Layout Systems
Almost everything that is designed is part of some sort of system. From a website having multiple connected pages, to the actual physical pages of a book, magazine or newspaper, they all have a connection. Too, is the idea of serial production. The author of the book use the example of a magazine or newspaper being produced periodically, each having different content, but all tied under the one masthead. A systems can also be seen in a series of publications, such as brochures or advertising campaigns. The key to any system is the idea of unity. They viewer of user needs to be able to visually connect the pieces of system in order to know that they truly are connected.
This visual connectedness is extremely important and should be strictly adhered to ... to a point. For example, if every page of a magazine follows the exact same grid structure and image placement, the viewing experience as a whole will be static and lifeless. However, if the designer allows for some flexibility in their design, they create visual tension, which leads to a more lively, energetic viewing experience. But, just like too much consistency is kills energy, too much flexibility kills unity. The perfect balance of consistency and flexibility creates interest while maintaining unity.
Finding this perfect balance can be done a number of ways. Perhaps the easiest way, is to change the color palette or the images used, while keeping the size and position of the rest of the elements exactly the same. This can prove a drastic change in the look of the pieces, while allowing them to stay unified through unchanging staples. Another way to do this is through pacing, or changing the “frequency of different page components in some kind of pattern.” By changing sizing, placement and color densities of elements on different pages of a multi-page document it is possible create that desired interest and energy, but it is important to maintain a common grid structure on all pages to retain the sense of unity.
Flexibility can also be achieved through formal variation. This is achieved by identifying key characteristics in a design — imagery, geometric relationships, depth, movement — and then focusing on altering a couple of them to create interest, without changing “fundamental character.”
This idea of formal variation and the earlier discussed idea of differing components in some kind of pattern, come together to help the designer create a pacing or sequencing within a design. The author likens this to a “kind of cadence or ‘timing’ that the reader will apprehend from part to part.” This cadence is created through varying placement of type, image and white space and can help the designer achieve a number of different objectives. The most obvious of these is just the visual change from page to page creates interest and engages the viewer. In addition, pacing can also help to indicate a change in content — from something as simple as an indention or space between paragraphs, to more complex ideas such as symbols or colored boxes. Good use of pacing can also help to facilitate navigation, such as how the viewer should approach a printed page or how they should click through a website.
The author warns though, that even though all designs will benefit from some degree of flexibility and variation, it is important to decide what method and to what degree on a case by case basis. This will ensure that the message of the pieces comes across clearly and as intended, and that the needs of the client are met.
Source: "Design Elements: A Graphic Style Manual" by Timothy Samara
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