JOMC 222 DAIJ DESIGN CRITIQUE 2:

Description, Analysis, Interpretation and Judgment of...
Grist Magazine

Overview:

Based in Seattle, Grist grew from an international environmental organization. Coinciding with the 29th Earth Day and in advance of the Third WTO Ministerial Conference (November 30-December 3, 1999), Grist launched in April 1999. Its still-valid original domain, gristmagazine.com (registered in February 1999), evolved into grist.org between March and April 2004. The site seeks to make its content more palatable than typical environmental journalism: "Grist: it's gloom and doom with a sense of humor. So laugh now—or the planet gets it” (from “About Grist”).

Early Grist Magazine, 11/27/99
Grist started simply, but soon incorporated elements
of its original sponsor and host, Earth Day Network.

Grist Magazine, 3/18/03
Grist became an independent non-profit in March 2003.

Grist Magazine, 2/25/04
The new (current) design arrived between July and September 2004.

Grist Magazine, 3/5/06:

Description:

Built on a clean and calm grid featuring a balance of horizontal and vertical lines and elements that combine to form repeating rectangles, Grist utilizes earth tones and minimal, but effective, white space to divide sections and advertisements. A drawing of a generic cityscape forms a background and inset photographs illustrate feature stories.

The page consists of two columns, each half as wide as a central portion they surround. Grist’s unobtrusive buttons, black text font against a sagey green background, rests atop this slate blue central portion. A banner ad settles between the buttons and above a main editorial section.

The left column divides into two rows, visible from the first screen. A dirt brown color forms the background for the top row that features the Grist logo, in a turquoise lowercase serif font (significantly, the “i” is upside down and the dot is a burnt orange). Two white horizontal lines resembling chalk marks provide a touch of texture as they surround a white san serif, all caps slogan. This top row also includes a search box. The row beneath features a sagey green background with three main headings in black serif, all caps font.

The right column, just a tiny bit too wide for my screen view, divides into three rows, visible from the first screen. The first row, with a dirt brown background, invites readers to sign up for free environmental news email. The second row consists of an ad, and the third row features a warm yellow background with a Tuscany orange box with “Daily Grist” in white serif text font within it and serif blue headings and black blurbs. The orange boxes repeat on the page to direct users to regular features.

This site achieves a particularly good balance between visual images and text; neither overwhelms. The illustrative photographs are framed with a thin black line, helping draw attention and contributing to a complete composition. These compelling images attract interest, sending readers to the brief and active text that, in turn, inspires readers to click through.

Despite its harmonious palette and well-balanced design, an array of links (in the top buttons, left column and orange boxes) causes confusion and adversely affects site continuation.

The central section’s top border, with repeating silhouettes of angular roofs, offers depth as do diagonal lines covering the cityscape—providing action that could represent haze, pollution, rain or just distance. The imagery creates a sense of separateness and the cityscape’s proportion further distances readers from the concrete jungle.

The central banner ad dominates the page (good for the advertiser) and its sky background blends into the editorial content beneath. The eye continues to the features, after ascertaining that the banner is an ad.

Unfortunately, Grist’s logo seems to fade into the page. As the muted colors help convey the site’s earthiness, the logo might be better served in a more page dominating position (perhaps between the buttons and the banner ad).

I find the logo, with its upside down, orange-dotted i, particularly interesting. Is the i the sun? Does it represent a topsy-turvy world? Is it offering solace for those who go against the grain? Or is it just a handy design element—an old advertising canard that the eye is drawn to a solitary red (nearly) dot?

Sources:

• Internet Archive: The Wayback Machine
• Grist magazine