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Making and Breaking the Grid: A Graphic Design Layout Workshop Paperback – May 1 2005


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Making and Breaking the Grid: A Graphic Design Layout Workshop + Thinking With Type 2nd Revised and Expanded Edition: A Critical Guide for Designers, Writers, Editors, & Students + Logo Design Love: A Guide to Creating Iconic Brand Identities
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Product Details

  • Paperback: 208 pages
  • Publisher: Rockport Publishers; New edition edition (May 1 2005)
  • Language: English
  • ISBN-10: 1592531253
  • ISBN-13: 978-1592531257
  • Product Dimensions: 24.8 x 20.3 x 1.9 cm
  • Shipping Weight: 907 g
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: #8,569 in Books (See Top 100 in Books)


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3.8 out of 5 stars
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8 of 8 people found the following review helpful By Robin Benson on July 21 2007
Format: Paperback
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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1 of 1 people found the following review helpful By Andrew Simpson on April 1 2012
Format: Paperback Verified Purchase
I'm bet none of the other reviewers have actually read this book. I'll further bet no one has with its turgid prose and small low contrast type, usually set against a colored background. Here's a small example, selected purely at random, page 112: "Collage was another new visual analogy that built on the reenvisioning of form begun in Cubism, which juxtaposed found images in dynamic relationships where chance could play a role in the perception of meaning." If you're the sort than enjoys sifting meaning from tangles like that, you'll find it here in most every sentence. The other seven billion of us will want clarity. It is an attractive book; as a coffee table decoration it'll impress visitors waiting in your reception. But nobody, including you, will actually read it. If you must, buy it used.
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By john hunt on Aug. 7 2013
Format: Paperback Verified Purchase
Extensive examples of design principles. Great resource for new students of design, or anyone looking to improve their design skills.
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By jhilao on June 29 2013
Format: Paperback Verified Purchase
I had to get this book for school and Amazon had the cheapest prices compared to other retailers. I'm very happy with the purchase. The book is really interesting too, lots of information and pictures and it also shows you the different grid lines and guides used for specific designs.
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