Stundziaite - Chapter 5 Reflection

 Skai Stundziaite – Chapter 5 – The Typographic Grid

Chapter 5 of “Typographic Design: Form and Communication” discusses the “Typographic Grid”.  According to the text, the development of the modern grid cannot be pinpointed to single individual. Grids are now so common in this day and age that we are not consciously aware of them. Using the golden section to create a grid on sheet of paper helps create perfect balance and harmony in the page. Because the golden section is seen all over nature, the human eye seems to be attracted to it.

Before a typographer can begin crafting a grid, they need to be aware of the amount of text they be working with, what audience they’re trying to appeal to and what is the context of the text. The grid structure is also altered throughout the work process of the designer. So the grid might not stay constant throughout the creation process of the work. When working with more than one column of text the designer needs to balance 3 interdependent variables; type size, line length, and interline spacing (leading). Changing one of these aspects will more likely than not require changes to the other two aspects. Grids can consist of primary and secondary division of space.

Modular grids are grids that are divided horizontal and vertical, unlike columnar grids are grids that strictly run in columns (vertical lines across the page). Grids allow typographical information to be organized in not only a neat and mathematical way, but also to be visually appealing to the eye. Improvisational structures are grids that do not follow the same rules as modular and columnar grids. In order to use improvisational structures correct a designer needs to understand asymmetrical composition the dynamics of positive and negative space, and the essential role of visual contrast among typographic elements.