- Too much of the same thing can be dull.
I'm happy eating the same oatmeal for breakfast everyday,
but for every meal, probably not.
Throwing in something unexpected that may break
the rules of the grid can add energy into a publication.
If I follow the logic that a basic proportional
system guides my grid, I can abandon the traditional
equal column, gutter, and hang line structure.
The results can be exciting and dynamic, but you've detoured
off the straight line freeway into the unknown.
Be adventurous.
Let's start with a golden rectangle as a proportion.
I create a grid with multiples of the same form.
I can make larger areas for content and small areas.
As long as they're a connection to the golden rectangle,
this will seem consistent, or I might use a square
system on a 45 degree angle.
I can place my elements where ever I want
and at whatever scale I think works with the hierarchy.
As long as I stay within the square structure,
the layout will appear harmonious.
In these instances, consistency with typography is critical.
If the grid is unexpected and fluid, I try to limit
the typographic fireworks by working
with one type face at a time.
The danger of adding 15 fonts and an alternative
or looser grid format is a design that might feel,
not dynamic and exciting, but just a mess.
When working with an unexpected
or variable grid format, the content is king.
Simply moving it around weirdly won't work.
Make sure you are still creating hierarchy
with the layout and scale.
Of course, every rule is meant to be broken.
There are some designers who have mastered
the combination of a deconstructed
grid and typographic circus, but, like mixing plaids,
patterns, and stripes in your clothing, it takes practice.