Grid & Layout in publications

Grid & Layout in publications

I began to put my theory into practice learnt in the practical session introducing us to basic grid layouts in layouts. I think that the grid style is that of a multi column grid. With the quote on the right hand leaf bleeding over into the margin of the grid setup.  

The hierarchy within the layout is relatively simple. The element that draws your eye in first is the quote on the right hand page in a large pt size heavyweight sans serif font that contrasts with the serif font used in the main body copy.

The eye is then brought to the high impact bold color large image on the first page that takes up almost half of the first page (50:50 image type ratio). The eye then goes on from the image to read the columns of text in order of the arrows bellow.  

Similarities within this and the previous spread is the consistent 2 column structure/grid for the body copy and the bleeding out of the map on the first leaf (much like the quote bleeding out on the above layout). There are a few extra horizontal frameworks within this though due to the addition of imagery that take up a few of the modules in this modular grid. What I do notice is the constant gutter width between the columns and modules. The outer margin also stays constant along with the serif typeface choice within the body copy with the same weight and pt size. 

In terms of how the eye reads the DPS its quite chronological to how the eye commonly reads texts from left to right. The first hit comes from the top left corner of the first leaf (page) through the use of a single uppercase capital sans serif font the height of a whole module in the grid. The typeface is quite heavy in weight wich contrasts with the minimalist clean & spacious layout of the DPS. The next hit comes from a quote that opens the whole body of text through the use of large pt size serif typeface. The same 2 column structure of the body copy is used here again. 

The next hit comes from the map, due to the bold colors and how it contrasts with the clean whiteness of the DPS (contrast of hue).  

The next is more chronological as the reader views up and down the columns starting from the top of the second column down, they then see the initial capital "D" that starts of the next paragraph, the eye then follows on through the rest of the columns of text. The final hit comes from when the eye finishes scanning the double page spread from left to right on the heavier weight snipped of information on the photographs in the DPS. The greyscale photograph doesn't really hit in within the spread due to the similar tones and minimal contrast compared to the photo of the map on the first page. 

Another constant structure is the width of the columns along horizontal and vertical frameworks. 

The same structure is found in the page folio numbering system, the bellow frameworks are consistent through all the pages, along with the contrasting weights of light and medium weight sans serif fonts that contrast with the serif body copy within the DPS. The same contrasting weights in type happen throughout the whole publication too, a more condensed light weight sans serif typeface contrasting with a regular positive kerned number to the right on the folio numbering system. 

This DPS has even more horizontal frameworks but still follows the same main 2 columns for the body text. But after looking closer the horizontal lines don't seem to represent modules so I think this may be a multi column grid framework but looking at how the image of the man and the quote sit within the composition I feel it could be a 3 column grid.

The gutter width between each framework here is very consistent keeping good balance within the central alignment of this illustration. The color illustration also hits in quite hard due to the strong contrast of hue within the body text and the image. 

After the eye hits this image it moves to the quote underneath due to the volume of text within the negative space. The sans serif typeface also contrasts with the body copy of serif fonts around the image and the quote.

The next hit comes in from the start of the first column due to how the eye reads a page from left to right, following the columns down and up as the arrows display. The next hit comes in from how the eye is following the text down the columns and is strengthened by the large initial capital "O" that starts the paragraph. 

The next hit comes in from the large image at the bottom of the second leaf then the eye begins to read the remaining text before turning over to the next page. 

Another consistent element of these design layouts is the way in which the whole compositions make use of color contrasts to aid the hierarchy of how the viewer see's elements first. The colors used have high luminance with bright tones that contrast with the clean whiteness and negative space of the compositions background. The body copy and images don't have much volume in terms of weight, they are quite delicate. Even though there is a lot of text and the pages are full the composition doesn't feel too busy and complex. 

To contrast the simplistic and clean cut compositions of Vice magazine I chose a visually busy example of a DPS. It uses a modular grid like Vice but has a lot more elements within the framework. There are 3 columns and a lot more visual elements through the use of images and reversed out bodies of texts. The margin is much smaller than the above, there is much less negative space within the composition through small gutter width and a very small margin compare to the spacious frameworks of Vice. 

In terms of text and imagery ratio this DPS has a heavier ratio of imagery. Technically the whole spread is an image with typography reversed out over the imagery through contrasting colors within there tone. The dark tones on the image contrast with the light tone. 

A common reversing out technique is the use of white type on dark tonal images. 

I feel its a lot easier to predict the precise grid of this DPS. Due to the modules of images along the top of the spread and the right hand spine of the spread I estimated that it could be a 3 column x 6 modular grid with a small gutter and margin.

The hierarchy within the DPS is quite complex, first of all the reader sees the images, I see them as highlighted A-J. Its how the eye reads from left to right in a clockwise direction along the top of the spread down the right hand edge of the right leave and along the bottom to the main image of the side on shot of the car. 

The reader then sees the small snippet of body copy above the bonnet of the car on the left hand side of the first leaf within the first column frame work.

The eye then begins reading the main body copy reading down, up and back down the 4 columns of body copy before having one last scan of the images before turning the page. 

My third analyse was of a computer arts publication. 

The way the lines represent the frame work I feel it could represent a modular grid. But apart from the type and image been flush to the top of the horizontal DPS there isn't any other elements that line up on a horizontal. The composition is very random and doesn't appear to follow any set structure in terms of things aligning with each other (horizontally). But I am going to make a guess at this been a complex modular grid system, due to some of the quotes and the sub header "Harmen Liemburg" following a similar size of "module". In terms of consistency the page folio number system follow a set layout of been centre justified to the bottom of the page and flush left and flush right subheadings of the folio system on the top of the leafs/pages. 

The gutter between each column and module is consistent but quite narrow the same applies to the narrow margin. Yet the page doesn't seem cluttered due to subtle type setting and no in your face high impact visuals fighting against each other. I feel the indent in the paragraphs helps avoid this cluttered feel as it adds a little more negative space between the type and its relative use within the composition. 

In terms of hierarchy the obvious hits come in from the vibrant large scale image on the right hand leaf of the DPS. the eye then notices the quote on the first lead due to the high contrast of tone within the bold sans serif uppercase caption/quote. The eye then notices the caption underneath "Harmen Liemburg" quote due to a higher contrast again. Even though its a larger point size the subtly contrasting green subhead doesn't stand out as much. 

The eye then goes onto follow the type after been drawn into the quote on the first page again then leading onto the body copy reading from left to right before turning the page. 

Grid & Layout basics

Bleed (Red line)
This is used in printing and is content that goes beyond the edge of the sheet. Its basically a little extra for trimming purposes ensuring that there are no unprinted edges after the piece is trimmed. 

Standard bleed is 3mm

Slug
Slug is what goes beyond the bleed and usually contains elements like printing marks and registration marks to help guide the trimming process.

20-25mm Average.

Columns 
The vertical guides used too line up type and image elements in a layout. Rows can also be added to create different grid types. A physical guideline/container for type and image.

Gutter
Is the width between each column.

Margin (Purpe line)
Is the bounding box in which the columns are encased in, the outer would be blank space  forming a border around the type and image. Its important to keep good balance of white space so information can be communicated legibly, too much clutter and confusion is caused, too minimal and things go un noticed due to low impact. 

DPS

Double page spread. 

Grid

A grid is the basic structure of horizontal, vertical or a combination of frameworks that create a structure for layout designers to add type and image too to create consistent and professional looking layouts. 
Folio numbers
These are the page numbers used within the page layouts.
Subhead's & Headlines
These are the 2 most obvious typographic elements within the hierarchy of a page layout. The headlines are the main dividers of main bodies of text. They mainly start off page layouts. Subheads are used to divide bodies of text further. The header is most important so usually size is a main factor to emphasize this. The subheads are the second most important so they are usually set in a smaller pt size to the header but still large enough to contrast with body copies but small enough for the headline to be more prominent. 

Paragraphs
A volume of body copy. A distinct section of writing that usually starts with an indent or after a line space. 
Images
Images can consist of photographs illustrations or any decorative element that are inserted into DPS.
Captions

Captions consist of type placed close to an image to describe a photo. Captions can be quite short, or they can be around paragraph length. 
Drop cap/Initial capital
The use of initial capitals can enhance body copy by using large initial character/letterforms by singling out capital characters that start a sentence. They are also known as standup caps, drop caps, inset caps or hanging caps. 

Measure
The measurement of a lines length. If the text is set in columns the term is "column measure"
Pagination 
Is the process of setting out pages ready for layout designs ready for print. The pages or numbers of book pages. 
Imposition
Is a type of proof printing methods used to check that the pagination of the pages and the layout and page positioning is correct once the publication is bounded. 

Basic ratio for A4 paper is 1 x 1.42.

If images are used there are 2 programs that can be used to prepare images ready for placing into layout. Illustrator or Photoshop.
Use .tif or.psd files never JPEG with Photoshop files in indesign.
300dpi resolution.
CMYK or greyscale colour mode.

Its also possible to copy and past images from adobe illustrator to indesign. This maintains vector quality. 

Basic grid types. 

Bellow are examples of basic grid designs. 

To begin with I will discuss the theory of the golden section. The golden section is a ratio used in western art & architecture cultures for the past 2000 years. The formula for the golden section is a : b = b : (a+b).

What this means is that the smaller of the two elements for example the shorter sides of a rectangle, relate to the larger element in the way in which the larger element relates too the combination of the above mentioned parts. 

For example, side A is to side B as side B is to sum up both sides. The numerical ratio would be 1:1.618. 

Single column grid. 
This is the simplest type of grid and consists of a single column encased inside a given margin dimension. 
There are two methods in which to set this grid up, by working outside in by setting the margins in fixed dimensions or by working inside out and opening a blank document with no margins and setting the margin guides yourself.

Multi column grid.
Single column grids work best with simple documents like letters. Multicolumn grids allow flexibility in publications that need to use hierarchies and the combination of type and image. 
To create a more flexible grid simply create more columns, this way hierarchy of the publication can be altered for example type could take up one column with an image underneath taking up two. 

As well as the guides in a vertical format the page can also be divided horizontally. As presented bellow were the space is used for images and headers forcing the body copy to be suspended underneath. This suspension of body copy is called a hang line, and in architecture a horizontal reference point is called a datum.

Modular grid. 

This style of grid is an adaptation of the column grid with additions of consistent horizontal lines from the top of the layout to the bottom. These grids are good for the placement of cropped pictures as well as type. The 1950s and 1960s saw Graphic designs like Gerstner, Ruder and Muller-Brockmann devise grid systems like the one shown below. 

Baseline grids.
These grids are create by adding more horizontal guidelines to a modular grid. These horizontal guides been the baseline of the whole document and anchor all layout into a set rhythm to maintain consistency.