The Complete Graphic Designer

The Grid

Confronting a blank page on which to design a layout

is a daily challenge for graphic designers, one that often

intimidates even the most seasoned professional. There

are hundreds, if not thousands, of design possibilities.

Complicating matters further, most projects have mul-

tiple pages or spreads that require continuity through-

out the document or publication. To meet this challenge

head on, designers should employ the use of grids.

The grid is an invisible framework of guides used to

construct a page layout or composition for a printed

piece. They give structure to the page and help ensure

consistency across the document. By having text line

up at the same point on every page, maintaining col-

umn widths, aligning images with text or other images,

and placing page numbers in the same spot throughout,

there is an orderly rationale for the design. Text and

images are not dropped haphazardly onto the page or

collaged together, but are placed within different grid

“modules” that guide the viewer’s eyes through the

document, which makes for easy comprehension.

Grids may span an entire spread and divide it evenly

into modules. Grids sometimes exist only within the

live area of a layout as defi ned by ample white space

or the margins around them. The size and number of

grid modules at the designer’s disposal are completely

arbitrary. The purpose of creating a grid is to give or-

der to the composition. The more grid modules used,

the greater the possibilities.

The basic structure of a layout grid

uses columns and rows to help

determine the placement of text

and images. Each unit within the

grid is a module and certain graphic

elements may take up more than

one module. Horizon lines establish

a reference point for the top-most

placement of body copy.

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The Complete Graphic Designer

Row

Column Gutter

Horizon Line

There are times when it is appro-

priate to break the rules of the grid

in design, but this must be well

thought out to be effective. In this

case, to illustrate the concept of

creative inspiration, or making the

“right brain heavier,” the designer

has rotated the text of the poster

to give the illusion that the right

side of each copy block is being

weighed down.

Design: Kinetic

Module

TB

Provision-Complete Graphic Designer

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Page Layout & Design

69

This fold out poster/brochure for

a chess tournament uses a simple

three-column grid with clearly

defi ned grid modules to organize

text and images. Large amounts of

white space and colored text help

guide the viewer’s eyes around the

page and disseminate information

about the event.

Design: CDT Design

Sometimes a composition will use

several grids layered on top of each

other. For these Nature Museum

posters, grids have been rotated

off axis to help accentuate and

highlight important information.

Design: Fauxpas Grafi k

TB

Provision-Complete Graphic Designer

CD109-59/4028

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proof

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The Complete Graphic Designer

70

These grid structures have been

created using the Fibonacci

sequence of numbers and the

golden ratio, both of which are

naturally occurring phenomenon.

The composition of this poster uses a

well-defi ned grid based on the golden

ratio. Each element, from the main

title of the piece to the supporting

copy, lines up with the grid lines.

Design: Shinnoske, Inc.

The golden ratio is not only found

in nature, but is used in classical

architecture as well. For this logo

for a small architecture fi rm,

the golden ratio has been used

to create a well-structured and

proportional mark.

Design: Ideo/Croatia

TB

Provision-Complete Graphic Designer

CD109-59/4028

1st

proof

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