- Using grids and structure in design isn't easy.
It is a juggling act of content, structure, and form.
It isn't as simple as one grid for all projects.
Each situation is unique.
In this course, we've covered a huge range of scenarios.
We looked at the structure of a grid
and different approaches using proportion.
The golden section and square proportions
lend themselves perfectly to a grid format.
Symmetrical grid structures can be dynamic and classic,
but are challenging to keep from becoming static.
Asymmetrical grids offer the opportunity
to delineate a clear hierarchy
and have flexibility with the content.
Like any design project,
the most important component is the message.
That message will lead to personality and attitude.
From that, you can determine whether a grid
should follow a more classic approach
or one that is more adventurous.
We looked at book design
and how to design a grid
for different types of content.
Book design has a long history
going back 500 years,
so there are many long-standing rules.
But I give you permission
to go ahead and break some of these,
as long as you stick with your grid.
Publications and magazines
are more complex creatures
and often require two or more grid systems.
But again, the grid is there to provide structure
and help the reader find the right information.
Posters, websites, and environmental design
all work best with an underlying grid.
The structure creates order
that allows you the freedom
to play with the scale and elements.
Without the grid, the pieces are simply
disparate elements floating in space.
The beauty of a grid is that
you are in charge.
If the layout doesn't work,
you can change the grid.
It's not made of metal I-beams.
It's just pixels on a screen
or ink on a page.
You've probably come to the conclusion
that grids are kind of like a religion to designers.
There is something magic about the way they work.
When you take all the pieces of a project
and add a grid,
everything snaps into place.