This opened up a new era of experimentation in graphic design-one of the clearest historical illustrations of how new technical tools and constraints can drive the creation of novel work. Whole publications could be mocked up quickly and cheaply on screen, without having to commit each experiment to a costly printing process. Images could be rotated, distorted, and layered. A block of text could be resized and made to re-flow on screen. Using early graphic design software like Pagemaker and Photoshop in the late 80s and early 90s, grids could be changed at the click of a mouse. With the arrival of desktop publishing, suddenly these technical and formal constraints-which had both informed and reflected the use of grids in graphic design-were removed. Weingart’s typographic experiments both worked with and subverted grid-based design. Crouwel is particularly noted for his grid-based typography. National Park Service and the New York Subway. Vignelli favored strict modular grid systems for his countless book designs, as well as in his work on public information materials for clients like the U.S. Take, for example, Massimo Vignelli and Wim Crouwel. In the second half of the 20th century, many more designers became celebrated exponents of grid systems. Design demands to a very high degree of not only emotional but also intellectual capacity for creative achievement. More and more, clients expect the designer’s work to be logical and systematic, not only on economic grounds but also with a view to image creation and cultivation, for a unified conception for a corporate identity cannot be produced by creativity which is solely emotional in origin. He also covers the geometry of traditional Japanese architecture, and even the support structure for the roof at London’s Crystal Palace.Ĭonnecting this history to the modern designer’s practice, he concluded the book with this passage: He also looks at Egyptian pictograms, the Gutenberg bible, and music manuscript (which is a kind of detailed grid system, if you think about it). As examples, he identifies honeycombs made by bees, and primitive maps of the proportions of the human body. Müller-Brockmann even explored the application of grid systems to 3D spaces, and grid systems have had a significant impact on the design of exhibition spaces, and on corporate interior design.Īs a kind of postscript to the book, Müller-Brockmann looks at ancient “systems of order” drawn from nature and earlier human civilizations.
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