Grid and Column Interaction - Logic and Rhythm
- The options available to a designer are endless but can be described as fitting into three basic categories: columns that align at top AND bottom; columns that align at top OR bottom and rag at the other end; and columns that rag at top AND bottom
- Changing the column logic from section to section provides yet another method of differentiating informal areas
- However, some regularity or system must clearly exist in the alternation of column logic to appear meaningful; otherwise, the audience simply recognizes the change, not its significance
Variation and Violation - Avoiding Repetitive Layouts
- A grid is truly successful only if, after all of the problems have been solved, the designer rises above the uniformity implied by its structure and uses it to create a dynamic visual narrative of parts that sustain interest page after page
- The greatest danger in using a grid is to succumb to its regularity
- By creating thumbnail sketches of layouts, designers can test layout variations on the grid and see the result in terms of pacing - the rhythm of the layouts
- It is necessary to violate the grid, sometimes because circumstances dictate it - content that must occupy a specific spread won't quite fit - or because it is visually necessary to call attention to some feature of the content or to create some surprise for the reader
- Within a rigorous grid structure, violations must be relatively infrequent or relatively small, or they begin to undermine the reader's sense of the grid's consistency
- By violating the grid - the page becomes memorable
- But the problem with doing this is trying to find a way to fit that page into the overall visual logic of the other pages
Visual Relationships Between Words and Pictures
- The results of poorly integrated type and image fall into two categories
- In the first, typography is separated from the image areas
- In the second, typography is reduced to mere shape and texture
- Images are composed of lights and darks, linear motion and volume, contours, and open or closed spaces, arranged in a particular order - Type shares these same attributes
- Laying type into or across an image is a quick way of finding visual relationships
- Type that is placed within the field of a rectangular image becomes part of it - text placed adjacent to a rectangle remains separate
Type and the Silhouette
- Silhouetted images share a visual relationship with the rag of paragraphs or columns but also share an opposing relationship with their alignments
- Type adjacent to a silhouetted image offers more or less contrast or similarity depending on its location relative to the image
Formal Congruence
- Objects depicted in photographs have a scale relationship with each other and proportional relationships with the edge of the image. When typographic configurations display similar attributes to an adjacent image or expand on those attributes, the type and the image are said to be formally congruent
Formal Opposition
- Another means of integrating typographic elements and images is to relate them by contrasting their visual characteristics
- Contrast is one of the most powerful qualities that a designer can use to integrate material
- The strength of the contrast in opposing forms is weakened if all of their characteristics are different
I also finished my impact spread.
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