CONTENTSThe BriefAn introduction into the project

Part I Modernism What is modernism? Bauhaus Josef Albers Internatialion Typographic Style Josef Muller-Brockman Helvetica De Stilj Theo Van Doesburg Russian Constructivism El Lissitsky Post-Modernism What is post- modernism? Neville Brody

Part II Cover Research Masthead Design Intial Ideas Final Idea and Colour Experimentation Cover Design Intial Ideas Final Idea and Colour Experimentation The Grid System Layout Thumbnails Grids Choosen Grid

I am to submit design proposals for a new graphic design publication entitled, New Visual Language. The first part

of the brief will focus on Form follows function - an exploration of Modernism and Post Modernism. Research into Modernism and Post Modernism, doing will generate a vast body of content that explores the origins and philosophy of the movements. My visual work should be an expression of the movement and not a pastiche. I should aim to convey the essential nature of the movement. I will need to understand the social, industrial and political concerns which influence both movements. For the next part of the brief I am to submit designs for a broad sheet, which should be based on my personal and original visual research from the year. My initial response to this brief was to create two separate publications, one will be the Research & Development booklet which will include the research on Modernism/Post Modernism and the other will be my broadsheets based on my personal work though out the year. I will gather up research on modernity and

post modernity, using plenty of source including notes from lectures that been attending throughout the year. I will look into various artist that produced work influence by these movements in design history as well as sub movements including Bauhaus, Dada And Cubism. This research will also inform my content of my board sheet. Another element that I will looking into in this publication will be research for part 2 of the brief (the broad sheet). These will include such things as layout techniques, for this i will research into existing magazines to see how they place elements on a page. Also i will be looking into modernist and post-modernist designers work of grids, this will influence the outcome of my final publication. I will also need to look into mast heads, this like the research into grid systems i will be looking at existing mast head in the commercial world. I will start by doing some initial sketches which one of will be brought though into development until a final is achieved. Finally research into cover pages will be conducted with insight into segments

of my own work as well modernist and post-modernist practitioners. Like the masthead research i will produce initial sketches which i will develop into a final idea. Doing this vast research into how magazine are composed will back up my final publication of my personal work broadsheets. I will then construct my final document from the finished layout, masthead and cover that was developed and refined in the Research document. This will give a professional presentation of my work that completed over the academic year.

Over the period of this project I hope to expand on my knowledge about modernity and post-modernity by vastly exploring into the two movements. Also my knowledge on layout and general professional publication design will dramatically improve over the course of this project.

“Perfection is achieved, not when there is nothing left to add, but when there is nothing left to remove.”

- Antonine de Staint-Exupery

PART I RESEARCHForm Follows Function - An Exploration Into Modernism & Post-Modernism

PART I RESEARCHForm Follows Function - An Exploration Into Modernism & Post-Modernism

what is modernism? Modernism is a term to describe

a range of art movements that appeared during the first half

of the 20th century and influenced the development of art, architecture and design. Modernism was a reaction to the decreasing standards of craftsmanship in the late 19th century and the decorative excess of Art Nouveau, many practitioners and critics recognised the need for a new approach that would enable the production of made artefacts for mass consumption. There was also a widespread Utopian belief that mechanisation and technology, if properly channelled, could produce a better, less divided society. Louis Sullivan, the American architect renowned for his Chicago skyscrapers, declared that ‘form follows function’ (1885); this became a credo for those progressive designers endeavouring to combine functionalism and rationalism. The art and design movements central to Modernism - Cubism, Futurism, Constructivism, De Stijl and Dada - had a profound influence on the practice of graphic design, typography and photography. Collectively, these movements advocated a stronger link between art and industrial production and encouraged the move towards bold geometric forms, the elimination of decoration and the use of asymmetric layouts. During the 1920s

and 30s leading practitioners, such as Laszlo Moholy-Nagy, El Lissitzky and Theo an Doesburg were active in many creative fields, refusing to acknowledge boundaries that restricted interaction between art and design. The bauhaus was a high point in Modernist thinking, with a number of its staff strongly identified with contemporary art movements. Graphic design at the Bauhaus was primarily the responsibility of Moholy-Nagy and Herbert bayer, with both extending their considerable influence to the US after the demise of the Bauhaus. The legacy of early Modernist debates is apparent in the rationalism associated with the International Typographic Style of post-war Switzerland. Also, the disciplined application of disparate design elements within the corporate identity of international organisations, particularly in America in the 1950s and 60s, can be traced to earlier debates on standardisation and the search for a universal visual language. Modernism’s decline into the superficiality of style, with an inherent inability to respond quickly to changing consumer needs, inevitably produced a critical reaction from a new generation of designers.

Bauhaus in German means ‘building house’, It is a German design school that attempted to create a new connection between art and industry by

opposing any separation between decorative and constructional techniques of design. Bauhaus was one of the most important educational enterprise because it saw the strengthening of the development of the modern movement in architecture. The origins and aspirations of the Bauhaus movement relate to many of the ideas pursued by the arts and crafts movement and the ‘deutscher werkbund’ (a German association of artists). Founded in Weimar in 1919, under the direction of the architect Walter Gropius, the Bauhaus produced a manifesto that declared, The complete building is the ultimate aim of all the visual arts.’ This overriding commitment to architecture encouraged the exploration of new ideas associated with de stijl and Russian constructivism.

Designers and craftsmen and women work the removal of conventional subject barriers; the staff included Johannes Itten, Paul Klee. Vasily Kandinsky and Laszlo Moholy-Nagy. Although graphic design was not specifically included in the curriculum at Weimar constituent elements such as photography and typoraphy were taught, most particularly by Moholy-Nagy. In the first publication of the Bauhaus press, Bauhaus in Weimar, 1919-23. Moholy-Nagy wrote “Typography is a tool of communication”. It must be communication in its most intense form. The must be on absolute clarity.’This commitment to a new typography was integral to the Modern Movement’s wish to explore different ways of living, particularly in relation to developing technologies. Following a period of intense political and economic pressure the Bauhaus was forced to move to Dessau in 1925 relocating the following year to a building designed by Gropius.

An insight into the influensual art school that operated in 1919 - 1933

Josef Albers was born in Bottrop, Westphalia, Germany in 1888. He studied to become a teacher in Büren, and went on to teach children in primary

schools around Westphalia from 1908-1913. At this time, he taught “everything — reading, writing and mathematics”. During this period he realised that he wanted to focus his teaching skills on the subject art, and enrolled in Berlin’s Königliche Kunstschule in 1913. He qualified as an art teacher two years later. Over the next few years whilst teaching art, Albers developed as a figurative artist and printmaker. He expanded his studies by going part-time to the Kunstgewerbeschule in Essen where he studied lithography and then at The Royal Bavarian Art Academy in Munich, where he studied drawing.

In 1920, Albers enrolled at the prestigious Weimar Bauhaus school, which concentrated on the modern integration of architecture, fine art, and craft. Here, Albers concentrated on glass painting and took a preliminary course under the direction of Johannes Itten. In 1922, he completed his preliminary training, was appointed a Bauhausgeselle (‘journeyman’) at the Bauhaus and was put in charge of the Bauhaus glass

“Anyone who predicts the effect of colours proves that he has no experience with colour.” - Josef Albers

workshop. 1922 was a memorable year for Albers in another way for it was the year he met Anneliese ‘Anni’ Fleischmann, his future wife. In 1923, after Itten left the Bauhaus, Albers began to teach the Vorkurs, the preliminary design course. Josef and Anni married on May 9 1925. Later that year when the Bauhaus moved to Dessau, Albers moved with it.

After Nazi regime harassment in 1933 as part of its campaign to suppress “degenerate art”, Albers joined the remaining faculty members in officially closing the Bauhaus. Soon after, Albers was invited to teach at the newly-founded Black Mountain College near Asheville in North Carolina, USA. Albers emigrated in November of that year, joining the Black Mountain faculty, where he headed the art department and ran the painting program until 1949. Josef and Anni became United States citizens in 1939. Black Mountain College was a liberal arts college which attracted artists from around the world through its reputation as a radical artistic community. Using his experience from the Bauhaus school, he was able to enlighten his students to modern European artistic concepts. During this time, Albers continued successfully to develop his own art with more

than twenty solo shows in American galleries. Albers resigned from Black Mountain in 1949, spending some time teaching in Mexico University. In the Autumn of 1950, he accepted an invitation to head the Department of Design at Yale University and Josef and his wife relocated to New Haven, Connecticut. While lecturing at Yale, Albers began his most famous body of work, the series “Homage to the Square”, which would become a body of more than a thousand works executed over a period of twenty-five years. The series was based on a mathematically determined format of several squares, which appear either to be overlapping or to be nested within one another. This geometric abstraction was Albers’ brilliant and world-famous template for exploring the subjective experience of colour.

INTERNATIONAL TYPOGRAPHIC STYLE

INTERNATIONAL TYPOGRAPHIC STYLEInternational Typographic Style Rational graphic

style, also known as Swiss Style, which developed in Switzerland after the Second World WarBuilding

on innovations associated with constructivism, de stijl, the bauhaus and the new typography of the 1930s, the International Typographic Style sought to present complex information in a structured and unified manner.

Ernst Keller, Theo Ballmer, Max bill and Max huber were major influences on the early evolution of the style. Characterised by a reliance on the typographic grid, the style used sans serif typeface designs (e.g. helvetica), narrow text columns with ranged-left setting, and photographs rather than hand-drawn illustrations. The international popularity of the style extended throughout the 1960s and 70s with major figures such as Emil ruder, Armin hofmann and Josef Muller-Brockmann refining it to a new level of sophistication.

The Kunstgewerbeschulen in Zurich and Basle have been significant in introducing succeeding generations of designers to an objective and systematic approach to problem solving. The publication of the Swiss journal new graphic design in 1959 provided an influential platform for leading exponents of the style to disseminate their philosophy. During the late 1970s the International Typographic Style became increasingly identified with a corporate style of design, particularly in the US.

This visual predictability has since been strongly challenged by a number of Swiss and American designers, with Wolfgang Weingart in Basle, Odermatt & Tissi in Zurich, and April Greiman in California taking a lead. The vitality and freshness associated with these innovations of post-modernism suggest that modified and revised versions of the International Typographic Style will continue to be influential in the future.

Joseph Mueller-Brockman’s poster for thew Zürich Museum of Arts and Crafts Exhibition Poster, 1960.

Josef Müller-Brockman

Muller-Brockmann, Josef (1914-96) Swiss graphic designer, typographer and teacher. Born Josef Mario Miiller, he changed his name to Muller-Brockmann in 1942 and again to Muller-Yoshikawa

in 1967. Influential practitioner and writer on the international typographic style. Studied architecture, design and history of art at both the University and Kunstgewerbeschule

in Zurich. Apprenticed to the designer and advertising consultant Walter Diggelmann, Zurich, 1934-36. In 1936 he established a studio in Zurich, specialising in graphics,

exhibitions and photography. He designed for the 1939 Swiss National Exhibition in Zurich. From 1951 designer of celebrated concert posters for the Tonhalle-

Gesellschaft, Zurich. These works, inspired by constructivism, achieve a mathematical harmony of formal elements that equates with music. An

advocate of socially responsible design, he created powerful public health and safety posters, often employing a photomontage technique.

In 1958 he became a founder and co-editor of New Graphic Design (Neue Grafik), a trilingual journal that spread the

Swiss design ethic internationally. Appointed professor of graphic design at the Kunstgewerbeschule, Zurich

(1957-60), he also lectured at the Ulm Hochschule Für Gestaltung, 1963, and at universities in

Japan and America. In 1966 he was appointed European design consultant for IBM.

Responsible for the signage system for Zurichvairport and, during the late

1970s, the corporate image for Swiss Federal Railways (SBB).

Josef Müller-Brockman

Helvetica Ubiquitous sans serif typeface designed Max Miedinger and Edouard Hoffman and issued by the Swiss type foundry Haas in 1957. Based on Denz Grotesque, an alphabet popular at the turnof the century, it was originally called Haas Grotesque New Haas Grotesque, but was retitled Helvetica after release in Germany in the early

1960s. Its legible, clear-cut characters have ensured its continuing international popularity. Helvetica (2007), a documentary film directed by Gary Hustwit (and featuring, among others, Neville Brody, Michael Bierut

and Wim Crouwel) reflects on the impact this iconic typeface has had on typography, graphic design and popular culture.

DESTIJL

DESTIJL

De Stijl is a dutch art movement as well as being a title for a magazine that originated from the painter

and design Thèo Van Doesburg back in 1917. The movement had an impact on the international avant-garde and influenced this though out the 1920, this is why the movement was committed to a unity of the arts. Attracting artists, designers and architects, the movement sought an abstract objectivity through the use of the rectangle and a reliance on primary colours in association with black, white and grey. Other leading names associated with De Stijl were the painter Piet Mondrian, the architect and furniture

designer Gerrit Rietveld, Bart Van Der Leck, Vilmos Huszar and Piet Zwart. The graphic and typographic design of De Stijl was very disciplined, employing forms of sans serif typeface, with straight lines, tight rectangular blocks, and innovative asymmetrical layouts. The magazine became increasingly purist, its typographic conventions providing a foretaste of the international typographic style. Van Doesburg introduced De Stijl ideas to bauhaus students and staff when he lived in Weimar from 1921 to 1923; the movement and magazine effectively came to an end in 1931 with his premature death.

Theo van Doesburg was a Dutch painter, designer and art critic acknowledged as the main creative force behind the De Stijl movement. Thèo Van Doesburg also edited the didactic De Stijl magazine from 1917 until his death. In 1916

Van Doesburg participated in the foundation of the artists’ associations De Anderen and De Sphinx. He met other like-minded artists, and even such architects as J. J. P. Oud. In August 1916 Oud commissioned him to design a stained-glass window. This commission was followed by numerous others in stained glass. He produced series of drawings from a single subject where the heavy, emphatic outline was progressively ‘essentialised’ to a minimum of horizontal and vertical lines bounding coloured planes. This technique of painterly composition lent itself admirably to the creation of stained-glass windows and saw itself as the symbol of his creative movement De Stilj. From 1921 to 1923 he lived in Weimar, Germany, using his home as a meeting place to spread the De Stijl philosophy to staff and students of the Weimer Bauhaus. In 1922 he convened an International Congress of Constructivists and Dadaists in Weimar. Published a Manifesto of Art Concret in 1930, advocating an art of absolute purity and simplicity.

Van Doesburg painted his

first ‘Counter-Composition’

in 1924, using a diagonal grid

to create a dynamic tension

between the composition and

the rectilinear format of the

canvas.

CONSTRUCTISMRUSSIAN EL

LISSITZKY

Constructivism Radical Russian art movement that developed shortly before the Bolshevik

Revolution in 1917. In an attempt to redefine the role of the artist and contribute to the ‘construction’ of a new communist state, a group of artists rejected the ‘art for art’s sake’ concept underpinning suprematism and directed their energies to socially useful activities such as industrial, graphic and theatre design, photography and film. Led by Vladimir Tatlin (1885-1953), Alexander Rodchenko and El lissitzky, the movement’s non-figurative visual vocabulary relied on brightly coloured shapes, often made from materials such as glass, sheet

metal and cardboard. Committed to taking their work into the streets, Rodchenko and Lissitzky embraced collage, photography, photomontage, bold lettering design and new printing techniques. The expressive quality of Constructivist typography with its reliance on sans serif faces gave the revolution a potent identity.Constructivist ideas had a profound influence on the educational ethos of the bauhaus, subsequently extending across Europe through publications, exhibitions and exchange visits. During the early 1920s the Soviet government became increasingly concerned about the movement, stressing the need for a pictorial art in the service of the State.

CONSTRUCTISMRUSSIAN EL

LISSITZKYEl Lissitzky was a Russian designer, painter,

architect and photographer, born in Smolensk province. Studied architecture at Darmstadt

Technische Hochschule, Germany, 1909-14, returning to Moscow in 1914 to pursue a career in architecture. In 1919 Marc Chagall, the principal of the Vitebsk School of Fine Arts, appointed Lissitzky to teach architecture and graphic arts. While there hemet the painter Kasimir Malevich, creator of suprematism. A passionate supporter of the Russian Revolution, Lissitzky brought the philosophy of constructivism to industrial and graphic design. Along with contemporaries such as Alexander Rodchenko and Vladimir Tatlin, he aspired to an accessible art for the proletariat. His graphic design uncompromisingly challenged typographic convention, with dynamic asymmetric layouts, changes of scale, and white space used as a positive formal element. In 1919 he designed the famous Soviet propaganda poster Beat

the Whites with the Red Wedge and also created his first ‘Proun’, a series of Constructivist images that combined architectural concepts with painting; the term was taken from the Russian words meaning Project for Affirmation of the New. Moving to Berlin in 1921, he exploited the design opportunities presented by excellent printing facilities. Following contact with Laszio Moholy-Nagy and Théo Van Doesburg, his work appeared in de stijl magazine. Committed to the propagation of his ideals, he organised the Constructivist Congress in 1922. In the same year he completed Of Two Squares, a children’s book, and with Llya Ehrenburg created the Soviet government periodical Vcshdi (Object). In 1923 he designed for the voice, a book of poems by Mayakovsky. A victim of tuberculosis. Ussitzky moved to Switzerland in 1924. Jointly designed and edited a double issue of MERZ with Kurt Schwitters (1924).

Post-modernism Design movement that evolved in the mid-1960s as a critical response to the dominance, and perceived sterility of modernism. Mythologies, written by Roland Barthes, first published in English in 1972, had a profound influence on

academics and design theorists. His analysis of popular culture and critique of everyday objects encouraged designers to question the previous certainties about content, meaning and functionality, and to explore irony, style and pastiche. Unconstrained by dogma, post-modern designers rejected modernism’s obsession with progress and challenged the fundamental tenets of order and discipline espoused by the bauhaus and its followers. Underpinning the rational international typographic style in Switzerland was the belief that form follows function, but by the late 1960s a new generation of Swiss graphic designers sought to challenge the limitations of this increasingly predictable style. At the forefront were Odermatt & Tissi in Zurich and Wolfgang Weingart in Basle. From the early 1970s Weingart’s influence as a teacher spread to the US, with his rejection of ‘dogmatic’ typographers such as Tschichold, ruder and gerstner attracting acclaim and controversy in equal measure. His eclectic, anarchic approach - also known as new wave - with legibility often sacrificed to expression, was promulgated in the US by ex-Basle students

such as Daniel Friedman, April Greiman and Inge Druckrey. The new-found emphasis on intuition and the potency of typography was pursued in Britain by Neville Brody, in Holland by Studio Dumbar and in Spain by Javier Mariscal and Peret. Although latterly applied more as a ‘style’ than an alternative to mainstream practice, post-modernism provides a pointer to future graphic design developments. By extending the range of historical source material available to designers and through its appropriation of the new technologies, its influence has been liberating and positive. The free circulation of information on the Internet

and the development of social networking has profoundly changed how people interact. This revolution in communication has compelled designers also to move freely across disciplines, to ignore the traditional demarcation between art and design, and to embrace the opportunities created by the increasingly fluid exchanges between text, image, film and music.

Neville Brody is a British art director, graphic designer and typographer. Trained

at the London College of Printing, 1976-79. Early work as record cover designer at Al McDowell’s practice Rocking Russian and for the independent labels Stiff Records and Fetish Records. From 1981 -86 art editor of British style magazine The Face, for which he designed the geometric Typeface Six (1986). His post-modernism, in the aftermath of punk, challenged most of the conventions in editorial design. Designed and manipulated many images and varieties of typeface into new, often illegible, shapes and proportions. Cover designer for the London weekly guide City Limits 1983-87. In 1987 designed Arena (a lifestyle magazine for men) in a distinctly neutral, less frenetic typographic style. Formed in the late 1980s, his London design practice attracts corporate and fashion projects from abroad. One of the new generation of designers to embrace the creative potential of the apple macintosh, he has also designed three fonts for linotype. His ideas are outlined in The Graphic Language of Neville Brody (1988), and The Graphic Language of Neville Brody 2 (1994). An exhibition of his work was held at the Victoria

& Albert Museum, London, 1988. Partner with Erik Spiekermann in FontWorks, a company specialising in the supply of typefaces for computerised PostScript printers. His London practice, Research Studios (established 1994) has expanded with offices in Paris, Barcelona and Tokyo. Despite an international reputation, Brody attracted few commissions from UK businesses from around 1999 to 2005. During this time he worked for International clients such as Kenzo and Issey Miyake. He also produced an on-air package for music programme HITS, commissioned by a French television station.

“Design is more than just a few tricks to the eye. It’s a few tricks to the brain.” -Neville Brody

PART II PUBLICATIONThe Research & Development Of The Broadsheet Document

PART II PUBLICATIONThe Research & Development Of The Broadsheet Document

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As you can see magazine covers come in many styles and designs, here you can see covers from influential magazines such a NME, Design + Culture, GQ and RollingStone. I like these designs for the these covers as they all use heavy visuals in the terms of photography and large typographic mastheads, i will use these examples i have collected as inspiration on the layout of my cover of my finial publication.

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On the page to the left you can see multiple sketches of ideas for the masthead for the final publication. My initial ideas mostly float around the use of the aviation of the title of the publication ‘NVL’ as this gives the masthead more of a singular logo style identity. However the two sketches (one in the blue circle and blue rounded rectangle) do not appeal to me after I brought them forward and produced them on Illustrator. I later decided to discard these ideas. I like the idea which involves the abstract typeface but how I can see this being misinterpreted in the future. The idea incorporating the 3D typeface is bold and stands out but i feel like it will be hard to implement it into a front cover for the magazine. This also stands for the overlapping colours idea. Despite all these ideas and development I think the best option will be a simple typographic masthead. I chosen to bring the 3D typeface idea forward to see how it would look in different colours and how it would look on a cover. M

AST

HEA

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NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

Here is the choosen masthead from my design, i have placed them in many different colours as can be seen on this page. In my opinion and the opinion of my peers the favoured colour would be white, this is because its ability to stand out against most backgrounds. However despite all this I think im best with a simple typo graphic masthead.

CO

VER

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VISUAL LANGUAGE VISUAL LANGUAGE VISUAL LANGUAGE VISUAL LANGUAGE

VISUAL LANGUAGE VISUAL LANGUAGE

Here I sketched out some thumbnails for cover ideas, i want to incorporate one of my three project that will be presented inside the publication, Street Graphic, Cabinet of Curiosity and the Earth artefact. As I looked back at my three projects I realised that my typography project and my Cabinet of Curiosity were fit for the professional magazine cover in my eyes. I mocked designs up for using one character for my typeface on the front cover with the masthead above it. I also used the illustrations created in the earth artefact project. I didn’t like the design of these as i was look for a more simplistic approach to the publication, this lead me to create a masthead which was composed from my typeface. I would use the is as the complete cover to achieve a simplistic and clean look. After i chose the cover, i experimented with the colours, like i did with the masthead. As i went though the colours i developed the idea further by adding a banner the stretched across the remaining page and around to the back page, this is to break up the dull off black background. The colour that i have chosen to do the front cover in is a light green.

VISUAL LANGUAGE

VISUAL LANGUAGE

Here is the final design for the front cover for my broadsheet publication, i feel like i have achieved what i set out to do which was to construct a clean and simple design for the main visual for my magazine.

LAYO

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Here I experimented with different layouts for the title, content and content pages. I made sure that I wasn’t afraid to use white space in my layout as I would like to achieve a clean and simplistic look to my publication. I also like the design of using spreads where the images go over to the next page with neat justified text place using a grid system. I will be sure to use both paragraph styles and character style functions of indesign to keep a consistent text format across the whole publication. I’m going to be doing some research over the rest of this research document on grid system that i can use and pick out one to use in my final publication. All this information and exploration in grids and layout systems will dramatically increase the professional look of my end publication.

LAYO

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In the symmetrical grid the verso page will be a true mirror image of the recto page. This gives two equal inner and outer margins. To accommodate marginalia the outer margins are proportionally larger. This classic layout, pioneered by German typographer Jan Tschicboid (1902-1974), is based on a page size with proportions of 2:3. The simplicity of this page is created by the spatial relationships that ‘contain’ TH

E G

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The Symmetrical Grid

THE

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The Symmetrical Grid

Single-column gridA single column of text such as this can be hard to read if

the character count (measure) becomes too great, as the eye

finds it difficult to locate the next line. Generally, no more

than 60 characters per line are recommended. This example has

an allocated space at the foot of the page for expanded notes.

Two-column gridIn this example the wider

column is used for the body text and is supported by the

second column, which contains instructional information. The

distinction between the two variants of copy is increased by the selection of condensed type

for the instructions, and bold and Roman for the body text and titles

respectively. Five-column grid a five-column grid can be used.

Symmetrical two-column gridThis symmetrical two-columngrid provides a balanced andunbroken read, though the lackof variation may become stifling.In this instance any additionalinformation or captions wouldbe inserted at the end of thetext as footnotes.

the text block in harmonious proportions. The other important factor about this grid is that it is dependant upon proportions rather than measurements. Symmetrical grids aim to organise information and provide a sense of balance across a double-page spread. The structure of the recto page is reflected on the verso page in terms of column placement and widths.

This is a symmetrical module- or field-based grid formed by an array of evenly spaced squares. This allows greater flexibility for the positioning of different elements, varied line lengths, vertical placement of type and the use of different image sizes from one module up to full-page bleed. Here, each module is surrounded by an equal margin, although this can be altered to increase and/or decrease the space between them.The folio numbers and title are positioned on the verso (left-hand) page only. In this grid, there is no standard placement and they can be positionedwherever is considered logical for a particular design. Images can be positioned directly inside a single module or group of modules to occupy a single module, a group of modules, with or without including the margin that separates them.

In the symmetrical grid the verso page will be a true mirror image of the recto page. This gives two equal inner and outer margins. To accommodate marginalia the outer margins are proportionally larger. This classic layout, pioneered by German typographer Jan Tschicboid (1902-1974). This is what grid i will be using in my final publication as i feel that it is best suited top my needs and is flexible in terms of layout of my content that will fill my magazine.

Symmetrical Module-BasedGrid

THE

GR

ID

Magnis conse plistem doluptibus auda volo voluptaspere con corem am ut ut ipsae aliquia dolorer natur, et eris alia consedipsam quae eum, sequodit liqui berempo ruptatur mosant, sitatur erferum illiscia sumquunti debitiunt rero ea simillorupta vellaut acest, quodi a dolesto vello moloris etur, sim ilicia que sedit aliquodi corro impora vero te simpore sapid ma sum inis vel et arum fugiae omnis ea volut quiatium est, quia ducil etur rerovidusae. Ut acestiis acipsant, utatatia delissitet re nisitatinus sequae. Neque cor rem quatquis ilitem eum ressit qui temquamusam volore maio omnimagnim expedis et quod quia niscimu sdant.Optatem velibus nonseque porunti cus cusapis rempore, quas ma nim utectum ut restorem eost, quunt.

Ri re ventis etur, ommolendant quiatquam, consequod ullit, videlec uscias milliciam qui aciunda nducidebita con natur aceperrore andus, suntem qui cum autate velitatquam ut dolorem porehendis arionse nieniae. Nequiatur? Um ventius amusciis non rectiisque doluptas expe doluptatis est landitate sitibus, ipici dis re voluptam fugia doluptate nis nulparunt am licillo rumenis unt exces magnihil inusam nias voluptur? Ed earupta quistrum adiorio venecti nia volor magnihici corum fugit, sit entustota conseni milibus, optam aut quat que cone cor sit quiaspere nimus, quis et odi dest que asperci usandit ibusant molore ium essum aut porioss inullabo. Et odis simenimet offictem. Et et exeriatiunto dissum eario. Ut et imporiaeped ut ea volo commos ped quam lignis aborro vitame vention consedi tatatur?Us sequam, nonesedit harchil icitam unt pedion nonsedi ad ma sim quia videmquat est, sum fugit a con ni sam dit que sunti ant.Estiaeped ma quam rem aut maior auditat usciis et quis nis es verchil ipsam aut aut doluptatios alit facest rem eat qui vel molorerit pore, to dundenda none natur si volorecat in eumque comnis noneceaque miliqui audit, estibusam dolo cuptae ne optatur?Nis volorum et aut optaspidit, ullamus ent, et quiderum eos es maxim faccusa pedio. Lupissit andi nesseque de doluptat fugit undist, iuntist a cum, quia ditatures aut in net ulpa que venisci iunt poritiustor sitas di ut etur?

Rum aut inum qui testiandit pe volum ipid qui sequiatis eruntinimi, simodit, qui ducipsam facesenis iumquam vel milit, con neceri quo ipsunti odit quatur rerchicid ullam quas doluptatum nulla pe ne vendus none pero bla deliciunt voluptis repuda cullabore post

Magnis conse plistem doluptibus auda volo voluptaspere con corem am ut ut ipsae aliquia dolorer natur, et eris alia consedipsam quae eum, sequodit liqui berempo ruptatur mosant, sitatur erferum illiscia sumquunti debitiunt rero ea simillorupta vellaut acest, quodi a dolesto vello moloris etur, sim ilicia que sedit aliquodi corro impora vero te simpore sapid ma sum inis vel et arum fugiae omnis ea volut quiatium est, quia ducil etur rerovidusae. Ut acestiis acipsant, utatatia delissitet re nisitatinus sequae. Neque cor rem quatquis ilitem eum ressit qui temquamusam volore maio omnimagnim expedis et quod quia niscimu sdant.Optatem velibus nonseque porunti cus cusapis rempore, quas ma nim utectum ut restorem eost, quunt. Ri re ventis etur, ommolendant quiatquam, consequod ullit, videlec uscias milliciam qui aciunda nducidebita con natur aceperrore andus, suntem qui cum autate velitatquam ut dolorem porehendis arionse nieniae. Nequiatur? Um ventius amusciis non rectiisque doluptas expe doluptatis est landitate sitibus, ipici dis re voluptam fugia doluptate nis nulparunt am licillo rumenis unt exces magnihil inusam nias voluptur? Ed earupta quistrum adiorio venecti nia volor magnihici corum fugit, sit entustota conseni milibus, optam aut quat que cone

Magnis conse plistem doluptibus auda volo voluptaspere con corem am ut ut ipsae aliquia dolorer natur, et eris alia consedipsam quae eum, sequodit liqui berempo ruptatur mosant, sitatur erferum illiscia sumquunti debitiunt rero ea simillorupta vellaut acest, quodi a dolesto vello moloris etur, sim ilicia que sedit aliquodi corro impora vero te simpore sapid ma sum inis vel et arum fugiae omnis ea volut quiatium est, quia ducil etur rerovidusae. Ut acestiis acipsant, utatatia delissitet re nisitatinus sequae. Neque cor rem quatquis ilitem eum ressit qui temquamusam volore maio omnimagnim expedis et quod quia niscimu sdant.Optatem velibus nonseque porunti cus cusapis rempore, quas ma nim utectum ut restorem eost, quunt. Ri re ventis etur, ommolendant quiatquam, consequod ullit, videlec uscias milliciam qui aciunda

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