- Book grids were almost uniformly symmetrical
until the 1920's when several typographers
began exploring asymmetry as an option.
This broke away from the centered axis structure
and created a more modern and dynamic grid.
The result was a divide in book design
between the traditional book makers
and young graphic artists advocating
a new way of designing.
An asymmetrical grid is more complex
than a symmetrical grid.
There will be several columns and more hanglines.
The pages don't mirror each other,
they are duplicates.
Unlike a fiction book that requires a single column,
an asymmetrical grid is good for a book
with more complex information
such as diagrams, images, sidebars,
and types of copy.
This grid has more to do with real estate
than a center grid.
The page is divided in to regions.
Text, images, captions, and headlines
are placed in the same place
from page to page.
This helps the reader understand the content.
It provides a consistent road map
that would be convoluted with only
one symmetrical column.
The type of graphic variables
are the same with all grids.
Don't exceed the 52 character line length,
and work with compatible type sizes.
Maybe it's because I worked with metal type for a long time,
but I stick with real sizes like 8 or 9 pt.
Stay away from sizes like 8.235 pt.
Once you start using odd fractional sizes,
the relationships between sizes falls apart,
and the grid will seem awkward.
Since there are so may options with an asymmetrical grid,
maintain consistency with placement
once you've landed on a solution.
Use the grid to define where and how large
each type of information is.
Like symmetrical grids,
aymmetrical grids rely on
consistent proportions to work.
The grid locks all of the different elements in place.
The result is a book that can contain
complicated information,
but be accessible and clear.