#gridstructure

Ok so mathematically constructed geometry serifs are both perfect and a mess for someone like me! I’m such a perfectionist so I love the intricacy in each stroke in the composition in each letter, however, if I were to try this myself, I would be sitting there for hours on end.

Nonetheless, I tried to make a K with the mathematical grid structure of serifs. Despite it being a bit wonky and not proportioned properly, it was a fun little activity to do. 

I also looked into other items that have a grid structure and its importance. For design and photography related compositions, it is evident that a grid structure is a tool for organising all of the elements to the piece, such as text, image, space as well as providing a hierarchy. This is in contrast to grids in cities, which allows for many liveable structural benefits, such as walkable street networks and remaining sustainable in doing the most with the least amount of land. 

IMAGE SOURCES:

https://www.italianways.com/wp-content/uploads/2014/01/IW_Luca-Pacioli_Alfabeto_072.jpg

https://img.fixthephoto.com/blog/UserFiles/Image/111/Image/What-is-Rule-of-thirds-in-Photography-640.jpg

https://think360studio-media.s3.ap-south-1.amazonaws.com/blog/Icon-Grid.jpg

INFORMATION:

THERE WAS SO MUCH IN THIS LECTURE! First of all, I didn’t realise how *subtly* mathematics has managed to make its way into design, communication design specifically. It was a subject I always neglected in high school, yet am relying on it to help make my project documents look precise and establish a hierarchy.

So here we are again, looking at Jan Tschichold’s mathematical proportions, instead now gaining an understanding of how this application can create layout in order to establish superiority and a focal point(s). I researched more into his manual for designers, The New Typography and the impact it’s had on grid structure for contemporary designers today. His book was split into two parts but still organised around these principles:

Asymmetric balance of elements

Content designed by hierarchy

Intentional white space utilisation

Sans serif typography

The first part of this book delves into the notion that photography is the preferred method for illustration, supported with Sans serif as being the only face that compliments such a medium. I found this very interesting to note as being a realist, I like to see things for what they are instead of fabricated, filtered compositions which is why I have always had such a passion for photography - there is only limited manipulation that can be achieved. 

The second part explores the practical matters of type layouts for different proportions. Tschichold referred to the space used by the type but also the space that isn’t used and how to bring in empty space to balancing the two elements on a page. 

“empty space is part of design”

On one page of The New Typography that Andy showed in the lecture, displays a red cross over a two page spread (yes, the red cross was printed onto the page) further showing Tschichold’s urgency towards implementing modernist design principles.

Since commencing my study at RMIT, I have learnt to appreciate negative space more and have neglected previous habits of adding borders and filling in every component to my composition. I’m finally starting to follow the less is more rule. 

One other thing that Andy and Karen touched on was reflecting on the ancient modes of inscription compared to contemporary. They referred back to an earlier lecture on how little structure there is as well as limited space on ancient tablets to draw an image, as opposed to contemporary design. Capital letters and emojis now dictate our messages and the meanings we wish to generate.

SOURCES: http://www.designhistory.org/Avant_Garde_pages/DieNeueType.html

IMAGES: https://gurcanartdesignandcontext2.files.wordpress.com/2011/01/jan-tschichold-3.jpg