Grid-based web design: a beginner's guide

Grid-based web design: a beginner's guide

We live in an interactive world. Everything is in flux: content, viewports, the screen – all changing, all the time. Digital is dynamic – it’s ever-evolving, and it’s our job as designers and developers to keep up.

Structure Before you start creating your presentation boards, take a moment to organise your work. What are you trying to convey? What drawings /

Structure Before you start creating your presentation boards, take a moment to organise your work. What are you trying to convey? What drawings /

Grids are a good way to keep things in proportion, but this type of grid is very overwhelming and too complex in my opinion. It is difficult to read .

Grids are a good way to keep things in proportion, but this type of grid is very overwhelming and too complex in my opinion. It is difficult to read .

Great showcase of actual designs and then modular layouts. Modern Magazine Re-design Transworld Surf:

Inspirational Modern Magazine Re-Design - Transworld Surf

Great showcase of actual designs and then modular layouts. Modern Magazine Re-design Transworld Surf:

Paula Scher returns to NYC's Public Theater graphics with new campaign.  http://www.itsnicethat.com/articles/paula-scher-public-theater

Paula Scher returns to NYC's Public Theater graphics with new campaign. http://www.itsnicethat.com/articles/paula-scher-public-theater

The Marber Grid was developed in 1961 by Polish graphic designer, Romek Marber, for Penguin book covers. This grid layout is admired by many designers and is example of how a well-designed grid can stand the test of time.

The Marber Grid was developed in 1961 by Polish graphic designer, Romek Marber, for Penguin book covers. This grid layout is admired by many designers and is example of how a well-designed grid can stand the test of time.

Mark A Reynolds - Root Two Series: Twelfth Root, Neutral Voicings, One Clear Note,  2007, 16.75 in x 15.75 in. White charcoal, conte crayon, and mounted pastel papers on board

Mark A Reynolds - Root Two Series: Twelfth Root, Neutral Voicings, One Clear Note, 2007, 16.75 in x 15.75 in. White charcoal, conte crayon, and mounted pastel papers on board

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