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Basic Grid Diagrams ! 11
2. Learn the Basic Structures B A S I C G R I D D I A G R A M S
A SINGLE-COLUMN
GRID is generally used
for continuous running
text, such as essays,
reports, or books. The
main feature on the page
or spread is the block
of text.
A TWO-COLUMN GRID
can be used to control a
lot of text or to present
different kinds of infor-
mation in separate
columns. A double-
column grid can be
arranged with columns
of equal or unequal
width. In ideal propor-
tions, when one column
is wider than the other,
the wider column is
double the width of
the narrow column.
MULTICOLUMN
GRIDS afford greater
fl exibility than single-
or two-column grids,
combine multiple
columns of varying
widths and are useful for
magazines and websites.
MODULAR GRIDS
are best for controlling
the kind of complex
information found in
newspapers, calendars,
charts, and tables. They
combine vertical and
horizontal columns,
which arrange the
structure into smaller
chunks of space.
HIERARCHICAL
GRIDS break the
page into zones.
Many hierarchical
grids are composed
of horizontal columns.
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Breaking the Rules ! 201
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204 ! Layout Essentials
Contributors P R I N C I P L E N U M B E R S A R E I N B O L D
Principles 7, 16; 8, 17; 20,
40–41; 83, 166–167
AdamsMorioka, Inc.
Sean Adams, Chris Taillon,
Noreen Morioka, Monica
Shlaug
Principle 34, 68–69
AIGA Design for Democracy
164 Fifth Avenue
New York, NY 10010
Principle 75, 150–151
Artisan
Vivian Ghazarian
Principles 32, 64–65;
54, 108–109; 73, 146–147;
90, 180–181
Marian Bantjes
Marian Bantjes, Ross Mills,
Richard Turley
Principles 4, 13; 5, 14;
12, 24–25; 16, 32–33;
94, 188–189
BTDNYC
Principles 17, 34–35;
28, 56–57; 40, 80–81;
65, 130–131
Carapellucci Design
Principles 17, 34–35;
65, 130–131
The Cathedral Church of Saint
John the Divine
Principle 60, 120–121
Collins
Brian Collins, John Moon,
Michael Pangilnan
Principles 18, 36–37;
46, 92–93; 76, 152–153
Croissant
Seiko Baba
Principle 64, 128–129
Design Institute, University of
Minnesota
Janet Abrams, Sylvia Harris
Principle 84, 168–169
Design within Reach/Morla
Design, Inc.
Jennifer Morla, Michael
Sainato, Tina Yuan,
Gwendolyn Horton
Principle 93, 186–187
Design Taxi
Principle 91, 182–183
Suzanne Dell’Orto
Principle 70, 140–141
Andrea Dezsö
Principles 22, 44–45;
25, 50-51; 35, 70-71;
43, 86–87
Barbara deWilde
Principles 42, 84–85;
48, 96–97; 62, 124–125;
92, 184–185; 96, 192–193
The Earth Institute of Columbia
University
Mark Inglis, Sunghee Kim
Principle 77, 154–155
The Heads of State
Jason Kervenich, Dustin
Summers, Christina Wilton
Principle 19, 38–39
Heavy Meta
Barbara Glauber, Hilary
Greenbaum
Principle 85, 170–171
Cindy Heller
Principle 21, 42–43
Katie Homans
Principle 82, 164–165
INDUSTRIES stationery
Drew Souza
Principle 29, 58-59; 31, 62-63;
39, 78-79; 53, 106-107
Kurashi no techno/Everyday
Notebook
Shuzo Hayashi, Masaaki
Kuroyanagi
Principle 99, 199
Michael Lassiter
Principle 99, 198
Daniela Lien
Principles 26, 52–53;
59, 118–119; 79, 158–159
Bobby C. Martin Jr.
Principle 97, 194–195
Liney Li
Principles 9, 18; 71, 142–143;
88, 176–177
Mark Melnick Graphic Design
Principles 5, 14; 25, 50–51
Martha Stewart Omnimedia
Principle 60, 120-121
The Martin Agency
Mike Hughes, Sean Riley,
Raymond McKinney,
Ty Harper
Principles 44, 88–89;
58, 116–117
Memo Productions
Douglas Riccardi
Principles 27, 54–55
Metroplis magazine
Criswell Lappin
Principles 11, 22–23; 13, 26–27
Fritz Metsch Design
Principle 98, 196–197
The Museum of Modern Art
Irma Boom
Principle 56, 112–113
Navy Blue
Ross Shaw, Marc Jenks
Principle 47, 94–95
New York City Center
Andrew Jerabek, David Saks
Principle 30, 60-61
The New York Times
Design Director: Khoi Vinh
Principle 28, 56–57
New York University School of
Medicine
Principle 86, 172–173
Nikkei Business Publications, Inc.
Principle 28, 56–57
New York University School of
Medicine
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Multicolumn ! 53
A columnar grid provides a
clear framework for boxes,
which fi ll a number of roles.
The boxes contain the material,
give a sense of dimension to
the schedule by creating a
plane on top of the photo, and
they rhythmically move across
the page.
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MODULAR
Project
Flor Catalog
Client
Flor
Design
The Valentine Group
Modular grids are perfect for
rationing space and breaking a
page into a step-by-step visual
guide, as seen in this catalog
for modular fl oor tiles.
33. Be Rational
When viewed as a diagram, a modular grid can
look complicated, but it’s not—and it’s not
necessary to fi ll every module. Depending on the
amount of information you need to fi t into the space,
Broken into boxes, this contents page combines easy-to-read and
easy-to-view color-coded contents.
Modules appear in the photo,
with the modular Flor logo in
the lower left corner.
it’s possible to set up a module with a few large boxes
containing images and, more importantly, key infor-
mation, such as a table of contents and other kinds
of indexed information.
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M O D U L A R
Project
Guidelines for Ballot and
Election Design
Client
The U.S. Election Assistance
Commission
Design
AIGA Design for Democracy;
Drew Davies, Oxide Design
Company, for AIGA
www.aiga.org/design-for-
democracy
An initiative to make choices
understandable epitomizes
simplicity and clarity.
34. Vote for an Ordered World
Information design
epitomizes hierarchy
of information. Designing
voter information—one
of the more challenging
and socially responsible
forms of wrestling with
complex information— makes choices clear to
a wide audience with
divergent backgrounds.
Modules are set up so that
each name and each choice is
clear. A simple, clean, readable
serif does its important, no-
nonsense job. Varying weights
make information clear. Bold
for heads and light for instruc-
tions set up a pecking order.
Screens and colors set off
units of information. Rules
separate candidates, with
heavier rules separating
sections. Illustrations clarify
the array of instructions.
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Modular ! 69
Ballots that include two lan-
guages contain more informa-
tion, with the second language
set slightly smaller than the
primary one. As with all of
the ballots in the guidelines,
the illustrations clear up any
confusion.
Box rules or frames and arrows (only one, clearly leading to the
candidate) provide visual resting space and prevent confusion.
The design works for different languages, with the same guiding
principles of simplicity applied.
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TA B L E S A N D C H A R T S
Project
Circle Book education tool,
New York Transit Museum
Client
New York Transit Museum
Project Developers
Lynette Morse and Virgil Talaid,
Education Department
Design
Carapellucci Design
Designer
Janice Carapellucci
This educational volvelle
combines education, informa-
tion, and activity—and, like its
subject, it moves!
40. Go beyond Boundaries
Grids can be set up to organize unconventional
shapes, breaking space into discreet areas. A
circle can be bisected horizontally and vertically to
create quadrants, or cut radially to make pie shapes.
On one side, images bleed
off and create a contrast
between facts and illustrations.
Typography is simple, with bold
headlines echoing the logo and
calling attention to the head-
line and URL. The horizontal
lines on the subway car echo
the lines in the text area.
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C O L O R A S O R G A N I Z I N G P R I N C I P L E
45. Control It with Colors
Project
Program calendar
Client
Smithsonian, Cooper-Hewitt,
National Design Museum
Design
Tsang Seymour Design, Inc.
Design Director
Patrick Seymour
Art Director
Laura Howell
This system for seasonal
program calendars supports a
uniform message. It also allows
dynamic variations of colors
and images.
Consistent in size and within an overall grid,
tightly plotted yet fl exible color modules
can support playful variations of both text and
images, as shown in this program calendar.
Boxes and color can provide an overall system
and structure and can also control information
clearly. When listing a lot of specifi c details, a
grid that combines color modules can set off
dates and information from other kinds of text,
such as URLs, calls to action, or banners with the
main title of the piece.
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Color as Organizing Principle ! 91OPPOSITE: Months are color coded to clearly chart the passage of time. Each event has a module to itself.
Synopses of the lead exhibits and their dates complement exuberantly large and unfettered images on
the reverse side of the program calendar, setting up visual tension and compression.
Varied image sizes and the occasional silhouette adhere to, but also pop out of, the framework of the
color boxes.
First, defi ne the size of your overall area, break-
ing it into equal squares. Then take into account an
overall outside margin. Use squares as single boxes,
doubled (or even tripled) horizontally or vertically,
or stacked. Paying attention to the information to be
contained, the modules can be color-coded by date,
month, price, event, or whatever is appropriate for the
project. When designing with hardworking informa-
tion, the color should communicate and enlighten
the message.
Modules also support photos and illustrations.
As with text, an image can fi t into one module, two
vertical modules, two or four horizontal modules, or
four stacked modules. In short, the color boxes allow
a range of variation, while maintaining control and
integrity. To add further interest, play against the
grid of the boxes by silhouetting the occasional
image, giving further rhythm and visual space to
a lively program.
Within the structural support from a cavalcade of
colors, information can exist in its own space. Color
modules can support a readable hierarchy of informa-
tion with small type sizes, as well as larger headlines
and bolder information. Varied type sizes and weights
along with upper- and lowercase type make it easy for
the reader to scan dates, events, times, and descrip-
tions. Large headlines in the multimodule boxes add
rhythm and surprise, as well as a consistency among
similar kinds of copy, such as marketing lines, the client
or museum, calls to action, and contact information.
A double-sided project, or a project on a spread,
can also take advantage of the modular format, by
following, but also interrupting, clearly defi ned areas.
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C O L O R A S O R G A N I Z I N G P R I N C I P L E
Project
Calendar of events
Client
New York City Center
Design
Andrew Jerabek
Photos and palettes work
together to determine shades
for calendar boxes.
47. Put the Information in the Color
Using color in a calendar makes it easier to
separate specifi c elements, such as days of
the week. The information both stands out and works
with the overall spread. Colors can also complement
the palette of the photo.
A rich background and astounding movement play against the
controlled calendar in complementary colors.
For situations where it’s important that the dates
are featured but not obscured, chose colors or shades
that are muted and and do not upstage the material.
Desaturated colors (colors with more gray) work best
if type is surprinting, that is printed on top of the color.
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Box colors present such a
delicate and distinctive palette
that they complement instead
of compete with a beautifully
art-directed photo.
Autumnal colors support a
spread containing a dramatic
photo with accents of saffron.
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Rockport Publishers
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MODULAR
Project
House Beautiful
Client
House Beautiful magazine
Design
Barbara deWilde
A magazine gains new life with
a crisp redesign.
35. Modules Do Not Need to Be Squared Off
The beauty of a modular grid is that it doesn’t necessarily need to be squared
off. Within a consistent modular program, it’s possible to vary shapes, sizes, and
patterns and maintain a sense of order and delight.
Limiting the color variations
and creating a palette for
each page provides a sense of
balance.
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H O R I Z O N TA L H I E R A R C H Y
Project
Infl uence map
Client
Marian Bantjes
Designer and Illustrator:
Marian Bantjes
In Marian Bantjes’s illustra-
tion of infl uences and artistic
vocabulary, craft and detail are
paramount. Lessons learned
from infl uences, such as move-
ment, fl ow, and ornamentation
are all in evidence. Bantjes’s
ten years as a book designer
have informed her considerable
typographical talent.
54. Illustrate Timelines
Lyricism stems not only from the curved lines of the illustrations but also from the weights of the
rules. The letterspacing of the small caps creates texture and lightness. The ampersand is beautiful,
and, although the piece is a knockout of movement, carefully controlled alignments play off the curves.
It’s wise to think of a timeline as more than a
functional piece of information. A timeline can also
represent a person’s life or an era, so the design needs
to refl ect the content.
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W H E N T Y P E F O R M S T H E G R I D
Project
Restaurant identity
Client
Carnevino, Las Vegas
Design
Memo Productions, NY
Designers
Douglas Riccardi,
Franz Heuber
Strong alignments and
gridded areas give punch to
the identity of a steakhouse in
Las Vegas. Strip steak on
the Strip, anyone?
58. Pack It In
Packing a lot of letters into a piece, whether it’s a
poster, shopping bag, or matchbook—or a match-
book that looks like a poster—can help form a grid.
An ingenious logo and type design using a number of
type families both sleek and faux rustic, can act as a
holding pen for key information such as the name and
address of a business.
Varied type sizes provide
drama and movement.
Adjusting letter spacing
and typefaces to justify lines
creates a pecking order of
information. Playing light
against dark, sans serifs
against serifs, and subdued
against bold creates holding
areas for shapes, forms, and
contact information.
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When Type Forms the Grid ! 117
The matchbox is larger—one
could say meatier—than most
restaurant matchboxes.
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W H E N T Y P E F O R M S T H E G R I D
Project
Ads and promos
Client
Jazz at Lincoln Center
Design
JALC Design Department
Designer
Bobby C. Martin Jr.
The look of Jazz at Lincoln
Center is bright, disciplined,
and full of energy. The design is
clean, Swiss, but syncopated— and very cool.
59. Play with the Grid
As with jazz, typography can be syncopated. Even within a tight and
well-considered grid, it’s possible to have a typographic jam session by
varying widths, weights, and positions. The next step is to see what happens
when you turn everything on its side.
Thanks to the dynamics of
small sans serif type against
a larger line, the type has a
strong sense of movement.
On its side and surprinting
two layered silhouettes, the
type really swings.
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When Type Forms the Grid ! 119
White dropout type in boxes
of different sizes and depth
makes a sharp and rhythmic
counterpoint against smartly
cropped images.
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Filled and Functional ! 123
On this spread, all elements
are so consistently aligned
that the small margins echo
the space between images.
The underpinning of the
(twelve-column) grid allows
certain columns to go unfi lled,
balancing margins and giving
breathing space to a content-
rich spread.
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F I L L E D A N D F U N C T I O N A L
Project
Guide
Client
Venice Bienniale
63. Avoid Crowding
Sometimes the main goal of a project is to include everything readably. For
directories, glossaries, or indexes, the best way to start is to fi gure out how
things fi t.
Contain heads by setting
text within the rules. Anchor
the page with rules at the
page foot.
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Filled and Functional ! 127
To avoid making the entire
piece one gray mass of listings,
set the main headings large.
Screen them back if they’re
overwhelming.
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F I L L E D A N D F U N C T I O N A L
Project
Voting by Design poster
Client
Design Institute,
University of Minnesota
Editor/Project Direction
Janet Abrams
Art Direction/Design
Sylvia Harris
An extremely disciplined
breakdown of a crucial process,
this poster takes advantage
of every inch of space, using
a grid to control the reading
experience.
64. Make Space Count
posters are a great vehicle for dense information. It’s
best to design headlines to be readable from distance
of a few feet.
Plotting out complicated information requires a
strong grid design. Plan the proportions of each
module for the information being presented so it’s un-
derstandable to the viewer. Due to their larger format,
OPPOSITE PAGE: Although
the poster contains a lot of
information, its method for
breaking the experience into
steps makes it easy
to follow.
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F I L L E D A N D F U N C T I O N A L
Project
étapes: magazine
Client
Pyramyd/étapes: magazine
Design
Anna Tunick
The clean grid of this French
design magazine presents
such an effective sense of
order that small margins are
part of a plan to fi t in as much
information as possible.
61. With Order, Make Small Margins Work
With a well-conceived grid, small margins can
work. When images are aligned cleanly on
obvious gridlines and when space and typography
are carefully controlled, small outside margins can be
part of a carefully crafted concept. The skill and order
of a well-balanced page can act as a foil for narrow
margins, bringing an edge to a controlled layout.
That said, when starting out, leave a margin for
error. Margins are tricky for beginners and sea-
A balanced page with absolutely clear alignments shows the
fl exibility of the grid. All elements are aligned, yet the large type
gives a sense of movement. Space within the spread contrasts
successfully with the small outside margins. The typography is also
balanced, with numerous weights, sizes, faces, and colors working
harmoniously together.
soned practitioners alike. Setting up a grid with
few or many variables involves balance and skill,
as well as trial and error. Most traditional offset
printers and trade publishers wince at margins
that are too small. Tiny outside margins leave little
room for bounce, a slight movement of the roll of
paper as it speeds through the press. For that
reason, publication designers often make sure to
leave generous outside margins.
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S PA C I O U S B U T N O T B A R R E N
Project
Cuadro Interiors
capabilities book
Client
Cuadro Interiors
Design
Jacqueline Thaw Design
Designer
Jacqueline Thaw
Primary Photographers
Elizabeth Felicella,
Andrew Zuckerman
Founded on a modular grid,
a capabilities brochure for an
interior design fi rm is stripped
down to focus on the featured
homes and offi ces.
68. Create an Oasis
To present a sense of authority and focus attention, less is indeed more.
Space allows the viewer to concentrate.
A modular motif introduces the piece.
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An oasis of white affords the
reader an opportunity to linger
over every aspect of the
images and information.
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S E E M I N G LY G R I D L E S S
Projects
A Monstrous Regiment of Women and The Beekeeper’s Apprentice
Client
Picador Publishers
Art Director/Designer
Henry Sene Yee
Illustrator
Adam Auerbach
Two book jackets in a series
show that wily use of structure
can spawn a clever use of
negative space.
72. Use Organizing Principles
The basic principles
of grids apply, even
when you don’t set out
to use them. Often used
to present repeating or
continuing information,
grids can also support
one dynamic concept.
On the other hand, the
concept can essentially
be a gridlike image.
A Monstrous Regiment of Women also creates a structure, then takes it away.
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S W I S S G R I D
Project
Subscription brochure
Client
Jazz at Lincoln Center
Design
Bobby C. Martin Jr.
Typography readably wrangles
a rich offering of programs.
79. Use Weights and Measures
Agridded piece with Swiss design foundations can
make a lot of text a delight to read. This system
visually broadcasts information so that it reads loud
and clear. Multicolumn grids can contain copious
DETAIL (ABOVE) AND OPPOSITE PAGE: This brochure shows a controlled
variation of weights, leading, labels, heads, and deks. Hierarchy is
clean and clear. Color modules signal the seven different series.
The typography within each color module is clear and well
amounts of information and accommodate images
and color boxes for sectional information. The system
also allows for variation; what is left out enhances the
material that is put in.
balanced, with sizes and weights that clearly denote the series
information. The color modules are successful subset layouts
within the overall layout of the brochure. Within the modules, an
elegant choice of typefaces and alignments act as minibanners.
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S W I S S G R I D
Project
www.vignelli.com
Client
Vignelli Associates
Design
Dani Piderman
Design Director
Massimo Vignelli
A master of grids and rules,
Massimo Vignelli shows his
stripes on the Web.
81. Use Rules
Rules are versatile.
They can function as
• navigation bars
• containers for headlines
• grounding baselines for images
• separation devices
• mastheads
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Swiss Grid ! 163
OPPOSITE PAGE TOP: Always
consistent, Vignelli Associates’
well-ordered work translates to
the Web.
Rules of varying weights
both separate and contain
information.
OPPOSITE PAGE BOTTOM: Head-
ings set in Franklin Gothic Bold
contrast with and complement
Bodoni and Bodoni Italic,
providing Swiss design with
an Italian accent.
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G R I D , I N T E R R U P T E D
Project
What Is Green?
Client
Design within Reach
Design
Design within Reach Design
Creative Director
Jennifer Morla
Art Director
Michael Sainato
Designers
Jennifer Morla, Tim Yuan
Copywriter
Gwendolyn Horton
“Green-ness” and sustainabil-
ity are hot (globally warmed)
topics, addressed by many
companies, including DWR,
which has been ecologically
conscious for years. The fi rst
thirteen pages of this project
provide a sense of fl ow for a
story with one related issue
and a variety of layouts.
84. Vary Sizes
Once an overall grid is determined, there is room
to play with scale, space, size, and typography.
Springing from the intent and importance of the text,
the sizes of images and text can be dynamic or dull,
depending on the amount of space the material needs.
The image on this cover
makes such an unmistakable
statement that the
typography can be
minimized.
In a dramatic shift of scale,
the contents page employs a
horizontal setup for easy fl ow.
Leaders—rules, for example— direct the eye to the contents.
Thumbnails act as quick signals
for the content.
On the fi rst page, the typogra-
phy makes a statement—and
a lengthy proclamation—fi lling
the entire area of the grid.
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These layouts show the shifts in text
sizes. Note that one spread has a very
wide text measure, which is generally
undesirable in text setting. In this
case, however, style and message trump
normal design precepts. If you want
to read about the recycled aluminum
chairs, you will. The payoff is that the
description of the chairs is very pithy.
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Swiss Grid ! 159
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L AY E R E D G R I D
Project
Branding posters
Client
Earth Institute at
Columbia University
Creative Director
Mark Inglis
Designer
John Stislow
Illustrator
Mark Inglis
Layered photos, line illustra-
tions, and icons add depth and
imply levels of meaning, as well
as interest, in this project.
92. Think Globally
The framework of the grid can support many
superimposed elements. Keep in mind that
• informational typography needs to be readable
• open space is crucial to the success of a
composition
• it is not necessary to fi ll every pixel or pica
On the most literal level, layers can intrigue the
reader. On a deeper level, they are an invitation to
mull over combinations of elements.
THIS PAGE BOTH IMAGES: Layering adds dimension but keeps the
message clear in this cover and inside spread of a brochure.
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Elements superimposed over a photo and the use of transparent
areas of color enhance the three columns of typography.
Typography is only the top
layer on a poster for a talk
about complex health issues.
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G R I D S A N D M O T I O N
Project
Website
Client
Design Taxi
Design
Design Taxi
Design Director
Alex Goh
The website for Design Taxi,
which hails from Singapore,
shuttles the user from one grid
to the next, in a high-density
digitopolis loaded with frames,
rules, boxes, guides, colors,
shades, links, and searches— but no Starbucks.
93. Make a Framework Support Various Media
Fields and colors can deliver information in byte-
size containers. Occasionally, using the metaphor
of a client’s name can help determine colors and
movement. Categories of information can be located
Black headline bars and
taxi-yellow boxes form the
signature look of Design Taxi.
in boxes, or neighborhoods, with navigation bars all
around the site. In a densely populated site, results
can be like a metropolis: gridded but busy, but some-
times a dizzying ride is just the ticket.
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Grids and Motion ! 187
With a lot of offerings, the site controls information through framed fi elds and
various shades of gray. The ride can be a bit bumpy, at times. Finding the title that
corresponds to the html can be tricky.
Typography is designed for functionality, rather than fi nesse, for constant
and easy updating.
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G R I D S A N D M O T I O N
Project
Website
Client
Earth Institute at
Columbia University
Creative Director
Mark Inglis
Design
Sunghee Kim, John Stislow
Modular sections allow the
presentation of rich and
varied information.
96. Make It Modular
On the web, as in print, equal modules provide
a versatile way to compartmentalize content,
including areas for videos that help animate the site.
FLUIDITY
In the brave new world of interactive design, a topic
worth mentioning is fl uid grids and layouts. What do
you do when paper size is no longer relevant? Do you
stick to arbitrary dimensions and center the layout on
the screen? Or do you create layouts that are fl uid— that reconfi gure themselves for different screen
sizes? Web experts may prefer the latter, but keep
in mind that the technical aspects of setting up such
layouts are more complex.
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