While we enter without question the tidiest of all palatial halls, I would like to point your attention to another expression of technical excellence and skill of the typographic mason, namely the grid. This is an organisational device and continues to build on the centuries old tendency of mathematically division and organising spatial composition. As a demonstration of competence it has also become equated with an impression of quality, professionality, authority and credibility. Entire mathematical methods have been initiated to develop the ideal compositions and ultimate proportions. Yet if the wide variety of examples, collected in The Gridded Section, shows us anything, then it reveals that there is no single solution or ultimate grid. On the contrary, one does well not to underestimate that this indicates too, the implementation of the grid as an instrument to influence the interpretation of graphic languages.
