Brief
For this task you will choose a publication and work out the grid structure that the designer used. Preferably choose a multipage document such as a magazine, yearly report, newspaper, text book or information booklet. The more pages you have, the easier it is to make out the patterns. Once you "discover" the grid structure, consider what choices are being made and write an analysis.
Unpicking the grid structure of
La Septième Obsession,
Issue No. 31.
The Golden Ratio.
What typefaces were used? How do they relate to the function / message? What is the hierarchical structure?
‘La Septième Obsession’ is an experimental French editorial focussed in the topic of film and cinematography. Their mission statement and brand identity is clearly demonstrated in the typographic and page structural design.
In the ‘La Septième Obsession, NO 31’, a vast variety of experimental and contemporary typefaces are featured to establish a structured hierarchy in what seems like a chaotic layout. The headline title is at the peak of the hierarchy – this has been represented by a large scale condensed fonts called ‘Grandmaster’. This is often portray with a large amount of page real estate, demanding the attention of the readers. The title font used for majority of the magazine is on the opposite side of the spectrum compared to the headline font. The tile uses an extended display typeface called ‘Whyte Inktrap’. The next set of information in the hierarchy is the headings, subheading and bold text. These utilise a heavy weight version of a sans serif called ‘TT Trailers’ which is displayed much smaller compared to the headlines and titles. For the editorial’s body text information, a regular sans serif called ‘Surt’ and a regular serif called ‘Lyon’ are used (depending on the topic of the passage). Captions and footers use smaller scale versions of these typefaces.
Additionally, there is a feature page with an experimental typeface used for artistic purposes. ‘Trickster’ is featured in centre alignment with a bright hot pink against a purple background.
The variation in contrast and conflicting styles and scales blend together in a poetically chaotic way – much like an underground indie film. The selection of typeface families has seemingly been chosen out of love for typography and art.
What were the markers used?
For a majority of the spread layouts, a marker is utilised to attract the eye, then direct it towards the next set of information in the hierarchy. For this to be effective, the designers have applied scale, colour and contrast. The flow of the gaze then follows a comfortable and natural path conducted by the golden ratio.
An example of this in action can be observed in the third spread. The fundamental marker of the left page is the image – this draws the reader in. The second item of information in the hierarchy in the page title reading ‘David Fincher’. The eye’s gaze flows upwards to the left. Next in hierarchy is the heading, flowing downwards, and then to the body text.
What kind of grid was used? What elements determined the grid structure?
Primarily, the designers have opted to use modular formats of grid alignment; although, through analysis of the page layouts, it was discovered that the traditional set of evenly sized columns was not used. Predominantly, the designers have use a function of the golden ratio. This is why, for example, the items of text on the bottom right of the second spread are divided into three different size columns.
It was also found that various items of information were arranged with a baseline alignment. This allows differing sizes and styles of typeface to appear orderly. This rule, although, is not always upheld.
An example of a 2-column grid can be found in the interview page on the third spread. The designers have decided to arrange this page in a more formal manner to make it easier for the reader to interpret the information. This is a more formal grid alignment used in literature.
As seen in the examples, different grid alignments are selected to serve different functions. Whether the designer wants to make the layout feel dynamic and seemly sporadic, or to make the information easily legible, or to serve attention to a hero image of statement font. The nature of the page contents determines the grid structure.
How do you think the design works overall? What could be improved?
My initial reaction to the layout design of ‘La Septième Obsession, NO 31’ was that the pages felt sporadic, chaotic, experimental and edgy. Although, through the act of thorough analysis and breaking down structural formations decided upon by the designers, it was found that the pages were much more orderly and naturally flowing than first assumed. As the great astrophysicist Neil deGrasse Tyson has preached, true random in nature follows structured patterns. The design is chaotically beautiful, and this is because it’s following a pattern of nature – the golden ratio.
Overall, I love the dynamic feel of the magazine design. The ways the eye is directed around a page bring the design life – this is a creative way to communicate a kinetic art form such as film on a 2D landscape. Their design decisions serve the theme well, and if I needed to make one improvement, I would be spending weeks trying to nitpick. The designers at ‘La Septième Obsession’ are obviously passionate about design and typography shown in the way they try to push boundaries.
Brief
For your second task, you will design an information sheet on how to maintain a healthy lifestyle as a student on a budget. The text for the information sheet is attached. This should use only one A4 page, you can use one side only, both sides or fold it in half (and make four pages). The choice is yours. Read the information, think about context, audience, message, what hierarchy you need, how can you break it down, and how you can best organise the information layout.
