Grids have a unique history in the world of design and typography.
As a designer you should be familiar with the design theory behind a few
important classic grids and their evolution.
So let's have a look at some structures that inform many grid proportions.
The golden ratio is found throughout nature.
We can see it in seashells, plant forms, and even the human body.
The Parthenon, many cathedrals and
the Great Pyramid of Giza all refer to the golden ratio.
It's also known as the golden section, the golden mean and the golden proportion.
The golden ratio is based on the ration between two
segments where the smaller segment is to
the larger segment as the larger segment is to the sum of the two segments.
Here's another look at how that ratio is expressed.
In the 1950s and 1960s, two important designers wrote definitive tracts on
grid proportions that stemmed from the golden ratio.
The most well known is Jan Tschichold,
who based his proportions on medieval manuscripts interpretation.
He's 1953 reference work, The Art of The Book, is still considered a Seminole work.
You can see how his grid system for book design looks in this simplified diagram.
Tricold's grid system adapts to the shape of the page.
Here is a contemporary example using his approach to grids.
The other name you should know is Josef Muller-Brockmann widely recognized as
the master of the Swiss grid system which was based on adaptable and
flexible molecules.
His 1961 book Grid Systems is as relevant today as it was when it
was first published.
Here is a contemporary book design based on Mueller-Brockmann's approach to grids.
Last, but certainly not least,
the 12 column grid used by Willy Fleckhaus at the German magazine Twen
starting in 1959 remains a classic that is still in wide use today.
The 12 column grid can divide into so many configurations.
It can be seen in many print and
screen based projects, because it provides flexibility.
12 columns divide evenly into six columns,
four columns, three columns and two columns.
Or into numerous uneven combinations like seven and five.
Or five, four and three.
Here are just a few examples of layouts using the twelve column Fleckhaus grid.
You can see how the 12 column grid can support a wide variety of visual material.
If you want to know more about these grid systems and others I have
included some additional resources in the exercise files of this course.
As a designer it's good to know how grids have evolved.
These grids can be a jumping off point for your own grids.
A good grid is one that works for your content and your specific project.
You can start with one of these classic grid systems,
find grid systems online, recreate your favorites or start from scratch.
It's up to you.
There are plenty of options.