Discussion Point 1: Visual Hierarchy and Grids

Discussion Point 1: Visual Hierarchy and Grids

Scott Shirbin

Visual Hierarchy and the Grid has evolved with the emergence of digital technologies greatly, however most of the same ideas and rules created by traditional techniques remain. With the on-going development of such digital technologies designers have been able to create more 'fluid' and 'abstract' grids for publication that appeal more to the consumer audience of the modern age.

As I mentioned before the Visual Hierarchy and Grids that were developed from traditional mediums act as a sort of base for modern publications and it is evident that most designers build upon these conventional ideas. Letterpress had many constraints which include the formal line height, type faces, and such other things which made most traditional letterpress very precipitous and didn't seem 'free'. With the development of digital technologies and of the computer programs such as the Adobe Suite (InDesign etc) has become available to designers to create more modern and visually appealing grids. These tools allow designers to have more control over the colour, composition and type of the publication and gives them endless possibilities to use. 

The fashion magazine 'Vogue' was first published in 1982 by Arthur Turoure in America has a weekly publication. The magazine has now grown into one of the most acclaimed fashion magazines and is published in 19 national countries. As seen here the grid of this 1920 publication of 'Vogue' has a very simple 4 column constrained grid which appears to be very horizontal and vertically based. Although this traditional method is still very attractive to ones eye with Capped letters, great readability/legibility, bold and italic lettering and great visual graphics that fits perfectly in the empty space created by the text.

Moving on to 1940, here, we see a more modern look that maybe the modern audience will be more familiar with. It is defiantly more fluid and 'free' but still contains the same constraints that letterpress includes. The text is still very horizontal and constructed but seems more free in the grid that it is placed in with no real formal grid to place the captions together. 

Now to 2012 of the modern 'Vogue' we see that the grid is still fairly similar with a very horizontal structure and it perfects the use of negative / positive space especially with the use of photographic imagery on two page spreads. The use of photographic images and colour is one of the greatest developments from traditional mediums but it really does not effect the visual hierarchy (apart from the eye being attracted the more bolder colours) and grids used. Perhaps the real change is how little text is used in most modern editorials.