PUBLISHING DESIGN: EXERCISES AND TASK 1
24/09/2024 - 11/09/2025
Week 01 - Week 3
Adrianna Sofea Mohd Fauzi (0350661)
Bachelor of Design (Hons) in Creative Media
Publishing Design: Exercises and Task 1
3. Final Outcome
Lectures:
History of Publication Design
Publishing is a process of writing or multimedia content for the public
Back in the day, publishing needs to be permitted by the government/licensing
Books,magazines, newspaper, journal, websites, e-books, digital platform
Publishing encompass both traditional print methods and modern printing methods
Periodicals and Non periodicals
Periodicals are regular publications like newspapers and magazines (they have schedule)
Non periodicals are standalone works such as book and report not bound to a schedule (usually intended for long-term distribution) Have to wait for book authors
Traditional Publishing History
Jikji is the oldest printed book (movable metal type apparatus), it was printed in 1377 from Republic of Korea
Guttenberg bible (42-line bible) - renaissance europe
Printing press machine by johnsan guttenberg
Industrial revolution (1760-1840) : Invention of machines
Past, Current and Future Publication of Design
Early Digital Publishing
Peak of printing press era: Newspaper delivered timely news, public discussion, social issues
Magazine covers diverse topics influencing trends and showcasing talents
E-Book
Digital publishing offering portability and accessibility
Advantages: convenience of carrying, multiple books in one device, easy access to library titles
Cons: Digital rights management and compatibility issues (misused, copyrighting)
Publishers grapple with issues of piracy and ensuring compatibility
Mobile Publishing Revolution
User friendly app- Responsive design
Mobile publishing remains at the forefront of the invention
Interactive Content and Multimedia
Digital publishing using AR/VR to give an interactive way to give a more immersive experience of reading
AR overlays digital content onto the real world
Publishers include 3D models and animation
The New York Times Immersive (VR/AR) Publishing (Won Award) Include link in the blog
Data Analytics and Personalization
Analytics helps publishers to understand the reader's behavior, preference and optimizing content strategies
Personalized trends leverage analytics to deliver tailored content recommendation and targeted advertising , enhancing reader engagement and revenue generation
Week 2 Understanding the history development of book design
Scribes/scrolls were the first writing instrument before printing
Typing took the role of calligraphy, art took over woodcuts, lithography (photostat) took the role of artist
Each year 4 million books are published around the world
Categories of Books
Trade books
Text books
Trade Books
Fiction and Non fiction
Rely on impulse buying and personal interest
Self help books are popular although it has little value
Higher pricing structure
Text Books
Wide range of categories as reference, often non-fiction
Targets faculty members, teachers and students
Generally cheaper
Educational contents
Profit structure of a book
Author usually gets 10% of the total sales
90% goes to the publisher
Publisher involves in market research, consulting, designing, marketing, distribution, production and copyright fees
Self-published author may get more 40% - 60% from total profit
Meanwhile published author with get 10% - 12% of royalties
The approach to design
Standard size 6x9 inch, Times New Roman, body text Helvetica for title, 1 column, flush left, big margins
There must be a unification (Unity in Design) Use the same typography, same font size, same column
When designing a book avoid revealing too much plot, use metaphors, graphics that has good central idea of the book
A book cover should give a glimpse of the plot but not overall
The lineup of the book
Some book starts at page 9, some may be as far as 11
It starts after front cover (title of the book, next page publisher name, visual) There is no book that once you open it says "Once upon a time"
They add a preface, acknowledgement, a dedication page and a little background story, a recap of the book
Week 3
Lecture 01 - The Book Format
Significance of Books: Books play a crucial role in society, influencing thought and culture as they serve as primary mediums for recording and sharing knowledge, history, records, and ideas.
Design Considerations: Crafting a book requires a solid grasp of typography, spatial arrangement, attention to detail, and expertise in publishing tools. Each element is chosen to enhance readability and overall design quality.
Audience Focus: Understanding the target audience is essential in book design, as it guides the choice of font, layout, and other visual elements to boost readability and engagement.
Influential Factors in Book Format:
Audience Needs: The book’s format should align with the intended audience's needs. For example, children’s books are often smaller and use materials suitable for young readers.
Content Scope: The type and scope of the content may affect font size and layout. If the book covers diverse topics, larger fonts and careful spacing might be required.
Design Elements: Factors such as size, material, and binding are integral to a book’s physical appeal and durability.
Fig 1.1 Regions and Civilisations
Mesopotamian Civilization (Iran-Iraq):
The earliest writing in Mesopotamia began with a counting system, evolving from simple tokens to intricate bullae. These developments eventually led to the first pictographic writing on clay tablets.
Fig 1.2 Mesopotamia
Indus Valley Civilization (India-Pakistan-Afghanistan):
Although few records remain, the Indus Valley Civilization is known for its advanced writing system, Cuneiform, which is one of the oldest known. Sharp tools were used to inscribe on soft clay tablets, documenting aspects of trade, religion, and governance.
Fig 1.3 Indus River Valley
Ancient Egyptian Civilization (Egypt):
In Egypt, only scribes were trained in the art of Hieroglyphic writing. Scribes recorded information on tomb walls and papyrus—a type of paper made from the papyrus plant’s pith.
Fig 1.4 Egypt
Fig 1.5 The Han China
Han Chinese Civilization (China):
Early Chinese writing was arranged in vertical columns on narrow bamboo strips, which were tied together to form larger documents. From the T'ang Dynasty, the oldest known printed book, discovered in 1899 in Dunhuang, was crafted on paper arranged in a scroll format.
Woodblock printing, a lengthy and intricate process, was common, with Confucian, Buddhist, and Taoist texts widely published for scholar-officials in the 10th and 11th centuries. While this method likely began in China, Korea later pioneered the technique of reverse-cutting wood blocks.
Fig 1.6 Diamond Sutra
Woodblock Printing Process:
Woodblock printing, though effective, was a labor-intensive process. In the 10th and 11th centuries, woodblocks were widely used to publish Confucian classics for scholars, as well as a variety of Buddhist and Taoist texts. While this printing method likely began in China, Korea is credited with refining it by inventing the reverse-cutting technique for woodblocks.
Fig 1.8 Turkey and the west
European Civilization (Turkey & The West):
Turkey's Role in Parchment: Turkey is credited with the invention of parchment, a writing material made from animal skins, dating back to 197–159 BCE.
Lecture 02 - The History of Print
2nd - 8th Century AD:
China: In 175 AD, the Chinese Emperor ordered that six major Confucian classics be engraved into stone. Scholars would place paper on these engraved slabs and rub them with charcoal or graphite to obtain copies of these essential scriptures.
Fig 2.1 Engraved slabs
Fig 2.2 Brass-Rubbing
Korea & Japan: Printing in East Asian Buddhism was a significant achievement. The oldest known printed scripture, a sutra, was produced in Korea around AD 750 on a single sheet of paper. In AD 768, the Buddhist Nara empress commissioned the printing of a million copies of a lucky charm, known as the Hyakumantō Darani, which were distributed to pilgrims a project that took six years to complete.
Fig 2.3 Dharani Sutra
First Printed Book: AD 868:
The earliest known printed book, created as a scroll, measured one foot in height and 16 feet in length. The scroll included an illustration of an enthroned Buddha with attendants, marking the first known instance of printed imagery.
Fig 2.4 Hyakumantō Darani
Movable Type in China: 11th Century:
Movable type separate, reusable characters or letters for printing was experimented with as early as the 11th century in China. However, the vast number of Chinese characters and the delicate nature of clay-based characters made the process complex and challenging.
Fig 2.5 Diamond Sutra's Illustration
Fig 2.6 Engraving by the master playing cards
Korean Metal Type Foundry: c. 1380:
Koreans established a foundry in the late 14th century to produce durable bronze movable type, which could be reused and rearranged. In 1443, Korea developed its own alphabet, Hangul, which simplified the character set and improved the efficiency of printing.
Fig 2.7 Gutenberg
Fig 2.8 Gutenberg's Writing
Saints & Playing Cards in Europe: c. 1400:
The woodblock printing method reached Europe around 1400, used to produce sacred images for pilgrims and playing cards. This technique involved pressing inked blocks onto paper, similar to methods used in East Asia.
Lecture 03 - Typography Redux
Definition of Typography:
Typography is the art of arranging type to create legible, readable, and visually appealing text. It involves choices around typefaces, sizes, line lengths, spacing (leading), and letter-spacing (tracking), along with adjusting the space between letter pairs (kerning).
Fig 2.6: Characters in a typeface
Fig 2.7: Ligature
Fig 2.8: Weights in a typeface
Fig 2.9:Open and Well-proportioned
Typefaces for Readability: To ensure readability, it’s crucial to choose typefaces that are open and well-proportioned.
Fig 3.0: Examples of Well-proportioned Typefaces
Fig 3.1: Examples of UnderliningUnderline:
- Proper underlining requires lowering the line to avoid touching characters, which helps maintain readability. Underlining can emphasize individual words or an entire sentence but should be applied thoughtfully.
Fig 3.2: All Caps & Small CapsAll Caps & Small Caps:
Small caps are effective for subheads or the start of paragraphs, while all caps work well for short headlines or subheadings. Using all caps in long sentences is discouraged as it disrupts readability; caps should be used sparingly and purposefully.
Fig 3.3: Special-PurposeSpecial-Purpose Styles:
Tools for footnotes, references, and mathematical formatting offer specialized styles, often hidden within software’s tool sections. Familiarity with these options can enhance clarity and readability in specialized documents.
Fig 3.4 : Text Scaling
Text Scaling:
Programs that allow horizontal or vertical scaling of fonts can create pseudo-condensed or pseudo-extended text, which often distorts the font’s original design and can look unrefined.
Fig 3.5: Outline & Shadow
Outline & Shadow Effects:
Outline and shadow styles should be applied minimally. Outlines should be no thicker than one point, and shadows should maintain a subtle distance from the primary text to avoid overpowering the main content.
Balancing Font Sizes and Line Spacing:
Effective typography balances font size, line length, and leading (line spacing) to create smooth readability. A column of text should ideally be about 50-65 characters wide; overly cramped columns are harder to read.
Fig 3.6: Example of Long text
Fig 3.7: Example of Short Text
Fig 3.8: KerningKerning:
Kerning adjusts space between individual characters, adding refinement to the text's visual flow. While some software auto-kerns, manual adjustments can enhance readability in specific letter pairings.
Tracking:
Tracking adjusts spacing across characters, words, or paragraphs to fit the content within a specific area without changing font size or line spacing. Consistent tracking maintains uniform typographic "color" and balance in text layout.
Fig 3.9: Word SpaceItalics and Capitals:
Italics should be used sparingly, as extended italic text can strain readability; it’s more effective for emphasis within a body of text. Capitals take up more space and can be visually monotonous, so they’re best used selectively.
Alignment:
Proper alignment organizes text for easy reading. Aligning text consistently within columns or pages enhances structure and flow.
Paragraph Spacing & Indentation:
Spacing between paragraphs separates blocks of text, improving readability. Indents at the start of paragraphs guide the reader through the content and signal new ideas or sections.
Fig 4.0: Paragraph SpacingSpecial Formatting:
Specialized formatting is used to highlight or distinguish specific sections, improving the reader's navigation through complex documents.
Fig 4.1: Hyphens & DashesDesktop Quotes:
Ensures that quotation marks are typographically correct for digital publishing, adding polish to the text presentation.
Fig 4.2: Quotation Marks
Fig 4.3: Side BarSidebar:
- A sidebar is a supplementary block of text or graphics beside the main content, providing additional context or information without interrupting the main narrative flow.
Lecture 04 - The Grid
Raster Systeme (Grid Systems)
Role of Grids in Design: Grids represent a structured approach to design, demonstrating how designers construct their work methodically. By segmenting a two-dimensional surface into smaller fields or dividing a three-dimensional space into compartments, grids bring order and clarity to visual compositions. The compartments can vary in size or be uniform, depending on the design needs.
Purpose of Grids: Designers use grids to address visual layout challenges, enabling logical and functional placement of text, images, and diagrams. By dividing a surface into organized spaces, grids help streamline content arrangement, enhancing readability and usability.
Fig 4.4 Usage of grids
- Although grids are modular, they should not be seen as restrictive. They allow for flexibility, giving designers room to experiment with various layouts and configurations.
Lecture 05 - The Elements
Major Elements in Publication:
Type: The choice and arrangement of typefaces.
Colour: The use of colour to enhance the design and mood.
Image: Visual elements that support and complement the text.
Format & Grids: These hold the elements together, ensuring structure and consistency.
Fig 4.5 Variations with consistency
Variations in Layout:
While adding variation to a layout, it is crucial to maintain the book’s overall style. Flexibility can be introduced in the arrangement and combination of elements, but key sections (e.g., hang line, typography, colour, and image styles) should remain consistent.
Variations can be applied within the grid system, but not every page needs to be drastically different. Elements can be reused, rotated, and adapted to create a dynamic yet cohesive design.
Exercise 01 | Text-Formatting
270mm x 208mm
240mm x 185mm
230mm x 200mm
Exercise 03 | Signature Folding Systems (8+8=16)
For this exercise, I used A4 Paper to do this exercise. First, I folded the paper following Mr.Vinod's instructions. Then, I labeled the pages with their respective numbers.
For Exercise 04 | Classical Grid Structure
We worked on creating a Van de Graaf grid digitally using InDesign, following Mr. Vinod's instructions at home.
Next, we addressed modular grids, adjusting columns and margins for flexibility.
We worked on creating a design that involved refining typographic styles and implementing design consistency for readers
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