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Making and Breaking the Grid: A Graphic Design Layout Workshop [Paperback]

Our Price $ 23.80  
Retail Value $ 28.00  
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Item Number 404205  
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Item Specifications...

Pages   208
Est. Packaging Dimensions:   Length: 0.5" Width: 9" Height: 11"
Weight:   1.95 lbs.
Binding  Softcover
Release Date   May 1, 2005
Publisher   Rockport Publishers
ISBN  1592531253  
EAN  9781592531257  

Availability  0 units.

Item Description...
For designers working in every medium, layout is arguable the most basic, and most important, element. Effective layout is essential to communication and enables the end user to not only be drawn in with an innovative design but to digest information easily.

Making and Breaking the Grid is a comprehensive layout design workshop that assumes that in order to effectively break the rules of grid-based design, one must first understand those rules and see them applies to real-world projects.

Text reveals top designers' work in process and rationale. Projects with similar characteristics are linked through a simple notational system that encourages exploration and comparison of structure ideas. Also included are historical overviews that summarize the development of layout concepts, both grid-based and non-grid based, in modern design practice.

Buy Making and Breaking the Grid: A Graphic Design Layout Workshop by Timothy Samara, Bruce Benderson, Jay Rubin, Thomas De Quincey, Friedrich Wilhelm Nietzsche, Richard Teltschik & Jon Buller from our Christian Books store - isbn: 9781592531257 & 1592531253

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More About Timothy Samara, Bruce Benderson, Jay Rubin, Thomas De Quincey, Friedrich Wilhelm Nietzsche, Richard Teltschik & Jon Buller

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Timothy Samara is a graphic designer based in New York City, where he divides his time between teaching, writing, lecturing, and freelance consulting through STIM Visual Communication. His 18-year career in branding and information design has explored projects in print, packaging, environments, user interface design, and animation. He has been a senior art director at Ruder Finn, New York's largest public relations firm, and senior art director at Pettistudio, a small multidisciplinary design firm. Before relocating to Manhattan, he was principal of Physiologic in Syracuse, located in upstate New York. In 1990, he graduated a Trustee Scholar from the Graphic Design program at the University of the Arts, Philadelphia. Mr. Samara is a faculty member at New York's School of Visual Arts, New York University, Purchase College/SUNY, and The New School, and has published six books on design and typography, all through Rockport Publishers: Making and Breaking the Grid; Typography Workbook; Publication Design Workbook; Type Style Finder; Design Elements; and, most recently, Design Evolution, released in January 2008. Mr. Samara and his partner live in the Williamsburg neighborhood of Brooklyn.

Timothy Samara currently resides in New York City, in the state of New York.

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Reviews - What do our customers think?
Making and Breaking the Grid: A Graphic Design Layout Workshop  Feb 22, 2008
This book excellent for graphic designers and anyone who needs to create professional appealing graphic layouts. As an interior designer, I purchased this book to help me design my portfolio and will continue to resource it for project presentation layouts. The visual breakdowns are inspirational; and the text, informative.
Great book for designers  Sep 28, 2007
It has a lot of examples and explanations of grid and grid-related layouts.
A good reference guide for designers, whether they are students ore professionals.
essential structure  Sep 5, 2007
You may think this book is a little dry, but it is really essential to learn how to use and when you can violate the grid when creating layouts for print or web projects. A must have for any student in graphic design. Also try Kimberly Elam's "Grid Systems" book if you need additional resources.
The big book of clarity and chaos  Jul 21, 2007
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 on each spread despite being 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. Pages 188-189 show eight spreads from a design school journal showing irregular shaped blocks of text creating a sort of collage. I doubt anyone made the effort to read any of it. What is interesting about this second section material is that so much of it comes from educational establishments. In the real world all this designer whimsy would be rejected by the client on sight of the first dummy

'Making and Breaking the Grid' is well printed with 175dpi and the layout is adequate and for a book about grids you would have thought its own grid would have been included but it is strangely missing. Overall I felt that because the contents present two opposite design ideals the book's editorial concept is rather flawed.

From my experience there is only one book that really explains it all: Muller-Brockmann's Grid Systems in Graphic Design (go to the book's site to see some spreads I've uploaded) published in Switzerland and full of good solid, practical, hands-on information. This book's only purpose is creative clarity.

***FOR AN INSIDE LOOK click 'customer images' under the cover.
good  Jun 23, 2007
I really enjoy this book, though it is not my absolute absolute favorite. It is still a good addition to any designer's collection and it is written by one of the most knowledgeable in grid design.

It is well-thought and very interesting. A bit unlike the other grid books - in a good way.

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