Favorite Website

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My favorite website is net-a-porter. Not only do they have really nice clothing, accessories, and shoes to look at but the website it clear organized and extremely simple. It’s very nice and clean!


my response to Letter

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Garamond, Bembo, Palatino, and Jenson were actual PEOPLE!? Holy crap.  It’s amazing that these fifteenth century printers are eternally remembered for their discoveries and progression in the typography world.  This chapter on from Ellen Lupton’s book was extremely eye-catching and interesting.  I was very enthralled by the history of text.  I found it super interesting that the names are the names of the printers, that ITALics came from Italy, and that cursive saved space, which saved money, back in the day. It was also interesting to note that people began to think that letters were exaggerated, that they had become corrupt forms of the alphabet because of all the new ornamentation on typefaces and such.

Making fonts/typeaces has always baffled me.  After seeing Helvetica the documentary, I saw how much processing goes into making a typeface.  Craziness! It was cool to see that in 1990, the font Dead History was created by taking previously invented types, Centennial and VAG rounded, and manipulating their vectors.  Not that this sounds easier by any means…but still maybe a little bit?maybe? ha.ha.

This chapter also got me stoked to make a logo.  The designs Lupton has incorporated in this text are awesome.  I love to look and them and I love the feel of this book.  A+ Ellen Lupton.  Also, I want to be as good as these poster designers.  All of the posters you have showed us on slideshows and such have been sweeeet.  So much Helvetica in those German posters.  Also, laugh out loud at the “Melt Banana” posters.

Pumped to read more!

signing off,

ellie b


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Grid systems bring visual structure and balance to design. As a tool grids are useful for organizing and presenting information. Used properly, they can enhance the user experience by creating predictable patterns for users to follow. From designer’s point of view they allow for an organized methodology for planning layouts. After creating a well-structured and usable grid, allow the design to breath. A page without a grid is a usability nightmare. On the other hand, a grid that has creatively overlapping, escaping, or energizing columns leads to a more enjoyable user experience. Grids are a harmonious and reliable system for presenting information. They create ordered hierarchies, proportional relationships, and clear visual paths for the eye to travel. It’s important to know your tools before trying to get creative with them. Like skyscrapers in city centers, overwhelmingly, columns dominate design grids.

Disharmony is, of course, the opposite of harmony. A grid is a harmonious instrument. Its goal is to achieve balance, symmetry, and order. So why would you want to bring imbalance to this order? To add interest. I think chaos is more interesting than order. Jackson Pollock’s splattered paint canvas is more stimulating than a wall without it. A partly broken grid is more interesting than a perfectly ordered grid.


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The idea of grids is interesting because they are so fundamental to the design of almost everything, yet you don’t really notice them until you learn about them.  Now that I am aware of grids and how they are used, I see them everywhere.  They are the most basic and fundamental part of design; the building block.  However, the most interesting designs are the ones who “break” their grids.  The designer has to know, first, how to work within the grid, then how to “break” it to really set their design apart.

Response to “Grid” – Liz Gravier

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“A skeleton that moves in concert with the muscular mass of information” (113), a grid, I’ve learned, is the background backbone of every magazine page.  What stood out to me the most from this chapter was the idea of the creativity instilled behind such an inherent piece of magazine publication. The fact that grids have grown from being just single- or multi-columned newspaper pages, to unmeasured lines of text that expand beyond the edges of the page, is inspiring, especially after reading about Marinetti and Lissitzky’s contributions to these modern changes with the Futurist movement and Constructivism. They totally revolutionized the grid form into something more daring and “interactive” that we see today. I thought it was interesting how a grid grew to not only consist of horizontal and vertical lines, but also typography and images that “break” the grid, playing off of the structure to create hierarchy and make the page “pop” like we discussed in class.

Grid Response

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When I think of a grid I think of math and grid paper and graphs.  To me, those are very concrete things so it’s interesting to read in the book that grid in this context is not supposed to be a rigid structure.  It should be resilient and flexible.  One thing I read that was really helping was about Tschichold’s diagram of good and bad magazine layouts.  He suggests staggering images in relation to the text, rather than centering pictures with text wrapped around them.  I’ll definitely keep this in mind when working on my project.  When we discussed the golden ratio in class, I understood it but did not understand the spiral.  After reading the brief description on page 138 and looking at the picture showing the golden sections, I get it and understand why so many people are fascinated with it. Another helpful hint I got from the book is that the more columns you create, the more flexible your grid becomes.  I think this reading is going to be helpful as I work on my magazine project.


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For me, it is interesting to think that there is a reason and a strategy for the layout of everything around us. Grids help designers control content within a page, screen, or built environment. They also help keep order and consistency. Despite what most people would think, “An effective grid is not a rigid formula but a flexible and resilient structure” (pg. 113).

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