A Brief History of Grids By Lucienne Roberts This whole business of grids is so difficult for graphic designers. Most of us love them. But we’re scared of revealing any nerdy or, worse still, despotic tendencies so we jump nervously from foot to foot, simultaneously belittling and venerating the grid. We’ve got to appear to be casual about it—but not so much so that our peers think we’re grid lightweights. The problem is partly one of association. A grid is generally a series of straight vertical and horizontal lines so, if you’re interested in grids are you “straight” in other ways too? Ultimately, it’s not the notion of the grid that is important— it’s the hand that constructs, the brain that computes, and the perspicacious eye that exploits these invisible structures. A graphic-design grid is a bit like magic (now you see it, now you don’t) sets of intersecting lines that help the designer decide where to put things, but that generally no one else sees. The benefits of using a grid are multifarious, ranging from the psychological to the functional, and, of course, the aesthetic. The grid embodies all the contradictions that designers struggle with. This is the designer’s very own enigma code that can elevate design discourse to that of a science, and eradicate the creative block by “virtually” filling the blank page.
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