Working in a grid for me is difficult because I prefer to bring down rules on InDesign/Photoshop and align things that way. I always thought of grids as boxing in a design, not as a tool that can help organize even a crazy, flexible design. I did not think the modular grid like the one designed by Karl Gerstner shown on page 194 could even be considered a grid: it almost looks like a piece of art on its own. The sentence “The more columns you create, the more flexible your grid becomes” seemed to me counterintuitive until I realized that with more lines, there is more freedom to move something slightly and make little variations, you aren’t boxed in more. I like modular grids the most because they give the most variety to pages and lend themselves best to photos/illustrations in my opinion. I understand that the modular grid still needs to be “anchored” by a base grid but I still like the freedom in an intricate modular grid.
In this historical development of grids I especially liked seeing how pages were organized on different grids. The two-column grid of the bible where the right column envelops a smaller column is beautiful: “Typography is an art of framing, a form designed to melt away as it yields itself to content.” This page is beautifully framed, just as the subsequent pages used in the polyglot texts. Like I had thought about grids as constraining and not freeing, I hadn’t considering grids as frames where the empty spaces can count just as much as the designed space. Considering some of the trouble I had with the website since I had different grids on every page, I will definitely be using the same grid on every page for this upcoming magazine project.