![]() For instance, if your publication is a book of poetry, the grid must have generous amounts of negative space and generous leading. The objective in creating a grid is to set up the relationships between elements in a way that stays true to the concept. The plan for the grid comes from the content and concept of the design project. Consistent margins and columns create an underlying structure that unifies the multiple pages of a document or website, and makes the layout process more efficient. Grids are often used in publication and web design because they introduce consistency and guide hierarchy. Grid systems create a formal composition in comparison to more casual compositional approaches like transitional or random structures. They can be very disciplined about adhering to their grid structure from the beginning of a project, or use it as a starting point for composition and order. Designers use grids in a variety of ways. ![]() The grid usually works invisibly in the background, but it can become an active, visible element as well. It is an exceptional tool for composing, arranging, and organizing every kind of visual element. The grid is a bridge between a design rationale and the beginning of implementation for each project, converting a concept into a structured space. A grid divides a design space into vertical and horizontal divisions. GridĪ grid is a network of lines that structure the placement of elements and create relationships between them. The following eight organizational systems cover composition for type (but can also be applied to general composition), including the traditional ordering system of the grid. A well-defined constraint can free up the thought process by taking some decisions off the table. ![]() When some factors are determined in advance, the designer is able to spend time with the other parts of the project. Designers make myriad decisions about concept, style, visuals, form, font, size, spacing, colour, placement, proportion, relationships, and materials. Constraints (rules) allow a designer to focus on the other aspects of a project. Think of these organizational systems as ‘large picture’ constraints. Designing with type requires adept handling of the hierarchy, refining and designing the display elements for focal emphasis and also refining the quiet details of the text block so it sits perfectly and quietly in its space. Many elements need to be organized to allow the reader a seamless experience when reading the content. Typography is a complicated medium to work with as it contains two levels of information (display and content), and requires its components to be read in proper sequence with proper emphasis, good legibility, and strong contrast to the substrate. Design Elements, Design Principles, and Compositional OrganizationĬompositional organization is complex, but even more so when applied to typography. also fyi on modulargrid it does say how deep the modules are, and the power consumption (which could ruffly indicate what heat it operates at).Chapter 3. A rackgrind would for me be used mostly for visual aid, and (very important factor here) for fun, add to that, the gear i plan on putting in the rack is mostly processing gear, no synths, so they are made to fit in a rack, whatever size and configuration, with cables sticking out the back. ![]() Well, thank you for your concern regarding my experience. Some studio racks have bars in the back that could make in/out jacks inaccessible.Īll these things will probably not be included in a "RackGrid", so you'd be better advised to use your experience, a sheet of paper and a pencil. That would be useful only if you can work with the depths of the units.Įxample: Place a Drumstation (not very deep) between an Akai S01 and an MKS-30 (both excessively deep), and then try to fit the Drumstation's cables in.Īlso the heat from certain units (mixer PSUs, amplifiers, tube equipment) should be added to the equation, plus hanging cables from patchbays and other ergonomic factors.
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