Structure and The Grid
“All the visual elements constitute what we generally call “form”, …The
way form is created, constructed or organized along with other forms is
often governed by a certain discipline which we call “structure.” — Wucius
Wong
Structure is inherent in the order of nature. Plants and animals are held
together by a self-sustaining structure. The planets, galaxies, atoms and
particles of atoms, are held together in a structure. Structure is the order
and arrangement of elements together and in relationship to one another,
which create and supports the whole. Design is the structuring of chaos.
“Every living organism — be it a plant, an animal, a human being, or a
social structure — is a relatively constant form… A plant, for example, by
the perpetual process of metabolism, draws upon sunlight, water, soil,
retaining only what it needs to keep its organism relatively stable. To
maintain the same constant structure, every living organism must achieve a
dynamic unity. The plastic image is no exception. Only by dynamic order can
it become a living form of human experience.” — Gyorgy Kepes
The optical field in which we work, the 2 dimensional surface, is referenced
in our mind by the external world and the forces in which we exist.
Therefore, when we look at a line, a point, or a plane on the two
dimensional surface, we inherently apply the laws of gravity, space, and
motion to these elements. This awareness must be taken into account when
designing. Linear perspective for instance, an illusion, reconstructs the
logic of 3-dimensional space by lines and planes that correspond to our
visual perception in reality. It creates an internal and referential logic
to the organization and space.
“For the artist, communication with nature remains the most essential
condition. The artist is human; himself nature; part of nature within
natural space.” — Paul Klee
To be in control of and aware of the perceptive properties of the visual
language in a design is essential in visual communication. A piece of design
is like a living organism. Within the confines of a given area, say an
8.5”x11” piece of paper, is placed elements such as headline, a subhead, a
picture, some body copy, and a logo. The piece is dependent on the
orchestration of the relationships between these elements. Their proximity,
contrast, alignment, shape, and so on, all contribute to their interaction.
They need to work in concert with one another as a whole. The concept of
“gestalt” is that the all the elements in an organized field work in a
unified whole, and cannot be derived from the summation of it’s component
parts. The structure and underlying architecture of a piece is what allows
elements to relate to one another. A piece of design is not unlike a house.
You start with the foundation first, and build the elements in relation to
one another.
Our minds are pattern-seeking. We learn language by pattern-seeking. We
first learn to hear and recognize words and sentences. The process repeated
over and over form synapses in our brain that eventually cause these
synapses to strengthen and speed the cognitive process. This ability to
learn language is instinctive according to some linguists. The ability to
read, although not instinctual, works the same way. When we read the letter
“A”, after much repetition, the speed of cognition becomes instantaneous. We
search and recognize patterns to comprehend language, to understand
information. When we look at a piece of design, we unconsciously attempt to
organize it and find patterns that allow us to understand it. As a designer
we must be mindful of the patterns, organization and hierarchy of a piece to
help our readers interpret the meaning and expression of a piece. We must
create a structure which supports each element in the design and creates the
whole.
“One cannot look at a static relationship long without losing interest…For
the image to remain a living organism, relationships in it must be
constantly changing. The eye and the mind must be fed with changing visual
relationships. Only this changing variety can provide the stimulation
necessary for holding attention upon the picture surface.” — Gyorgy Kepes
The grid is an excellent formal structure that can often help integrate
design elements together. A series of invisible horizontal and vertical
structural lines that, when used properly, can create a successful
underlying architecture for design elements. The elements can then be
perceived as a formed whole. When used improperly, grids can become a rigid
architecture that makes elements unrelated and boring. This system that has
been used even before Gutenberg.
Wikipedia encyclopedia writes: Even before printing was invented, simple
grids based on certain optimal proportions had been in use to help arrange
text on pages. One such system, known as the “Villard’s diagram”, was in use
at least since the mediaeval times. After World War II, a number of graphic
designers, including Max Bill, Emil Ruder, and Josef Müller-Brockmann,
influenced by the modernist ideas of Jan Tschichold, began to question the
relevance of the conventional grid systems of the time. They started to
devise a flexible system which is able to help the designer achieve
coherency in the pages, and the modern grid system was born. One of the
classics on the modern grid, Grid systems in graphic design by
Müller-Brockmann, was written at this time. Since the late 1980s, some
designers began to question what they perceived to be dogmatic use of grids,
even to the point of viewing consistency as a liability, advocating instead
free-form layout.
To understand the power of a grid begin looking at a lot of design that uses
it. You will see it everywhere. In magazines layouts, websites, newspapers,
and advertisements. Anywhere graphic information is, you will most likely
find it. It is an excellent way to bring lots of disparate elements
together. In fact, if you used nothing more than the grid to design for the
rest of your life, you would probably become a successful designer.
Read, “The Grid”, by Josef Müller-Brockmann as well as “Making and Breaking
the Grid”, by Timothy Samara.
Written by d/visible contributor Stephen Child,
Professor of Design, University of Southern California.
