I loved making prints from linocuts, and in much the same way that I’m often entirely absorbed by writing code today, I regularly lost myself carving thousands of tiny marks until the floor was covered in sharp shards of lino. I found the printmaking process incredibly satisfying. This allowed students free movement between disciplines, so I moved from the painting studio to printmaking and spent the next few years happily making prints. Luckily, the course I’d chosen wasn’t structured, and it didn’t have a formal curriculum. It didn’t take me long to realise that painting just wasn’t the right medium for me. Compared to Ben’s, mine looked like paintings by numbers. I needed to see results quickly, so my paintings were anything but deep or subtle. Ben’s paintings had incredible depth because he built up hundreds of subtle layers of paint over several months. This was especially true of my friend Ben, a gifted painter who went to his studio late every night to work on several large canvases. This over-confidence didn’t last long though, because when I arrived, I found myself surrounded by conceptual artists, filmmakers, painters, performance artists, printmakers, and sculptors, who all seemed much more talented than I was. This article will change the way you think about designing with grids.Īs I’d always been at the top of my class during high school, I headed to art college full of confidence that one day I’d be an accomplished painter. You’ll learn how combining grids increases design flexibility, the difference between layered and stacked compound grids, and how to use 2+3 columns, 3+4, and 4+6 compound grids. In this second installment of Inspired Design Decisions, Andy Clarke will teach you how to expand your repertoire of layouts by combining more than one grid into a compound grid.
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