GRID SYSTEMS

FOREWORD

Modern typography is based primarily on the

theories and principles of design evolved ni the 20's
and 30's of our century. It was Mallarme and
Rimbaud in the 19th century and Apollinaire in the
early 20th century who paved the way to a new
understanding of the possibilities inherent in
typography and who, released from conventional
prejudices and fetters, created through their
experiments the basis for the pioneer achievements
of the theoreticians and practitioners that followed.
Walter Dexel, El Lissitzky, Kurt Schwitters, Jan
Tschichold, Paul Renner, Moholy-Nagy, Joost
Schmidt etc. breathed new life into an unduly rigid
typography. In his book "Dei neue Typografie"
(1928) J. Tschichold formulated the rules of an up-
to-date and objective typography which met the
needs of the age.

We are indebted to the exponents of objective and

functional typography and graphic design for the
development for regulative systems in visual
communication. As long ago as the twenties works
conceived in objective terms and composed in
accordance with strict principles were being
produced in the fields of typography, graphic design
and photography in Germany, Holland, Russia,
Czechoslovakia and Switzerland.
The grid as a controlling principle in the form we
know it today still remained to be invented. Yet the
first steps were already being taken towards it in the
course fo efforts to achieve the greatest possible
order and economy in the use of typographic
resources. The principle of the grid system
presented in this book was developed and used in
Switzerland after World War I. The second half of
the forties brought the first examples of printed
matter designed with the aid of a grid. This new
trend was characterized by a disposition of text and
illustrations conceived on strict principles, by
uniformity ni the layout of all pages, and by an
objective attitude ni the presentation of the subject.
The author's "The Graphic Artist and his Design
Problems", published ni 1961, was the first book to
give a brief account in words and pictures of the grid
system.

Under the title "The Grid System as an Aid in the

Design of Advertisements, Catalogues, Exhibitions
etc." there followed an introduction to the spirit and
application of the grid, accompanied by 28 examples
of grids taken from the practical field. Subsequently
articles appeared from time to time in trade journals
dealing with the subject of the grid. But there was
no publication that showed how the grid was
constructed and applied, let alone how the design of
the grid system was to be learned. This book is an
attempt to close the gap. The author thanks the
publisher for his willingness to publish the book, the
designers and firms for permission to use examples
of grids, and my assistant. Miss Ursula Mötteli, for
her excellent help, also in the production of the
drawings.
THE BOOK

The present volume on the function and use of the

grid system is intended to provide the designer
operating in two and three dimensions with a
practical working instrument which will enable him
to handle visual problems and solve them in terms
of conception, organization and design with greater
speed and confidence.

At the same time it places in the hands of the

educator an aid which he can use ot good effect in
tuition based on the solution of practical problems.
It will afford the student an opportunity to
familiarize himself with the essentials of the grid and
ways of producing it and also to learn how to use it
through his own exercises.

The author has sought to identify and explain in

detail and step by step the essential points to be
observed in the design of a grid. To make rational
and functional use of the grid, the designer must
subject all the criteria ot a caretul study. The fact
that the great majority of designers are ignorant of
such a system for establishing order or that they fail
to understand and therefore to use it properly may
be taken as a sign that the use of the grid is
something that calls for serious study, Anyone
willing to take the necessary trouble will find that,
with the aid of the grid system, he is better fitted to
find a solution to his design problems which is
functional, logical and also more aesthetically
pleasing.

GRID AND DESIGN PHILOSOPHY

The use of the grid as an ordering system is the
expression of a certain mental attitude in as much as
it shows that the designer conceives his work in
terms that are constructive and oriented to the
future. This is the expression of a professional ethos:
the designer's work should have the clearly
intelligible, objective, functional and aesthetic
quality of mathematical thinking.

His work should thus be a contribution to general

culture and itself form part of it.

Constructive design which is capable of analysis and

reproduction can influence and enhance the taste of
a society and the way it conceives forms and
colours. Design which is objective, committed to the
common weal, well composed and refined
constitutes the basis of democratic behaviour.
Constructivist design means the conversion of design
laws into practical solutions. Work done
systematically and in accordance with strict formal
principles makes those demands for directness,
intelligibility and the integration of all factors which
are also vital in sociopolitical life.

Working with the grid system means submitting to

laws of universal validity.

The use of the grid system implies

the will ot systematize, to clarify
the will to penetrate to the essentials, to
concentrate
the wil to cultivate objectivity instead of subjectivity
the will to rationalize the creative and technical
production processes
the will to achieve architectural dominion over
surface and space
the will to adopt a positive, forward-looking attitude
the recognition of the importance of education and
the effect of work devised in a constructive and
creative spirit.

Every visual creative work is a manifestation of the

character of the designer. It is a reflection of his
knowledge, his ability, and his mentality.

THE TYPOGRAPHIC GRID

The grid divides a two-dimensional plane into

smaller fields or a three-dimensional space into
smaller compartments. The fields or compartments
may be the same or different in size. The fields
correspond in depth to a specific number of lines of
text and the width of the fields is identical with the
width of the columns. The depths and the widths are
indicated in typographic measures, in points and
ciceros.

The fields are separated by an intermediate space so

that on the one hand pictures do not touch each
other and legibility si thus preserved and on the
other that captions can be placed below the
illustrations.

The vertical distance between the fields is 1, 2 or

more lines of text, the horizontal space depending
on the size of the type character and of the
illustrations.

By means of this division into grid fields the

elements of design, viz. typography, photography,
illustration and colour, can be disposed in a better
way. These elements are adjusted ot the size of the
grid fields and fitted precisely into the size of the
fields. The smallest illustration corresponds to the
smallest grid field.

The grid for a 1 page comprises a smaller or larger

number of such grid fields. All illustrations,
photographs, statistics etc. have the size of 1, 2, 3 or
4 grid fields. In this way a certain uniformity is
attained in the presentation of visual information.

The grid determines the constant dimensions of

space. There is virtually no limit to the number of
grid divisions. It may be said in general that every
piece of work must be studied very carefully so as to
arrive at the specific grid network corresponding to
its requirements.

The rule: The fewer the differences in the size of the

illustrations, the quieter the impression created by
the design. As a controlling system the grid makes it
easier to give the surface or space a rational
organization.

Such a system of arrangement compels the designer

to be honest in his use of design resources. It
requires him to come to terms with the problem in
hand and to analyse it. It fosters analytical thinking
and gives the solution of the problem a logical and
material basis. If the text and pictures are arranged
systematically, the priorities stand out more clearly.
A suitable grid in visual design makes it easier

a. to construct the argument objectively with

the means of visual communication
b. to construct the text and illustrative
material systematically and logically
c. to organize the text and illustrations in a
compact arrangement with its own rhythm
d. to put together the visual material so that it
is readily intelligible and structured with a
high degree of tension.

There are various reasons for using the grid as an aid

in the organization of text and illustration:

economic reasons: a problem can be solved in less

time and at lower cost

rational reasons: both simple and complex problems

can be solved in a uniform and characteristic style.

mental attitude: the systematic presentation of

facts, of sequences of events, and of solutions to
problems should, for social and educational reasons,
be a constructive contribution to the cultural state of
society and an expression of our sense of
responsibility.

WHAT IS THE PURPOSE OF THE GIRD?

The grid is used by the typographer, graphic

designer, photographer and exhibition designer for
solving visual problems in two and three dimensions.
The graphic designer and typographer use it for
designing press advertisements, brochures,
catalogues, books, periodicals etc., and the
exhibition designer for con- ceiving his plan for
exhibitions and show-window displays.

By arranging the surfaces and spaces in the form of a

grid the designer is favourably placed to dispose his
texts, photographs and diagrams in conformity with
objective and functional criteria. The pictorial
elements are reduced to a few formats of the same
size. The size of the pictures is determined according
to their importance for the subject.

The reduction of the number of visual elements used

and their incorporation in a grid system creates a
sense of compact planning, intelligibility and clarity,
and suggests orderliness of design. This orderliness
lends added credibility to the information and
induces confidence.

Information presented with clear and logically set

out titles, subtitles, texts, illustrations and captions
will not only be read more quickly and easily but the
information will also be better understood and
retained in the memory. This is a scientifically
proved fact and the designer should bear it
constantly in mind.

The grid can be successfully used for the corporate

identities of firms. This includes all visual media of
in- formation from the visiting card to the exhibition
stand: all printed forms for internal and external use,
adver- tising matter, vehicles for goods and
passenger trans- port, name-plates and lettering on
buildings, etc.

SIZES OF PAPER

Most printed matter adheres to the sizes of the

standardized DIN system. The designer will also be
well advised to employ these most commonly used
sizes. For one thing, these sizes are stocked by the
paper manufacturer and the printer can order and
obtain them

without loss of time. For another, the presses and

cutting machines also have specific standardized
dimensions which match the paper sizes of the DIN
system. Again, the sizes of envelopes are DIN
standard- ized and, last but not least, the scale of
postal charges is partly based on the DIN
standardization.

A size which is outside those of the DIN system must

be manufactured to this specification at the paper
factory or, alternatively, a larger size than required is
used for printing and trimmed afterwards, which
means a waste of paper. Both approaches increase
production costs.

The following page shows the sizes of the DIN series.

The reader will see that the next largest size is
always twice as big as the preceding one; for
example, the A 6 is twice the size of the A7. This
means in effect that every DIN size that is folded also
produces a DIN size.

The advantages of this standardization are

incomparably greater than its disadvantages. A firm
wishing to have a corporate identity will also have to
introduce uniform 5 paper sizes, for information
printed on standard paper makes a greater impact
on the reader.

The recipient is also more likely to keep standardized

sizes of paper because they slip easily into files and
card indexes. This is a point that no designer can
afford to ignore.

THE TYPOGRAPHIC MEASURING SYSTEM

The typographic measuring system is constructed on

the point named after the Parisian typefounder
Firmin Didot (1712-1768). He improved the point
system invented by Fournier in 1675. The Didot
system was adopted all over Europe and has
maintained its position to the present day. It is a
system correlated with the French foot of 30 cm.
The line gauge corresponds to the French foot. It is
30 cm long and measures 798 typo- graphic points.
The actual type height (height-to-paper) of 622/3
points was not uniformly fixed until 1898.

In traditional typography using type of cast lead

measurements are made in points not in cm. With
the advent of photo-typesetting, typographic
measures can be stated in mm and inches as well as
points. Since the sixties efforts have been made to
introduce the metric rather than the cicero system
for measurements in typography. Today the Didot
system is used in Europe, and the English-American
system is used mainly in England and America. In
both systems the point is the smallest measure.

In conventional typography the size of the type is

measured in points. The illustration on page 18
shows sizes from 6 to 60 points. Certain type
families also have letters of 70 points. The depth of
the type (top to bottom) is called the "point size" or
"body" and the width of the letters is called the "set"
or "width".