RASTER SYSTEME JOSEF MULLER-BROCKMANN, 1981
210 x 297 mm (8.25 x 11.75 inches) / 60 gridded sheets / 32 unit modular grid

Raster Systeme is considered by many as the definitive book on using grid systems in graphic design. With examples on how to work correctly at a conceptual level and exact instructions for using all of the systems (8 to 32 fields), Muller-Brockmann provided a crystal-clear framework for editorial problem-solving. This 32 unit modular grid in a DIN A4 format offers an unlimited number of solutions, offering great flexibility of design. The fields can be varied in size by combining the smallest grid units into larger units for texts and illustrations.

DIE NEUE TYPOGRAPHIE JAN TSCHICHOLD, 1928 148 x 210 mm (5.75 x 8.25 inches) / 60 gridded sheets / Right hand page

Die neue Typographie is one of the most important typography books of the 20th century. It analyzed typographic design, attempted to systemize the new typography, and advocated asymmetric composition with negative space and leading as important elements to the underlying structure. The premise of this asymmetric approach was that a document, page, or section were a whole and should have the balances and counterbalances of the textual blocks worked out rather than left to the hazards of space and the chance combinations of display faces. By using sans serif type that stripped the letter forms down to their basic, elemental shapes, and dividing the texts into functional parts, Tschichold streamlined the look of the pieces he designed.

LE MODULOR LE CORBUSIER, 1948
180 x 180 mm (7 1/8 inches square) / 60 gridded sheets
Measuring system based on mathematics and the human body

The Modulor made a major contribution to the form of modern architecture and became the foundation stone for most design systems and modern grids. The Modulor was primarily concerned with architectural form, but Le Corbusier was quick to point out its application to other areas, including the design of the printed page. The design system took the golden section one step further by linking it to the scale and proportion of the human anatomy. Le Corbusier selected the solar plexus, the top of the head, and the tips of the fingers of an extended arm as the principal anatomical locations. The distance from the ground to the solar plexus represents the extreme division of the golden section, and the distance between the solar plexus and the top of the head is the mean. From this base Le Corbusier produced an infinite series of mathematical proportions that could be applied to a wide range of architectural dimensions. (extracted from Allen Hurlburt, The Grid, John Wiley & Sons, 1978)

A DESIGNER'S ART PAUL RAND, 1985
190 x 254 mm (7.5 x 10 inches) / 60 gridded sheets / 3 Column Grid

Paul Rand thought that the grid did not automatically provide an exciting solution. He believed the designer should still exercise all the experience at his command: discretion, timing, sense of drama and sequence. He thought the grid could help the designer to achieve harmony and order, but also that it may be abandoned when and if necessary. He proved so in his own book, designing an asymmetrical three column grid that allowed him to express his ideas and show his work in a unique and interesting way.