Wednesday, 8 May 2013

discussion point 1: elke

The use of visual hierarchy and the grid as a system in creating good typographic design have adapted to modern graphic design, whilst maintaining the principles that are present as early as letterpress.
This is evident because these elements have had a great influence on how we as an audience read and interpret text today. For example, the direction in which our eye reads columns of text and what we interpret to be the headline. This means just some elements of visual hierarchy and grids will always have to remain the same.

However, the emergence of digital technologies promotes an environment where “breaking the rules” is possible and can occur without much disruption to the flow of a grid layout. This was not a technique that was often employed with the constraints, and traditions prevalent in letterpress.

Yen magazine is a visually focused publication that often needs to adapt its grid layout to accommodate its images.  It will always use the same column widths when doing this to keep the changes uniform with the other grid layouts.  Rather than altering the image, it will alter the grid slightly to maintain the integrity and power of image. The publication uses the grid system to maintain visual heirachy, where the important information is at the top of the column. 

This creates similar outcomes many newspapers up to the 1970s. However, in these earlier publications, the grid was almost always the prevailing aspect, and images and type were set to adhere to their guidelines. This can be seen in the Granite City Press Record.

Tschichold, J. (1995) The New Typography (R. McLean, Trans). Berekley: University of California Press. (Original work published 1928)

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