Shadow Slave 201-300

From a professional for professionals, here is the definitive word on using grid systems in graphic design. Though Muller-Brockman first presented hi interpretation of grid in 1961, this text is still useful today for anyone working in the latest computer-assisted design. With examples on how to work correctly at a conceptual level and exact instructions for using all of the systems (8 to 32 fields), this guidebook provides a crystal-clear framework for problem-solving. Dimension: 81/2 x 113/4 inches, English & German Text, 357 b&w examples and illustrations. You should judge a design book by its cover. If a book claims to know how to present, then it needs to present. So at first glance, this one doesn’t look much good. A background of Dutch orange with a mesh of fine white lines on which the title has been set in a sans-serif font. Perhaps it’s handsome in a spare way, but there is no great image or pithy review to draw the reader in. No clue as to why, at 37 years old, and on a niche subject, it has been reprinted ten times. If the cover isn’t compelling, it is informative. Those white lines illustrate the book’s argument: aligning images and text to a grid of pleasing geometry gives a page a pleasing form. What’s more, with this guide, gives the designer: ... the will systemizeito clarifyrify the will to penetrate to the essentials, to concentrate ... the will to rationalize the creative and technical production process ... In art, rules aid creativity. Poets write sonnets. Photographers shoot in black and white. There’s no talking in opera. No brass in a string quartet. On one level, art movements are just groups of rules: modernism, impressionism, minimalism, maximalism, aew-wave funk. So, in this way, the guidelines in Grid Systems make sense. They also make sense because the grid system is ssimplewell describedibed, it doesn’t take long for the uninitiated to see the patterns of design that Müller-Brockmanaffairsrs. The classic Penguin paperbacks are a good example; a bloof colorsrbyroken a bar of white, and bold text. Here the grid is well-uuseused a row of Penguins sits smartly on the bookshelf. The back cover, on the other hand, is a mess. Six font combinations and a haphazard order of information make it unsatisfying to look at and hard to understand. The grid is still applied, but poorly. One of the dangers of reading Grid Systems is that you can quickly become a monster of style. Most of us don’t follow a grid when we write. We use a word processor that uses a single square inside an A4 page. We’re so used to doing it this way that we have forgotten how strange it is. Jack Kerouac’s method of using a continuous scroll of paper so he wouldn’t have to pause for a new page made On the Road as famous for its method as it was for its content. But that’s how we all write now; by the time we finish a page, another appears as if by magic. This is fine for fiction, but most of us don’t write fiction. We write reports, emails, and presentations that combine words, images, diagrams, tables, and charts. These elements need to work together on the page for our message to be clear, and this is hard to achieve with the continuous run of text that a word processor provides. It’s one of this book’s sly lessons; sometimes good prose is not enough. Grid Systems also shows us that design doesn’t have to be flashy to be brilliant. The text is almost entirely written in the same font, with little variation in size or emphasis. Titles are found in regular places, as are naimages ma,ges , andpage numbers. The application of the grid in this way means that a reader has more clues for finding information: The white space between the text and the title distinguishes it from an ordinary line of text and makes it conspicuous and significant. This solution is elegant, restrained, and yet self-assured. Perhaps we can forgive Müller-Brockmann when he doesn’t show the same restraint with his prose as he does with his layout. Often he writes with the conviction and force of a lay preacher. That’s not to say that his logic is muddied by faith, it’s just that sometimes he can overreach: A sensitive interplay between good type design, tsize, andize, regular spacing betletter rs,s andworsenrdsn leading can make the formal pattern of a poem into an artistic event. Why read a design book that’s nearly 40 years old? Because it takes time to see through fashion to reveal style. And Grid Systems has style. It also shows us that among the many joys of reading, there is the pleasure of book design. The abstract forms of letters are blocked into columns of paragraphs. The beauty of symmetry. How order aids understanding. All this is achieved with a few simple lines. The grid. There, but unseen, guiding everything. cover.jpg......Page 1 005.jpg......Page 2 007.jpg......Page 3 008.jpg......Page 4 009.jpg......Page 5 010.jpg......Page 6 011.jpg......Page 7 012.jpg......Page 8 013.jpg......Page 9 015.jpg......Page 10 016.jpg......Page 11 017.jpg......Page 12 018.jpg......Page 13 019.jpg......Page 14 020.jpg......Page 15 021.jpg......Page 16 022.jpg......Page 17 023.jpg......Page 18 024.jpg......Page 19 025.jpg......Page 20 026.jpg......Page 21 027.jpg......Page 22 028.jpg......Page 23 029.jpg......Page 24 030.jpg......Page 25 031.jpg......Page 26 032.jpg......Page 27 034.jpg......Page 28 035.jpg......Page 29 036.jpg......Page 30 037.jpg......Page 31 038.jpg......Page 32 039.jpg......Page 33 040.jpg......Page 34 041.jpg......Page 35 042.jpg......Page 36 043.jpg......Page 37 044.jpg......Page 38 045.jpg......Page 39 046.jpg......Page 40 047.jpg......Page 41 049.jpg......Page 42 050.jpg......Page 43 051.jpg......Page 44 052.jpg......Page 45 053.jpg......Page 46 054.jpg......Page 47 055.jpg......Page 48 056.jpg......Page 49 057.jpg......Page 50 058.jpg......Page 51 059.jpg......Page 52 060.jpg......Page 53 061.jpg......Page 54 062.jpg......Page 55 063.jpg......Page 56 064.jpg......Page 57 065.jpg......Page 58 066.jpg......Page 59 067.jpg......Page 60 068.jpg......Page 61 069.jpg......Page 62 070.jpg......Page 63 072.jpg......Page 64 073.jpg......Page 65 074.jpg......Page 66 075.jpg......Page 67 076.jpg......Page 68 077.jpg......Page 69 078.jpg......Page 70 079.jpg......Page 71 080.jpg......Page 72 081.jpg......Page 73 082.jpg......Page 74 083.jpg......Page 75 084.jpg......Page 76 085.jpg......Page 77 086.jpg......Page 78 087.jpg......Page 79 088.jpg......Page 80 089.jpg......Page 81 090.jpg......Page 82 091.jpg......Page 83 092.jpg......Page 84 094.jpg......Page 85 095.jpg......Page 86 097.jpg......Page 87 098.jpg......Page 88 099.jpg......Page 89 100.jpg......Page 90 101.jpg......Page 91 102.jpg......Page 92 103.jpg......Page 93 104.jpg......Page 94 105.jpg......Page 95 106.jpg......Page 96 107.jpg......Page 97 108.jpg......Page 98 109.jpg......Page 99 110.jpg......Page 100 111.jpg......Page 101 112.jpg......Page 102 113.jpg......Page 103 114.jpg......Page 104 115.jpg......Page 105 116.jpg......Page 106 117.jpg......Page 107 118.jpg......Page 108 119.jpg......Page 109 120.jpg......Page 110 121.jpg......Page 111 122.jpg......Page 112 123.jpg......Page 113 124.jpg......Page 114 125.jpg......Page 115 126.jpg......Page 116 127.jpg......Page 117 128.jpg......Page 118 129.jpg......Page 119 130.jpg......Page 120 131.jpg......Page 121 133.jpg......Page 122 134.jpg......Page 123 135.jpg......Page 124 136.jpg......Page 125 137.jpg......Page 126 138.jpg......Page 127 139.jpg......Page 128 141.jpg......Page 129 142.jpg......Page 130 143.jpg......Page 131 144.jpg......Page 132 145.jpg......Page 133 146.jpg......Page 134 147.jpg......Page 135 148.jpg......Page 136 149.jpg......Page 137 150.jpg......Page 138 151.jpg......Page 139 152.jpg......Page 140 153.jpg......Page 141 154.jpg......Page 142 155.jpg......Page 143 156.jpg......Page 144 158.jpg......Page 145 159.jpg......Page 146 160.jpg......Page 147 161.jpg......Page 148 162.jpg......Page 149 163.jpg......Page 150 164.jpg......Page 151 165.jpg......Page 152 166.jpg......Page 153 167.jpg......Page 154 168.jpg......Page 155 169.jpg......Page 156 170.jpg......Page 157 171.jpg......Page 158 172.jpg......Page 159 174.jpg......Page 160 175.jpg......Page 161 176.jpg......Page 162 Das Werk eignet sich fr das Arbeiten in der automatischen Text-/Bildgestaltung. Es zeigt Beispiele fr konzeptionell richtiges Vorgehen. Dem Bentzer werden genaue Anleitungen fr die Anwendung aller vorkommenden Rastersysteme vermittelt (8 bis 32 Rasterfelder). Diese knnen fr die verschiedensten Arbeiten angewendet werden. Auch der dreidimensionale Raster wird behandelt. Kurz: ein Leitfaden aus der Praxis fr die Praxis. Die Entwicklung von Ordnungssystemen in der visuellen Kommunikation war der Verdienst und die Leistung der Vertreter der sachlich-funktionellen Typografie und Grafik. Bereits in den 1920er-Jahren entstanden in Europa auf den Gebieten der Typografie, Grafik und Fotografie Arbeiten mit objektivierter Konzeption und strenger Komposition. 1961 erschien zum ersten Mal eine kurz gefasste textliche und bildliche Darstellung des Rasters in einem frheren Buch des Autors. In der Folge wurden hauptschlich Artikel in Fachzeitschriften publiziert. Dieses Buch versucht nun, eine Lcke zu schlieen, indem es dem visuellen Gestalter mit anschaulichen Beispielen und konkreten Anleitungen bei der Lsung diverser Rasterprobleme weiterhilft. Suitable for those who work with automated text and image design, this work shows examples of working correctly on a conceptual level. It gives the user exact directions for using all of the grid systems presented (8 to 32 grid fields).