The use of the grid as an ordering system is the expression of a certain mental attitude inasmuch as it shows that the designer conceives his work in terms that are constructive and oriented to the future. This is the expression of a professional ethos: the designer‘s work should have the clearly intelligible, objective, functional and aesthetic quality of mathematical thinking. His work should thus be a contribution to general culture and itself form part of it. Constructive design which is capable of analysis and reproduction can influence and enhance the taste of a society and the way it conceives forms and colours. Design which is objective, committed to the common weal, well composed and refined constitutes the basis of democratic behaviour. Constructivist design means the conversion of design laws into practical solutions. Work done systematically and in accordance with strict formal principles makes those demands for directness, intelligibility and the integration of al factors which are also vital in sociopolitical life. Working with the grid system means submitting to laws of universal validity.

-the will to systematize, to clarify
-the will to penetrate to the essentials, to concentrate
-the will to cultivate objectivity instead of subjectivity
-the will to rationalize the creative and technical production processes
-the will to integrate elements of colour, form and material
-the will to achieve architectural dominion over surface and space
-the will to adopt a positive, forward-looking attitude
-the recognition of the importance of education and the effect of work devised in a constructive and creative spirit.

The grid divides a two-dimensional plane into smaller fields or a three-dimensional space into smaller compartments. The fields or compartments may be the same or different in size. The fields correspond in depth to a specific number of lines of text and the width of the fields is identical with the width of the columns. The depths and the widths are indicated in typographic measures, in points and Cicero. The fields are separated by an intermediate space so that on the one hand pictures do not touch each other and legibility is thus preserved and on the other that captions can be placed below the illustrations. The vertical distance between the fields si ,1 2 or more lines of text, the horizontal space depending on the size of the type character and of the illustrations. By means of this division into grid fields the elements of design, viz. typography, photography, illustration and colour, can be disposed in a better way. These elements are adjusted to the size of the grid fields and fitted precisely into the size of the fields. The smallest illustration corresponds to the smallest grid field. The grid for a 1 page comprises a smaller or larger number of such grid fields. Al illustrations, photographs, statistics etc. have the size of 1, 2, 3 or 4 grid fields. In this way a certain uniformity is attained ni the presentation of visual information. The grid determines the constant dimensions of space. There is virtually no limit to the number of grid divisions. It may be said in general that every piece of work must be studied very carefully so as to arrive at the specific grid network corresponding to its requirements. The rule: The fewer the differences in the size of the illustrations, the quieter the impression created by the design. As a controlling system the grid makes it easier to give the surface or space a rational organization. Such a system of arrangement compels the designer to be honest in his use of design resources. It requires him to come to terms with the problem in hand and to analyse it. It fosters analytical thinking and gives the solution of the problem a logical and material basis. fI the text and pictures are arranged systematically, the priorities stand out more clearly.

-construct the argument objectively with the means of visual communication
-lo construct the text and illustrative material systematically and logically to organize the text and illustrations in a compact arrangement with its own rhythm
-to put together the visual material so that it is readily intelligible and structured with a high degree of tension.

There are various reasons for using the grid as an aid in the organization of text and illustration: economic reasons: a problem can be solved in less time and al lower cost. rational reasons: both simple and complex problems can be solved in a uniform and characteristic style. mental attitude: the systematic presentation of facts, o sequences of events, and of solutions to problems should, for social and educational reasons, be a constructive contribution to the cultural state of society and an expression of our sense of responsibility

By arranging the surfaces and spaces in the form of a grid the designer is favourably placed to dispose his texts, photographs and diagrams in conformity with objective and functional criteria. The pictorial elements are reduced to a few formats of the same size. The size of the pictures is determined according to their importance for the subject. The reduction of the number of visual elements used and their incorporation in a grid system creates a sense of compact planning, intelligibility and clarity, and suggests orderliness of design. This orderliness lends added credibility to the information and induces confidence.
Information presented with clear and logically set out titles, subtitles, texts, illustrations and captions will not only be read more quickly and easily but the information wil also be better understood and retained in the memory. This is a scientifically proved fact and the designer should bear it constantly in mind. The grid can be successfully used for the corporate identities of firms. This includes all visual media of in-formation from the visiting card to the exhibition stand: all printed forms for internal and external use, advertising matter, vehicles for goods and passenger trans- port, name-plates and lettering on buildings, etc. When designing with grids, the results are often quite predictable. Of course, designers can define the grid and therefore can use it as an indi­vidual tool to generate layouts. Depending on the subtlety of a grid, layout options can be fairly diverse. But, because of the possibilities and the complexity opened up by ever finer grids, it becomes more and more difficult to use them. This contradicts the original purpose of a grid: Reducing the number of options and thus improv­ing the efficiency of a layout for a large number of pages. The designer has to weigh simplicity against detail. What would a grid look like that is not overly complex and still leads to more organic and diverse-looking layouts? lnstead of static lines defined by coordinates, it could consist of moving elements that, even if they have their origin at a particular coordinate, move be­tween Positions and over time. Using such a grid for layouts, the probability is small that its lines are at the same spot at different points in time. The grid has become more unpredictable. Standardised tools in graphic software, such as the grid, can only be changed within the narrow scope of a few predefined settings.