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Making and Breaking the Grid: A Layout Design Workshop [Englisch] [Taschenbuch]

Timothy Samara
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Kurzbeschreibung

1. Mai 2005
For designers working in every medium, layout is arguable the most basic, and most important, element. Effective layout is essential to communication and enables the end user to not only be drawn in with an innovative design but to digest information easily.

Making and Breaking the Grid is a comprehensive layout design workshop that assumes that in order to effectively break the rules of grid-based design, one must first understand those rules and see them applies to real-world projects.

Text reveals top designers' work in process and rationale. Projects with similar characteristics are linked through a simple notational system that encourages exploration and comparison of structure ideas. Also included are historical overviews that summarize the development of layout concepts, both grid-based and non-grid based, in modern design practice.


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Making and Breaking the Grid: A Layout Design Workshop + Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (Design Briefs) + The Elements of Typographic Style: Version 4.0
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Produktinformation

  • Taschenbuch: 208 Seiten
  • Verlag: Rockport Publishers; Auflage: New edition (1. Mai 2005)
  • Sprache: Englisch
  • ISBN-10: 1592531253
  • ISBN-13: 978-1592531257
  • Größe und/oder Gewicht: 24,8 x 20,3 x 1,9 cm
  • Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 78.748 in Englische Bücher (Siehe Top 100 in Englische Bücher)

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Produktbeschreibungen

Synopsis

For designers working in every medium, layout is arguable the most basic and most important element. Effective layout is essential to communication and enables the end user to not only be drawn in with an innovative design but to digest information easily. Making and Breaking the Grid is a comprehensive layout design workshop that assumes that to effectively break the rules of grid-based design one must first understand those rules and see them applied to real-world projects. Text reveals top designers' work in process and rationale. Projects with similar characteristics are linked through a simple notational system that encourages exploration and comparison of structure ideas. Also included are historical overviews that summarise the development of layout concepts, both grid-based and non-grid based, in modern design practice.

Über den Autor und weitere Mitwirkende

Timothy Samara is a graphic designer and educator based in New York City where he teaches at the School of Visual Arts and Fashion Institute of Technology. He's also the author of The Typography Workbook (Rockport 2004). He lives in New York's Chelsea district.

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6 von 6 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen The big book of clarity and chaos 21. Juli 2007
Format:Taschenbuch
What a strange publication. Divided into two sections the first explaining grid formatting with actual printed material and the second revealing how to design print without a grid.

There seems a contradiction here because the grid, used intelligently, will allow a whole range of graphic options to be presented with clarity. Some of the print examples reproduced in the first section do show this with perhaps the most useful item a grid thumbnail for each piece, unfortunately I thought it was rather too small as it is the key to explaining each format. From past experience, designing magazines, I would start work on a grid by concentrating on the text type size because it is the least flexible of all the elements on the page. This point really wasn't made enough of in the book's chapter: Grid Basics.

The reproductions show a reasonable range of design solutions, essentially print though there is an example of corporate signage. Missing are magazines (consumer or trade) timetables and the like. Without a grid this type of printed matter really wouldn't exist.

The book's contradiction, to my mind, start with the second section: Grid Deconstructions and Non-Grid-Based Design Projects. The forty items shown seem to have a couple of common threads: their design is essentially arbitrary which makes them look very messy and frequently their typography (display and text) is used as a design element which makes the words unreadable. Their design is the opposite of grid stimulated creativity, in other words visual chaos.

Some of the examples are quite amazing. On page 180-181 twelve pages of a calendar are shown, totally useless as its impossible to see the days and dates.
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Amazon.com: 4.2 von 5 Sternen  72 Rezensionen
83 von 97 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen The big book of clarity and chaos 21. Juli 2007
Von Robin Benson - Veröffentlicht auf Amazon.com
Format:Taschenbuch
What a strange publication. Divided into two sections the first explaining grid formatting with actual printed material and the second revealing how to design print without a grid.

There seems a contradiction here because the grid, used intelligently, will allow a whole range of graphic options to be presented with clarity. Some of the print examples reproduced in the first section do show this with perhaps the most useful item a grid thumbnail for each piece, unfortunately I thought it was rather too small on each spread despite being the key to explaining each format. From past experience, designing magazines, I would start work on a grid by concentrating on the text type size because it is the least flexible of all the elements on the page. This point really wasn't made enough of in the book's chapter: Grid Basics.

The reproductions show a reasonable range of design solutions, essentially print though there is an example of corporate signage. Missing are magazines (consumer or trade) timetables and the like. Without a grid this type of printed matter really wouldn't exist.

The book's contradiction, to my mind, start with the second section: 'Grid Deconstructions and Non-Grid-Based Design Projects'. The forty items shown seem to have a couple of common threads: their design is essentially arbitrary which makes them look very messy and frequently their typography (display and text) is used as a design element which makes the words unreadable. Their design is the opposite of grid stimulated creativity, in other words visual chaos.

Some of the examples are quite amazing. On page 180-181 twelve pages of a calendar are shown, totally useless as its impossible to see the days and dates. Pages 188-189 show eight spreads from a design school journal showing irregular shaped blocks of text creating a sort of collage. I doubt anyone made the effort to read any of it. What is interesting about this second section material is that so much of it comes from educational establishments. In the real world all this designer whimsy would be rejected by the client on sight of the first dummy

'Making and Breaking the Grid' is well printed with 175dpi and the layout is adequate and for a book about grids you would have thought its own grid would have been included but it is strangely missing. Overall I felt that because the contents present two opposite design ideals the book's editorial concept is rather flawed.

From my experience there is only one book that really explains it all: Muller-Brockmann's Grid Systems in Graphic Design (go to the book's site to see some spreads I've uploaded) published in Switzerland and full of good solid, practical, hands-on information. This book's only purpose is creative clarity.
27 von 29 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen A great book on handling type and layout 11. Januar 2005
Von Don Eglinski - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
This is a developed look at handling type and page (surface) layout in a simple-yet-abstract way. Using grids and ideas presented in this book (with some practise), the learning designer can begin to utilise elements once thought as simple and static in ways which add dynamism to your layouts.
For a designer such as myself, a fan of Swiss and Bauhaus, simplicity, directness, Making and Breaking the Grid is a book full of idea and potential. Although not radical per se, it is a concise look at one of the most powerful aspects of communication design out there, in my opinion. Definitely worth a look.
23 von 26 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Extremely helpful 15. Dezember 2004
Von Andriy Konstantynov - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
My friend designer bought this book couple of months ago. Suddenly I noticed that I can't help myself looking into that book again and again. So, despite having it not far away, I decided to buy another instance for myself.

The book covers the grid theory and usage almost perfectly. If you're engaged in brochure or booklet design, you'll find this book full of ideas and extremely helpful, no matter whether you just start with it or you have been practicing brochure design for years.
54 von 68 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Maybe post-Lasik... 15. März 2006
Von Aaron in Portland - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I can't vouch for the content; it seems sound. I'm just trying to read the friggin' thing, which is quite a challenge because the body text is light grey and <9 point, in small columns. It's all very lovely from 2 feet away; the headings really stand out. The composition is subdued and attractive. You could frame some of the spreads if you wanted to. But to actually read it, well, pity those without 20-20, like myself.
25 von 30 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Written in annoying design speak 2. August 2010
Von morroja - Veröffentlicht auf Amazon.com
Format:Taschenbuch
A colleague of mine had this book and I decided to check it out. I've been a designer for over 15 years and have never been so bored reading about what I do for a living. The author chooses to abuse "design speak" rather than communicate simple design concepts.

Example: "In all of these compositions the designers have relied on their senses of placement, scale, movement, and color to intuitively orchestrate visual qualities within the respective formats."

If I ever say "intuitively orchestrate visual qualities" in a sentence you have permission to drag me into the street and beat my ass with a tire iron.

If you are interested in design and want a book that is written in an accessible way I suggest this: http://www.amazon.com/Systems-Graphic-Systeme-Visuele-Gestaltung/dp/3721201450
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