jlaee.adM-,....1OIl1 doiIhUIg. n lecau .. I) C*O ta. .... Iu.d br ....... t01' Vt1GA" '*" bDtlticoI """'" MKh _I_plaaboacl ~I""" a.bOIcabIn."

IIICH-MODQ1.U' ~I.'n.nt"r: [""'ID KMPE. blow_ by !.be ba_ .... Dr.,.... {1'OfCIbo/DSNlc-$pKtlo:

CHoe.,..UL .Il'10'' ben altnt.Mgh ~""ht poI,...w,,,, bra 1 .... 9*I .. ft.ft',. ........................ otalllhthfgttI*ror_'*

-

.......... ~ ... _:rln. ...... _ ........ _ ... ~ ..... ..

.. 1'rr.~ .. lM_ ... " ................. _ ...... ...

........... .-4.ftIIPIN ...... ~ ... -....--... '_~ ,..Icd .. _-... -,. __ ..... ~.....t .......... _

,.. ....... m-,-WI ..... IIMIdrIl ......... u.-. 1III~.-.w .. ~,..,...,'-M\MW?'D.,...ICIDIl_ .... _____ --.IM ................ ,.......,... ...... ...... D'..,... ....... Iit-. .. _ .. ~ ..... ~I ..... _ ........ 1IIIu __ ....... II~,..,., .. _-..--.. ... .. _~-'r .. i ... ........-.,.....-..-_........., -"'-d ........ '*"'-... ...,.-. ... tt..b-ta_ ...... th. ........... -.;.. ___ ..... ~......-

...... -.... _ ......... _ .. _1 ....... ....,_ ........ .....

...................... --.a.._,......., .................. , -..b-.-.~h1 .. ___ ......... _ ... ....

_AI~I'IIIlI-..-..-u. ..... """ .... I .. ........... ... -nIo ...... .".. .......... ., ..... _ .. ~.-.. __ .,,41""'-'_ ................. , ......... ..... ~,n ............ .-........... ~n.." ....... _ ... 11e~..,.....'- ............ _ ... Iki.~_

..,.,...-..... -.. -~ ...... -.-.... ... ..

............. ~ .. IIMr ....... ..,. ....... _ .. ........ _ .. IMt-. __ .............. ~ .............. ........ O" ................................. ablht, ......... _...

.... .. _.--.-.I ... -.... ............. A_ ...... ......

.... 111 ....... ,... .. --_ ......................... .......... n.. .... _ .... -. ........... .-i ... __ ...... I .......... ...... ._ ..... .....a .......... totilI ... "' ...... _ .. _ ..... .c ...... ~ .. -'-I .. __ ....... ~ ........ ..,. 1N-. .......................... n.. ..... '"Il. ....... ...... ..... '"' .. ~..."Ih9ta"""""" ........ _P,_ .itk-n ......................... .tIltNot __ ~--. 1-._"" ........ .,,.. ........ . .... MII"-_ ..... IMau..~ ... _.11 II .......

_ ........ 0.. .. ",......, ... r.I ...... ,..." .. 0....."""""" 1 ....... _.-.... ................ dJOtltlt'ft.".~ ........................ .... ............... 111_ ---- .... -., .. _\ ...... --..... .... ~ ...... "'-o.... ...... It.t .............. ~.-.... .. ...... ... -tfIIdIII:~ .,....,., .. wMfIIt, ........... ....... _ "' ..... ~ ______ w.-.......... ~ .... . r .... ~ .............. DIoeM_ .... IbN ... e-... ..~~ ....... _ .............. -r ... _

When there are few or no images, the structure of two uneven columns can support a page with nothing in the smaller text column .

Rules can function as devices to either divide the space or connect columns within the space. Here, the blue rules become part of the weave of the page without overwhelming the material; they also denote new paragraphs.

~-.

... --

.,,-

liber ... aad lito ...... o.bfallol"''''Iatont. 111.0110 iliON ","anl tho_ otCUrIkh. PRO, aNI LCP to UY radiation aad dlom.Ical .. 11' b _11: .. lor ~1Ig" allllltlih 11 ... thai float IMd wuhQO.tld tM MIa. .. WIll olllOhlw.'ghl. cul., .... la.t ,IoYMO!MI ptOItCtl .... OlItIQleI well CIt fIee""a",1J ud.ott balUttlcGfmo&. til compotilft. II lInd.llllpcK'1In1llGoc.OM ..... .rvr ubIorpIloa .. glo .. Of

._- ClJl'baft.mllloJ

TWO COLUMN

16. Rules Rule!

~

Project America's Test Kitchen Family Cookbook

Client America's Test Kitchen

Art Direction Amy Klee

Design BTDNYC

~

Horizontal rules at the head and foot can set off information or frame an entire box.


S Dmetimes, instructional material includes so many discrete chunks of information that a page needs more than mere space between the columns for readability. In such cases, a vertical rule can function as a dividing line between columns.

Horizontal rules can separate information within col-umns by dividing running text from boxed material, or by separating the overall text area from the running feet and folios by means of another horizontal rule. Caution: Too many rules can dull a page.

This vertical rule keeps chunks of different information, sometimes with different type attributes-such as bolds, all capitals, italics, fractions-in their respective columns.

NONFAT ROASTED GARLIC DRESSING MAKES al>o\It I ~Q.IPS PREP TIM E; 10 mfttutos TO'fAL fl"E: 2 hourt Cindf.ldtt 1 Joi.hQurs f"Oesting end cooling U"",,)

'Th 1'1' ,1,;s trti~ UCt'Ifi", If ... a/ltrta ("If IUtldl ,I,A lIiqll~ for roasting garii(, rr:plnri,'R ,I,,. oil iflit' lyp;(ally liSt u;,t, 1I'11(fT.

2 large 90Irlic heads 2 tAblespoons w~t.,

s.~ 2 tabl.'PGOnJ DlJon mustard 2 tabtHpoonl l'Ion-v 6 tablespoon, c.lct., vlnega' ~ te.spoon pepper 2 teaspoons mlttc::ed tre"h thyme, Dr

~ teupoon dried ~ cup 1ow-5OCIlum chlcbn broth

1. Adjwl an O\'CJ\ Dck (0 r.h~ upper-nliddJ~ po!lii-don and he-at the oven to -100 deg~~. FoIlO\vlI1g tI,. photos on poge 000. cut ~ inch off d,e tOP of th. prlic h .. d to ."""'" the tops of tI,. dovcs. Set thf: g;arlic hcnd cut side down on :t $111111

EASY JEllY-ROll CAKE "un MI '"""" .. ".VU IO NY TI"' I.: 50 minute TOTAL "Mil 1 how

Alt)' JlIn" If pm

4--, 5 .......

'--' 5-,>

.--, 5 .......

.--, 5 .......

........

COOKING TIM'

1 to l K t.lts lK to1~ho4.n

l tolK~ 1~ to 11' hoI.n

lto l )4 houn 1)S to 1~ houri

lto ."' '*'" 1 K to 1 Y. hoIHt

1 to 1)4 ,*,,,, l)i tC)l ~ ho4M1

to 1>' hot.In 1 ~ to 1Y- hour&

20 to JO 1MWt"

. Ice , Grillllll , .ft ft.

Horizontal rules can also help control components. When there's a lot of informational action going on, a horizontal rule can separate a page number or a running foot from the rest of the hard-core information.

Two Column 33

TWO CO LU M N

17. Use the Entire Area

~

Project Annual report

Client Cathedral Church of St. John the Divine

Design Carapellucci Design

An easyto-follow report varies image widths.

~


A two-column grid is a pronounced framework that makes a piece easy to follow. Images can fit comfortably within a column, with captions above or below. But why stop there? Once the basic frame-

thcJral

Au ...... o.r--~.~~.- .... .... 11w,... .. ~ ... ....- .. . .. ,.111,.-. _ .................. . _ .. h ...................... ,' ..., ... .-- n.. ... .1.._ .. ~ .. _ .. _

~ ... , .. w... .... "" .. ".f .. } ..... I"""-' ..... -~" ............. -.. , ... ..... ................ ,"' .......... ,,_. .IH:.."',........ " ... ~ ' .......... ' .. 1

....,~Ift_"'-II, ........... ~ .;.-...... t~ .... !IIr.-... ......... _ I .............. _ ........ ~ .. ,-, .... _ .. _-.~.I .. c.tw.Wt ........... ." I ..................... ~ ~ ..... -.I-_ ___ "",.... .... _ ... ,._ " 01 .. c ....... .,..-n __ dlr ........ _~ .. c....J, ........... ..--' __ .. _

-~'-....... --..... ""..,..,..., ,..,.......... .."' .... -_ 1' .. ' ........................ ",. .....

~tk ,.../l.I .. _~ .. rt.. ... _. ....... __ ...... h.._ ....... ~, .. _ ... _ ..... ___ ....... _ ......... n.

c.t...tr.I.IIIoh ........ ...".~, .. 4 ............ ~'" .......................... _--...---....... _ ..... ,_ .......... ...-. n. ..................... -.I .. .., ,_ ..... _-' ........... ~.-.t .............. , __ "-'_'''-01 .... .. _._ .......................... ...... 1'W ... I.b"". ____ ....... I~ n. __ -... ... ........................... t..< ...... ~ .......... I~ ........ . _"""'_ ... _...." ..... _- .... 00rJ-W. .......... .................. .-l __ ....... _w ..... __ IW .. __ ~ ........ _......-b .... ~ ... ___ oW..,.J ,. ,Iw .. _

-............... -.-......... ~-..... ~*~~ ...... -- ...... -............. ~ ..... J.._ .. ~

~._ ... , .. t.:..ot.....a_~ ......... _n).' ... ... O!l.Vl n.-..._ ... ....a .. ~_ .... 1_ ........ ttw.-.t--.,;.-_-' """t ... _..w __ w.-,--O...a ... ...,.,.."

~ .. .rI_~ ..... -.l_4-. ........ ,...

,....._-.. .... "'_ ... -&.r,....._ ......... n. ~ t.. .... "' .. /~. Iw..IotorAl.'t. ........ oho, .......... ~_ ...... _rn-. ........ n-,.. ............ ~ .. u ....... _"""-r-.l __ --.. .. ...... ~ ...... ! ... ~ ....... ~ ..-.-Il .......... . .. ,ww_r ... l ..................... ..... w ............ ...a .. --w--.t ... " ...... t-.. - ........................................... 1 .... ... ~r- ",. ... _ .................... c. ...... ,.. ............... -.1 __ 1 ......... __

... ---............. -........... -,..

....... ~ ... c.~-t.._ ...... _ .... ...

..., ... ---., ... __ .. ~ ... ,~ .... ...

...u_""f~"'''' ..... _ ......... "' ............... -, ..

........ - ...... ~.--~

.. ......a.n. -.1 ..... _ ......... "" ..... ...

.. _.~\~ .. -tt . _ .. ....

.. -'_....... .. _-' ...... .u 1 __ -&. .... '--1. kr-4.

n.. ,","""" 1\:'" A.

"'"' 0. .... __ 1fIE. _no""",,,,,,, r.~' ........ r...,._K.,L..,,. ........ ..... ,... ....... n. .... ""', ..... . ,...n....04~ ... ~f_......, ..... '-W [ ....... ~I ...... ~I...., c.ru....t ......... l_ ............ ......... __ r-l __ .... ~ ... '-"-"""'- 1::",,-,,-",,- "-' \iooteo.-.l

~... t u.._

work is determined, there is room to vary the spreads. Wider images, sized to two columns, or captions set out into the margin, can enliven the overall project, adding rhythm as well as order.

Worship . M ini rry

W l_ .......... ..,."" ............... ~ca-,-'.,...., ........... _ . ... _ ...... .-." ....... :0>,.. ...... tlw ........... __ -... ...... ~ .... .. .... _-t ............ -.l~~_d..a

....... rt.1. __ ....... \JI~L .. .....,.

" ,.~ n..~r.-.!. -.!tot ........ ~ ... k.I

...-.. "'--_ ... -.... .... n...,., ........ ~ .. ..-._"-_.4 ..... -.. ............. .......

T._ . I....-. .......... w-l.~I ........... ...... ..--...................... ..... ... 1 ...... _! ... _ .... .,.t_I""~ _ -.t\., __ .a. .. _ ............... .,_

~,,-,",- ..... Rus. bun A ... C..a..hI_ .-.._ ~ ....... _ .. ----_ . ..,j-_ .............. -

_~.n. ................. ,_ ... __ ..... ...., _ .... 11 ...... (" ..... ' ............ 0- TIw .... __ ........... _ .... O'-.II"I0~..,

14 ...... "-w, ........ ''' ........ l .......... .. II"~ ""-' ""'- "-'-~ ....

-""' In ""'"'."l .. ,.t.W_""" ......... ... ' ......... ~._./t'-.......... _ .. ...... ,.,. ... "- ........... "rN..-,.I ... lllok n.....-_ ... f. ,... ... ,~ 1I.w..f

._-L'~~ ___ ""~_II l ......... "'- ... ~ -......,,1 ..... , ............... 1 ... """ n... ___ .......... ~""..,~wII\of '. __ 1 ......... 1 .. .,. ......... __ _thoIJndfoo....,..... .... ~ ........... , ....--'" ..... - .... &.-......~ '""" NoU. ""_ ....... "'.r-oI ......... ... .................. ,.....-,"-(" ........ -'

...t.~ .... r_ ....... ~, .. ,...--.I_ _ -w.w, ...... ~

...'" d ... ,&.. ""'"", ..... ...-vn-o-.. :.:

.....u 100 -"" ... _11, l~.-I. "'I ..IJ 1. ..ww In ............ 1T._~ ....... ''''

(~.oI .... ~ ... t....w ........ I .. __ ,.....'" .... .... ~.~l"--n' .. -ct-""h.t ............. _~1i ............ ......... rn ..... n .................. ,...IIo"-......... _ ... ,~. ....~,'('

I\I1lII.TS I\ND OU LPR EN I, T1I.UST (I\CT.) THE Cl\THEilRAL ~HOOL f\,; .. .J..nc. ~ ... d\a.Urm ,>4 "",,,lIftlIMl'lWn Iv thm" l~ htom. tt. c~..t AC T r-""" kor l' """" Lhd.J.m 1'111" I: _II. to , .. fIW' .,IJ"II'I'IC til ..... ( .... hcJr ..... Ie- rt...nJ ...

[1m ..dIo...! J... ~ ;b6 ch.u.m "",II J.wm dw t:.KbNr..l 0. twt l"-rr ..,Jm...oUnJ. ut Im-.-t

raud~ b _-.tw. J..r ., 'Tlw c.twdr..t ........ Tht (_a .. wdt-~. h. ..... t.; 1~""". ' ....... M.lNI -.J" .. oI .... lhoLm...~;tII It) ..... t._ .. "'"""'.ll ..... l'tV'iJnI

dwa..hNt"'"'f~dll.""""""'~ f'.t ... ~. t..lkntN ........ ,. aJIW'","'oIItUl, -' tfoil1.",JrrrfVWM-

I .,urt.! 1I1"t'fIdw. In ~ w IIw IIlrn'~"t\Ml.

"'CT'~p.. ... ,J'''~~''u'''''J'''oot'\Illi,,4 "'*-' n:.-l1 dw ..,..'1:1" .... 1_ lu the 0_1YIIII1'..nJ L: .. all, L.~ thr:.'t1If.~'l" ........ hIhlMtt)v.,J. "'_"" "-II "* .......... -4 ...... ","k"""""," 111 ..... 11 ,,~1. AI 1'ht c...~1 ..... b. .. "". t1w ....... b I~ Ml 1I1I1I'L\tc:"u.IJ, .... __ ~llo.A N IN.inu dun .... toca..c It.,- .~ f'ln ,t. mill, CQi,1f'CD"\~ a.~ n.:.. dw """' n,

~ oIw.:nn 'NnlICt wnh lIlJrt ,.\d.>n, t, In,-I."'PI''II ilftF'nJ'I""'(""~ ~'M'l"

~ "'III .... ...-t\to["u' "~I'n;"ni'l. ... ,dr,.-.J rr..J", .. -.n---...-no.: .1 t:.rInrwt .. ru " kh.......,t 'M ~ rhn. ....Jmu,.:"U .... fft(,.ILIrlICD d_ -...JI).~ ..... r..IIl~ h. ""h ~ ..... IfUII~rn~lIlld\""."~hlrib.Mr .. IIIIN' .-IIr"t"MII-

TEXTILE CONSERVI\TI , LAflORATORY

1lw 1mhk G""""'.Il'ft Lah. .... ., _ hlnJrJ In 19'U til --.w rhII' t.ttw.lr.tr, rnrdn.. N"U'-.t 171h Cmtw\ lullJn 0......."".,;an,J 1:'.".; .... R.J.rh..wI r~_rln.. lilJ.1't lhe! t..h ,,"-n.co. tnt .. I .... U''Wf ,t. ... L1,ln:.om .... 'IIft rvNloC .......... lIl1f'.Jr"fi Ilfc.~~'I ...... Ottc- ..... dw f"W''fC'll , .... , tlw 1..Aa.... ~ l~ II) tI ... f'itl'1 W.aI It .,.n..lIW,t, 'nr.hum..: "" dw...". pill. '-II ... I .. .."J I .... d~ ,.:;..hNuJ In Ap"l ''''II.,.... ,flu"'"", hIP ..Ju,.-I I"" t'IM.l.h..ordl_ ,",.4nn.lc.~It."""'IIh" .wc,-I .. h .. ,lu.,..,. .... c"..n.u.t\(-( ,"-'Jr .. 1 rlllllf"l l'lr ....... ~hl("'.Mt~r~lhr"'" ~ Ul .... 'hr c.' ,~ ... ItI\J _k.I ... h "'..", , .. Ihr

TWO COLUMN

18. Use Typography to Define Zones in the Grid

Project Croissant magazine

Client Croissant magazine

Art Direction and Design Seiko Baba

Croissant, a Japanese magazine geared to women over thirty, makes instructions handsome and clear. This particular magazine is a MOOK, a special edition published by Croissant editors. The title is Mukashi nagara no kurashi no chie, which roughly means "time-honored wisdom of living."


Good design reflects and relates to the material and, therefore, to the reader. Successful typogra-phy defines clear and understandable zones, no mat-ter the publication's purpose. Zones can work both horizontally and vertically within a spread or story and still maintain orderly integrity. The key is to make

.... , ... . , ..... ..., f

.... . ,. . ., ......... .. , ....... ~ .. ,. "'1. It . ... , . ... " ..... ",,'f, ........... f." t .u .. ~.r .. ... .... 1'.U4tY ... .. ___ ,It I ,t ,

,. ..... u , A. l-.... - aa. -LLa

.... , ... , , t'''''''' ~" ....... ", ... ' .. .... r eel ....

~ .. , ,.,. .... ,---: .... _'"ft. ..... ... ..

~ .. r f ..... ,.:;., tf .. ". .. .~-. __ ft.f .... t"~

" ...... - -.""'-.... h' ...... AM I ... lIh~&-. _ .. ",tllot .. ' .. h' ....

...... _~ .,t .t ..... !to. .,..aA ~"".nt.t .... ".... ._ .... 1':4' . " ... __ .. ;:: ........ " ....... t:l'''' In! - 1m n ..

, ,.

-

,,"'ns,; .,IU.;" .:'.L ... ~l. t'fIf"fIJAt; .. t ,. """'1 . .a; .) .. ,. (n".~"~t1,, ~ ff ... ~

:;. ,,. ..... J ...... Ii I: ... ,_jl,., .. " . .... -. ..... ~ ... u, ... "'" ...

certain that material corresponds. Specifically, make sure the reader understands the basic material at a glance. Make certain the headline or headlines stand apart. Ensure that captions are positioned so they correspond with their images and help the reader-especially when the piece is instructional.

Headlines are set in an area separate from the text-in some cases on the right edges of the page. In other cases, headlines are set in the center of the page. Sections of text are set off by space or rules, with a distinct area for captions.

TWO-COLUMN

19. Mix Quirks with Consistency

Project Brochure for the Performing Arts Center, Purchase College

Client SUNY Purchase

Design Heavy Meta

Art Director Barbara Glauber

Designer Hilary Greenbaum

A sound organizational structure allows quirky variation to enliven a design.


The most successful grids have consistency, order, clarity, and a strong structure- then they shake things up. A two-column grid can be set with columns of different widths, which add visual tension and movement to a project. Even when quirky variations are used to enliven a design, a stable basic structure provides a clear framework while allowing drama.

Consistent elements in many projects are

a heading area at the top of the page a consistent text box in the same location on

both left and right pages that acts as an effective signpost for the reader

running feet and folios at the foot of the page to help the reader navigate through the piece

Grupo Corpo

.,.,,." .''''1'0.'' tHl ~: A bokI COtIIMpof'fy dtne. ~ny th.at Is.,. fN9IaIllIid encI.m.g .1 It, lIoN~ tty, CIKlPO COlJO &; the -0., 't,I(Cfl1' .... htIC. tt'W1M I" Tl .. m 14 BtuiI. TtIfy ~ dlrltenWllity of ArIO-., ....... """'" fQrm", tile liquid 1-., of ian..d It ... It'dinial p~s 01 bit'" wJottlo entt9Y I~ bvrft. Wl,h. ~ gl)W'Hl1I9

pwf~. Cn.lPOCorpo pnHIMt, .. UI-)'UUf"-'-' .. plm WMftM ~ M..n.dyNmittn d"t"~N'fII"tI"9a1'd ~aUy~ With I" CCWltf900llt ~9Y. (fIjIr"" wi. M!dUlantttuttlwelNdertt.CGqM,.". ... rwltw~~ ttlt, CI'IIOO Coroo N'I/tIf f"'10 ~ ",",",I\(fl d41~ 0111 ... -. I'IIOCI ... JII I s.... t/lflitM ,.../01. bIItr H ..... Wofk

This project has a master format to support key information used throughout the brochure. Key descriptive text with auxiliary information is easy to find. The clear structure holds its own against an energetic ornamental device.

... ,uv ,. -' Wtlk~tI 'TlrIk btQu.nk.,. ~ if; Net ibytlO96lliN' detuftdl ,. ,

lin f~ d!ofeotr~ IbHtriaII praductIarI, .... '''AOU. tllOCU 'KA::!::::::; " 'KltS btl", l/'ot tMIIfUbit .,,~ ~h,. ~ Met,~ IIIN9MY of r"", Fu to lU9" titrougbou'l _ -.oriIl PwrfonMCl by eM ludltilit rnanb Of eN~" TINftPIt wal_,,"bt(otrIell::!\oWfl~INwodcI

lorib~'I~andde....,~I.arbP"""" "1,.1_ptOdwcllOflf {IItt't""IiIIYfoNNOf~Xo\IIfI9f11 __ .... lGotn l .alrtempa.llf.ofrtwmanb..:ltlwlr z." 8wckIiIln ptIi~

_.w dnc:t.fU OIlC 'J

CONCUTHAU

Th. MAl. MOItIII OAHCI CiIOU," was fonn.cf In 1980 ind 9' .... its rim corlCt" lhtl velr In New York City. In 1988# ... MDG Wit; invited tObKoma the nitKMlll dlnee complny of Belgium and $C)Ont thrH yeatl In mict.nn It lh. Nltf. Royal de II Monnlie in Bnnsttl!1i- Ttle c:ompanv rf!lurn~ to SA the United StltUln 1991 IIoneoftNWOfJd'S'oadl"9 d.anc. companlfl, perfOfmlng ac:ross the US. ilnd ft-nuJor '"tema. tJOnill f.ftiViIi. MMOG 1$ noted fO( Its commi1n1Pt to bve music,._ fe'tut,of ~ ~rfOllftaftceO" lu fuTiinternltio~1 tounl'l4J schl'dul* slna 1996. TM C-omPI"y'S lSth Annlver-saty c,lebrJtfon iftdudtd over 1 ooptriC)f'INI'IC'S thtou9bo1Jt 16 U.S. GtIHind ten U.K. cities.

'.OCi ...... : n.Atgumel'lt S.1IffrrHd It.fi,n CMUITO Lcwr Son9 WI/ens

OPPOS ITE PAG E: Most images are used as full'page horizontals, but text boxes and color bars cutting into some images add movement and drama. Names of performers, positioned in clear but different areas of the image add texture and a sense of play.

--------------

-----"'--------.. _----

---

-.-

- ----

Colors harmonize with the information.

----_ .... -

- -------------_ ..

--

. ----_ .. _ .. -

-.----

--'

RIG HT: Silhouettes and white space vary the pace.

t!rio If .. cun U 0011.1

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TWO COLUMN

20. Alternate Formats

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Project 20072008 HD Program Guide

Client The Metropolitan Opera


Creative Directors Sean Adams, Noreen Morioka

Art Director Monica Schlaug

Designers Monica Schlaug, Chris Taillon

A controlled and classical yet lively design brings youthful energy to the collateral graphics for a timeless art form.


Within one piece, it's legitimate to combine a number of grid and typographic systems. When there are different kinds of information, even

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Running text, such as a continuous story or synopsis, is set in two even columns.

Sections devoted to each performance open with large, dramatic photos.

a clear twocolumn grid needs to be altered a little so that there's clarity and balance.

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THREE COLUMN

21. Make It Look Simple

Project Beatific Soul

Client New York Public Library! Scala Publishers

Design Katy Homans

This book, a companion to an exhibition exploring the life, career, art, journals, and manuscripts of Jack Kerouac, features his landmark novel, On the Road. The three column grid allows many variations and extreme flexibility, resulting in a page that looks spacious, calm, and beatifically simple.


The most successful design looks simple but is subtly versatile. A design that seems open and spare can support a lot of material, especially in a book or catalog.

If the project contains both text and images, look at the proportion between the two and determine how much space is needed for each. When captions are long and contain a lot of additional information, such as credits and supplemental descriptions, distinguish the captions from the text by using different type-faces, by setting the type smaller, or by varying the amount of space between elements.

One structural solution is a three-column grid that scans like a one- or two-column design. Use two of the columns for a single text width and position the text on the right side of the page. The result is a clean look for the running text and a generous left margin for a long caption.

If the material dictates, two columns of captions can replace the single text column, allowing captions and images to sit readably on the same page. With a three-column grid, it's possible to size images to be one, two, or three columns wide or a full-page bleed.

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The Beat Generation

This simple but versatile multicolumn grid accommodates all kinds of information. The generous lead-ing of the serif running text makes it easy to read. Captions sit in the left column and are set in a sans serif face for ultimate clarity. The page structure can easily accommodate variations in the text.

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For pacing and clarity, large images occasionally have a page to themselves. Here, an image of Jack Kerouac's typewritten manuscript holds its own against the calm column of text on the left page.

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Three columns provide a strong framework for narrow art and multiple captions. On the left page of the spread, captions take the place of the running text, and a narrow image sits in the left column; the right page of the spread is reserved for text alone.

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For reference material, such as the notes and index sections, the grid becomes three columns.

Three-Column 43

THREE COLUMN

22. Define Columns Typographically

Project Martha Stewart's Cookies

Client MSL Clarkson Potter

Design Barbara deWilde

Sophisticated photography and typography accurately reflect the elegance and taste of a domestic authority.


Typography can help define columns. The use of different weights and sizes can help to determine the order of information, creating a hierarchy that can be either horizontal (title, description, yield) or vertical (columns, left to right) . Different type, such as a sans serif, can set off lists or information that differs

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Elements are wittily stacked to create a sense of play. Using different faces for accents enlivens the format, so it can be fun and instructive.

Three Column 45

THREE COLUMN

23. Avoid Overcrowding

Project Good magazine issue 008

Client Good Magazine, LLC

Design Direction Scott Stowell

Design Open

White space and witty. edgy design help readers cruise through a lively combination of hard-core big ideas that make the globe a better place.


When designing multiple columns, it 's not neces-sary to fill absolutely every inch of space. It's good to leave certain columns open. White space directs the reader 's eye around the page, making it easy to pick and choose certain stories, images, or logos. Rules of varying weights help control and give punch to the information.

CONTENTS

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Contents pages are often difficult to parse. This one gets rid of the clutter and makes it easy for readers to find their way around the magazine's offerings. The various sizes and weights of the typography give the page interest and balance. Icons at the upper right determine a format used throughout the magazine.

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Up Front

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The page contains five levels of information, which are clear and easy to read due to tidy typography and generous space.

Rules and cleverly controlled typography set off a range of information types.

Muscular typography cascades through a spacious page opposite an equally muscular illustration.

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THREE COLUMN

24. Lower the Columns

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Project Pew Prospectus 2008

Client The Pew Charitable Trusts

Design IridiumGroup

Editor Marshall A. Ledger

Associate Editor! Project Manager Sandra Salmans

A nonprofit's works are pre-sented seriously, yet elegantly.


A full page of three-column text can become dense. A good way to keep the reader engaged and undaunted is to lower the columns on the page, which creates clean spreads and a feeling of movement.

Pew Environment Group

1I .. lIo\\ceo 19-18 "115 olllrick und nO U'CGl in Dooortl. Penos)h'llni.a. In tit" laj, \\eek of October. this 10\\11 of 14.000 in the W(~, ' rl1 part ohh. !lIlt' umlcnwnt 01 \\cuthcr t.'\j ' ul ca lled u "tl'IHllCr.ItUrC imrrsion.- tn.l}ping at groulllllc\ellhe limo" rrom IOCl1l mf'lal factories.

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layout essentials 100 design principles for using grids

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