Publishing Design - Task 1 / Exercises

PUBLISHING DESIGN - TASK 1 / EXERCISES

2/4/2023 - 15/5/2023 (Week 1 - Week 7)

Mariam Ayman Mohamed / 0347638
Publishing Design / Bachelor of Design (Honours) in Creative Media / Taylor's University
Task 1 / Exercises

LECTURES

Week 01

Lecture 1: Formats

The term "publishing" refers to a wide range of publications. One of these is the book, which is also the earliest method of publication. The book is a vehicle for preserving and disseminating concepts, information, records, history, and much more. Throughout history, diverse cultures around the world have employed various book types. *Paper was created in 179–41 BCE.

The Book

One of the most important and influential formats.
Most important advances in publishing were centered around the book.
The book is a medium to document and transmit, ideas, knowledge, records, history and so much more.
Designing a book requires you to have a comprehensive understanding of typography, a good sense of space, an eye for details, and a good understanding of a publishing software.

Historical Formats

Innovation almost always shadows technology.
New technology creates opportunity.
If the technology has potency it would have a cascading effect on other areas of life.

Mesopotamian civilization (Iran, Iraq)

The earliest civilization
Simple and complex tokens to bullae set the stage for the early forms of pictographic writing on clay tablets.

Fig 1 Mesopotamia clay tablet

Indus Valley civilization (India, Pakistan, Afghanistan)

Earliest system of writing (Cuneiform)
Wrote records about their government, religion and trade.
Written on soft clay tablets by using sharp pointed tools. Around 800 - 900 B.C., an old stylus is used for writing on palm leaves (palm leaf manuscript).
The oldest palm leaf manuscript is from Nepal.
Palm manuscripts may have been used as far back as 1000 B.C.E.

Fig 2 Palm leaf manuscripts

Ancient Egyptian civilization (Egypt)

Scribes were the only people in ancient Egypt that could read and write Hieroglyphics.
Egyptian scribes wrote on a special type of paper called papyrus. It is a thick type of paper made from the pith of the papyrus plant.
In addition, they would also write on tomb walls.

Fig 3 Hieroglyphics on papyrus

Han Chinese civilization (China)

Chinese characters in the early period are written in vertical columns, so a thin strip of bamboo is ideal for a single column. To create a longer document, two lines of thread link each bamboo strip to its neighbour. The modern Chinese character for a book evolves from a pictogram of bamboo strips threaded together.
An imperial court eunuch by the name of Cai Lun submitted a report in 105 CE of a new substance;
The first printed book was the 'Diamond Sutra' in 868 CE
The earliest known printed book is Chinese, from the end of the T'ang dynasty. Discovered in a cave at Dunhuang in 1899, it is a precisely dated document.
Using paper, it is in a scroll format. Paper was invented as mentioned earlier in 179-41 BCE.
Printing from wood blocks, as in the Diamond Sutra, is a laborious process. Yet the Chinese printers work wonders. In the 10th and 11th centuries all the Confucian classics are published for the use of scholar officials, together with huge numbers of Buddhist and Daoist works (amounting to around 5000 scrolls of each) and the complete Standard Histories since the time of Sima Qian.
The carving of so many characters in reverse on wood blocks is an enormous investment of labour, but the task is unavoidable until the introduction of movable type. This innovation, once again, seems to have been pioneered in China but achieved in Korea.

Fig 4 Chinese bamboo strips

First printed book: Diamond Sutra 868 CE *The earliest known printed book is Chinese, from the end of the T'ang dynasty. Using paper, in a scroll format.

European civilization (Turkey & beyond)

Parchment was first invented in Turkey, 197–159 BC, which later spread to Europe. Parchment is made from animal hide. With papyrus and bamboo one could make scrolls but with leather this was not possible as it was to thick and heavy. Around 50 AD, Europeans started making parchment books.
The use of paper would make it slow journey west, from China to Persia-Arab empires and eventually through Turkey vis-à-vis the Ottoman empire to mainland Europe.
Paper becomes widely available in Europe during 1400-1500 CE. The ingredient to make paper changes until 1860s when wood pulp is first used to print the Boston Weekly Journal.
While paper made its journey relatively late, the folding format started to take a foot hold in ‘the west’ at the turn of the century. First with wooden blocks with thread sewn to hold them together and then with parchement and later with paper, where paper was sewn, bound and glued together.

Fig 5 Parchment book

Week 02

Lecture 2 - History of Print

2nd - 8th century AD - Emperor of China (AD 175) commands that the six main classic Confucianism be carved in stone. Confucian scholars who were eager to own these texts simply lay sheets of paper on the engraved slabs and rub them over with charcoal or graphite. This act is also known as brass rubbing.

AD 750 - 768 Korea & Japan - Invention of printing, a striking achievement of Buddhists in east Asia.

The world's earliest known printed document is a sutra printed on a single sheet of paper in Korea in AD 750.

Fig 6 Dharani Sutra at the Nation Museum of Korea

In AD 768, an experiment in mass printing. A huge edition of a lucky charm or prayer was commissioned by the empress. It is said that the project took 6 years to complete and the number of copies printed + distributed to pilgrims is a million and many have survived.

Fig 7 Hyakumanto Darani

The first printed book: AD 868

The earliest known printed book is Chinese, from the end of the T'ang dynasty. Discovered in a cave at Dunhuang in 1899, it is a precisely dated document which brings the circumstances of its creation vividly to life.
It is a scroll, 16 feet long and a foot high, formed of sheets of paper glued together at their edges. The text is that of the Diamond Sutra, and the first sheet in the scroll has an added distinction. It is the world's first printed illustration, depicting an enthroned Buddha surrounded by holy attendants.

Chinese publishing: 10th - 11th century

Printing from wood blocks, as in the Diamond Sutra, is a laborious process. Yet the Chinese printers work wonders. In the 10th and 11th centuries all the Confucian classics are published for the use of scholar officials, together with huge numbers of Buddhist and Daoist works (amounting to around 5000 scrolls of each) and the complete Standard Histories since the time of Sima Qian.
The carving of so many characters in reverse on wood blocks is an enormous investment of labour, but the task is unavoidable until the introduction of movable type. This innovation, once again, seems to have been pioneered in China but achieved in Korea.

Movable type: from the 11th century

Movable type (separate ready-made characters or letters which can be arranged in the correct order for a particular text and then reused) is a necessary step before printing can become an efficient medium for disseminating information.
The concept is experimented with in China as early as the 11th century. But two considerations make the experiment unpractical. One is that the Chinese script has so many characters that type-casting and type-setting become too complex. The other is that the Chinese printers cast their characters in clay and then fire them as pottery, a substance too fragile for the purpose.

Type foundry in Korea: c.1380

In the late 14th century, several decades before the earliest printing in Europe, the Koreans establish a foundry to cast movable type in bronze. Unlike earlier Chinese experimentswith pottery, bronze is sufficiently strong for repeated printing, dismantling and resetting for a new text.
The Koreans at this time are using the Chinese script, so they have the problem of an unwieldy number of characters. They solve this in 1443 by inventing their own national alphabet, known ashan'gul. By one of the strange coincidences of history this is precisely the decade in which Gutenberg is experimenting with movable type far away in Europe, which has enjoyed the advantage of an alphabet for more than 2000 years.

Saints and playing cards: AD c.1400

In about 1400, more than six centuries after its invention in the east, the technique of printing from wood blocks is introduced in Europe. As in the east, the images are printed by the simple method of laying a piece of paper on a carved and inked block and then rubbing its back to transfer the ink. And as in the east, the main market is holy images for sale to pilgrims. Playing cards are another early part of the western trade.
Later in the 15th century, technical advances are made in Germany which rapidly transform printing from a cottage industry to a cornerstone of western civilization.

Gutenberg & western printing: AD 1439 - 1457

The name of Gutenberg first appears, in connection with printing, in a law case in Strasbourg in 1439. He is being sued by two of his business partners. Witnesses, asked about Gutenberg's stock, describe a press and a supply of metal type. It sounds as though he is already capable of printing small items of text from movable type, and it seems likely that he must have done so in Strasbourg. But nothing from this period survives.
By the time he is next heard of in connection with printing, he is in Mainz. He borrows 800 guilders in 1450 from Johann Fust with his printing equipment as security. The resulting story of Gutenberg and Fust is a saga in itself.
Gutenberg's great achievement in the story of printing has several components. One is his development of the printing press, capable of applying a rapid but steady downward pressure. The concept of the press is not new.
More significant are Gutenberg's skills with metal (his original trade is that of a goldsmith). These enable him to master the complex stages in the manufacture of individual pieces of type, which involve creating a master copy of each letter, devising the moulds in which multiple versions can be cast, and developing a suitable alloy (type metal) in which to cast them.
All this skilful technology precedes the basic work of printing - that of arranging the individual letters, aligned and well spaced, in a form which will hold them firm and level to transfer the ink evenly to the paper.
No date appears in the Gutenberg Bible (known technically as the 42-line Bible), which was printed simultaneously on six presses during the mid-1450s. But at least one copy is known to have been completed, with its initial letters coloured red by hand, by 24 August 1456. The first dated book from these same presses, in 1457, is even more impressive. Known as the Mainz Psalter, it achieves outstanding colour printing in its two-colour initial letters.

Week 03

Lecture 3 - Typo Redux

Typography

Typography is to a graphic designer, what oxygen is to a living being. It is 'the' most important area in graphic design to master, for you to acquit yourself with good standard.

Typographys the art or arranging and composing text, it is also a medium for expression and most importantly communication. It plays a central role in any design work.

In book design, needless to say your understanding and sense developed in the last two semesters in typography will play a crucial role in the output. As such, we are going to refresh some important points to consider in typography.

Characters in a typeface

Small Caps
Numerals
Fractions
Ligatures
Punctuations
Mathematical signs
Symbols
Non aligning figures

Legibility

If the goal when working with type is to make a body of text more readable, then heeding established legibility guidelines is of utmost importance.

Departure from these "rules" should be attempted when the designer is totally familiarized with them, and when the content lends itself to expressive interpretation.

The first step in making type legible is to choose text typefaces that are open and well proportioned i.e. classical serif typefaces such as Garamond, Bodoni, Bembo, Minion Pro, Baskerville, Jenson, Casion; and the sans serif faces Franklin Gothic, Frutiger, Gill Sans, Helvetica, Myriad Pro, and more.

Legibility / special styles

Underline should be lowered so that they do not touch the characters as this impedes readability.

Small caps & all caps - Small capitals are good for subheadings or for the first line of a paragraph. Text set in all caps should be used in short headlines. All caps should never be used for long sentences and for emphasis.

Special purpose style - Some formatting styles exist within the software for making footnotes or references, these tend to be embedded within the tools sections and a lay user may not be aware of their functions.

Text scaling - This will distort the original design of the font and makes the messaging appear cheap. NEVER do this.

Outline and shadow - Another style that tends to be abused a lot. This takes many years of practice and experience to use effectively and beautifully. Avoid outline and shadow as far as possible.

Type size, line length & line spacing - Text that flows naturally when read is achieved by having a harmonious relationship between the type size, line length and line spacing. A column type is usually about 50 characters and not more than 65. A type that is too small will cram together making it harder for the readers to read.

Line spacing refers to the amount of space between lines of type. Some fonts require more line spacing than others to keep their ascenders and descenders from touching.

Line length - Longer lines require more leading for easier reading.

Type size - The larger the type size, the more line spacing it requires.

Overly long or short lines of a type also tire the reader and destroy a pleasant reading rhythm.

Character and word space - Larger type sizes need adjustments to the space between characters and paragraphs needs to be adjusted.

Kerning - Inter-character spacing (known as kerning) created a more pleasant-looking text.

Word space - factors that determine correct word spacing included the typeface which is chosen and the size and weight of the type. Consistency in word spacing can provide an even typographic colour - a term used to refer to the overall lightness or darkness of the text.

Legibility / Alignment

Text alignment can be done in 5 different ways.
Flush left, ragged right - even letter and word spacing
Flush right, ragged left - alignments worked against the reader making it difficult for them to find a new line.
Centred alignments - give the text a very formal appearance and are fine when used minimally.
Justification (left / right ) - readable if the spacing between words is consistent.

Legibility / Paragraph Spacing

Automatic space between each paragraph that is applied when starting a new paragraph. Once set it can be applied either above or below the paragraph. It is more elegant to use paragraph spacing rather than simply double spacing returns.

Legibility / Paragraph Indent

Most comment indent is the small indent at the beginning of each paragraph.

First-line paragraph indents - should only be used if there is no paragraph space as the indents and paragraph space exist to inform the reader when a paragraph stops. Using both indent and paragraph space is overkill. The standard amount of indent is equal to the type size.
Widow - Single line of text at the top of the page or column.
Orphan - Single line of text at the bottom of the page or column.

Special formatting

Hyphens are usually only used to divide words or numbers.
En-dash are slightly longer than hyphens used to separate ranges of items such as dates, quantities and time
Em-dash is used in place of a comma to set off a section. It does have other use such as preceding the attribution of a quote.

Line break - Lines need to be broken for readability. Typing 'return/enter' to break the line can alter formatting when the intention is to break the line. To avoid this problem we can use 'shift-return/enter' rather than the normal return/enter.

Drop caps - Used to start off a new chapter and special sections of a report. There is no need to use this unless we want the text to be decorative.

Fig 8 Drop caps

Quotation - used to mark something that is spoken or, in other words, to designate a direct quote.

Sidebar - Text that accompanies the main body copy, usually an added description that has some relation to the main narrative but isn't important enough to be part of it. A good practice is to maintain a leading that is similar to the main body text despite the smaller font size.

Character styles - Formatting controls that are specific to the character font.

Week 04

Lecture 4 - The Grid

The grid is just 1 aspect of many different systems but it is the most practical of them all.

Raster Systeme

Using the grid as an ordering system is the expression of a certain mental attitude (of a designer)
It shows that the designer is constructive. The designer's work should also have a clear, intelligible, objective, functional and aesthetic quality of mathematical thinking.
The grid divides a 2D or 3D plane into smaller compartments. The field of compartments may be of the same or different sizes.

Purpose of The Grid

The grid is used by Typographers, Graphic Designers, Photographers, Exhibition Designers... for solving visual problems in two or three-dimensions.

By arranging the surface and spaces in the form of a grid the designer is favorably placed to arrange his texts, photographs and diagrams in a coherent and functional manner.

This creates a sense of compact planning, intelligibility and clarity and suggests orderliness in design. Information that is presented in clear and logically set out titles, subtitles, texts, illustrations and captions will not only be read more quickly and easily but the information will also be better understood and retained in the memory. This is a scientifically proved fact and the designer should bear it constantly in mind.

Modular

So The Grid, is modular in nature, it is not to be viewed as a straight jacket, or a constraint, or worse a jail you cant get out off.

The Grid, does allow for flexibility, if, you are capable of seeing the multitude of combinations it affords you.

However these variations, must have a limit when using it within dan book in order to maintain a certain amount of continuity or coherence in it outlook and navigation.

Much depends on the content in the book that is being designed. A book can range from one that contains body text and visuals. to bod text visuals, charts, diagrams, sub-text and more. A grid allows the designer to systematize the information in such a way that it becomes easy to read and understand

Readability and legibility

The grid makes the user experience seamless. It helps us read and understand easily. A well-executed design is one that works subtly in the background and allows the work on the pages to do the talking clearly, logically and elegantly.

Week 05

Lecture 5 - Elements

Major elements that are used in publication designs are Type, Colour and Image. Holding these 3 elements together are the format and grid.

Variations

When using the 3 elements (mentioned above) on a page within a grid system, it is important not to be predictable. We must try to create variations within the layout while maintaining consistency across the book at the same time.
To reduce stress, use thumbnail sketches to plan out based on the grid system that we have constructed. After which we can select one good typeface family that has a good range. It is okay if we want to introduce a second typeface later on. (Good typeface family might have a good heading within the type family). We can also use a single typeface to show consistency.
Hang line, typeface, colour, and image style must be fixed.

Body text + 1 graphic
Visual element + pullquote or subtext
Body text + body text
Full page graphic + body text

The sequence or the different formulas that function in a modular nature within the grid system depends on the number of pages within a book.
Colour plays a role in book design as it can be the focus of attention or a subtle supportive shape to create variation when there is a large amount of text. Elements are positioned logically and in a compositionally attractive manner if the grid used is in a modular way.
The elements in our book will fall into place when we begin to see the varied formulas possible within the grid system created. Every spread must be divisible by 4.
Not every spread must be different in a 32-page book. We are expected to rotate and reuse the formulas in our own book design.

INSTRUCTIONS

Exercise 01: Text Formatting

For our book, we were tasked to Generate content for our book and it should be 3000 words. The write-up should at least have 3 chapters, 1 pull quote per chapter and 1 subtext.

The content of our book can be written by ourselves or retrieved from the internet.

Fig 9 Text formatting pdf

Exercise 02: Mockup Making

Exercises 1 through 3 were to be completed in class, and we were instructed to bring our materials. (A3 or A4 paper, stapler, 16" ruler, pencil, glue and cutter)

We had to draw and explore 3 sizes of a book that are bigger than A5 and smaller than A4. Below are the following sizes drawn:

180mm x 232mm
153mm x 228mm
160mm x 220mm

Fig 10 Book Size Exploration

10/4/2023

Fig 11 Doing this task in class

10/4/2023

I ultimately decided on 160mm x 220mm since I think it's the greatest choice and the ideal size for my book. After binding eight pieces of A3 paper together, I continued by folding each piece in half and then cutting it to the required size. I eventually produced a 32-page book.

Fig 12 Size exploration

Fig 13 Final Book Mock-up

10/4/2023

Fig 14 Final size open book

10/4/2023

Fig 15 Stapler Binding

10/4/2023

Fig 16 Stapler Binding

10/4/2023

Fig 17 Flat Lay

10/4/2023

Fig 18 Close up View, (10/04/2023)

Fig 19 Final size flip through gif

I started by taking 8 pieces of A3 paper and folding them in half. These pieces will be used as the insides, and a thicker piece of paper will be used as the cover, once I was satisfied with the size. I joined all the papers with staples to simulate how the finished book will be bound. These pictures demonstrate how the book appears from various perspectives.

Fig 20 Watching Mr Vinod's Lecture signature folding system

After folding the paper, we then had to add numbers to each fold.

Fig 21 Opened signature

Fig 22 Opened signature

Fig 23 Opened signature

Fig 24 Folding and numbering

Fig 25 Folding and numbering

Fig 26 Folding and numbering

Fig 27 Folding and numbering

Fig 28 Folding and numbering

Fig 29 Folding and numbering

Fig 30 Folding and numbering

Fig 31 Folding and numbering

Fig 32 Folding and numbering

Then we had to bind the pages together by using a stapler and trim the edges to make all the pages open up.

I didnt have stappler at this moment so i used ring to bing them.

Fig 33 Signature stapler binding

Fig 34 Signature stapler binding

Exercise 4: Classical Grid Structure

We were also instructed to follow a video provided by Mr Vinod on how to create a Van de Graaf manually with paper, a ruler and pencil as well as digitally on InDesign.

For exercise 4, we were to create a Van de Graaff. We created the Van de Graaff based on the measurements of our book using Adobe InDesign.

Fig 35 Process Van De Graaf on Papaer

Fig 36 Process of igure 2.4.1 Van De Graaf on Paper

Fig 37 Van De Graaf on Paper

Fig 38 Van De Graaf on InDesign

Fig 39 Van De Graaf on InDesign

Fig 40 Van De Graaf with Sample Text

Fig 41 Van De Graaf with Sample Text

Fig 42 Van De Graaf with Sample Text

Fig 43 Van De Graaf with Sample Text

Fig 44 Van de Graaff (JPEG)

17/4/2023

Exercise 5: Determining Grid

We were instructed to develop three different sorts of original grid systems.

Fig 45 Grid system three options pdf

Fig 46 Grid system #1

Fig 47 Grid system #1

Fig 48 Grid system #1

With Grids and Margins Visible

Fig 49 Grid system pdf

Fig 50 Grid system #2

Fig 51 Grid system #2

Fig 52 Grid system #2

Exercise 06: Form & Movement Exercises

We should refer to the instructional video Mr. Vinod gave for this task, which was completed in class.

We were instructed to finish the version in black and white .

Attempt #1

Fig 53 Attempt 1

Submission in PDF

Attempt #2

Fig 54 Form & movement bnw attempt 2

Form & movement coloured version

Fig 55 Form & movement coloured version

Fig 56 Form & movement image + text version

Submission In Jpeg

Fig 57 F&M BW

Fig 58 F&M BW

Fig 59 F&M BW

Fig 60 F&M BW

Fig 61 F&M BW

Fig 62 F&M BW

Fig 63 F&M BW

Fig 64 F&M BW

Form & Movement in Color version

Fig 65 F&M Colored

Fig 66 F&M Colored

Fig 67 F&M Colored

Fig 68 F&M Colored

Fig 69 F&M Colored

Fig 70 F&M Colored

Fig 71 F&M Colored

Fig 72 F&M Colored

Form & Movement with text and Image

Fig 73 F&M I+T

Fig 74 F&M I+T

Fig 75 F&M I+T

Fig 76 F&M I+T

Fig 77 F&M I+T

Fig 78 F&M I+T

Fig 79 F&M I+T

Fig 80 F&M I+T

Submission in Thumbnail

Fig 81 Thumbnail BW

Fig 81 Thumbnail Colored

Fig 82 Thumbnail Image and Text

FEEDBACK

Week 1:

General Feedback:

When doing illustrations, highlight the 16 visuals.

Week 2:

Specific Feeback :

Your barcode is wrong generate the barcode from the website provided .

Align your spaces and layout of the 3000 words and follow the sample I provided .

Week 3

There was no feedback provided for exercises today

Week 4

No feedback given to me

Week 5 :

General Feedback:

Provide JPEGs for the van de graff exercise instead of pdfs

Week 6 : No feedback Given to me

Week 7 :

General Feedback :

Form & Movement visual shouldn't just look the same in all applications

make sure there's relation with your forms and movements.

Images should work alongside colors of forms and not replace it

REFLECTION

Experience

In general, I enjoyed these activities and found that they prepared me well for the remaining assignments in this module. I appreciate the whole because it gave me a clearer picture of what to expect. Preparing for the major task was greatly aided by researching the book-making process and the fundamentals of designing a layout.

Also Participating in these activities has helped me obtain a firmer grasp of the material and given me new perspectives on editorial layout.

Observation

This assignment taught me a lot about the publishing industry. As I was unsure of how to create an engaging grid at first, I looked at several examples. Therefore, Pinterest was and is actually my best buddy because I could see the really good works of other designers.

Findings

The fact that it didn't involve using a computer made it particularly appealing to me; I prefer analogue methods whenever possible, and I find that I get the most satisfaction out of tasks that require me to use my hands (such as drawing, cutting, etc.) rather than a computer.

In truth, I get greater pleasure in drawing.

I also learned that the key to creating visually appealing layouts is to use both motion and form.

FURTHER READING

Fig 83 Kreatif beats , Form and movement publishing design

Fig 84 Kreatif beats , Form and movement publishing design

I read Mr. Vinod's article titled "Form & Movement" in Kreatif Beats because I was curious to find out additional information about how to carry out the exercise. I was able to learn a great deal more about the process, and I was given the chance to look at previously finished work for this undertaking. Additionally, I am more grateful that we could finish it online rather than on paper, which was difficult for me to do because I prefer to use and handle paper.

Overall, the procedure was quite fascinating.

Transitions are particularly crucial in imaginative layouts where the reader could be surprised at every page flip. The adjective that best captures the necessary modifications is "seamless."

It is vital that the manner we organise the data encourages both fascinating contrasts and uniformity.

The forms must move in a way that suggests a narrative. Forms include text, colour, images, and even white space.

Fig 85 What are the standard book sizes in publishing?

Fig 86 What are the standard book sizes in publishing?

I used to read this essay in the past when I was attempting to understand sizes. I was attempting to decide what size book to produce, but I had no clue what to do. I made the decision to find out more about the topic right away after being left wondering whether there was a "proper" size for your book. I received a succinct and straightforward introduction to book sizes from the aforementioned article in a scientific publication.

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Mariam Ayman (347638)

Publishing Design - Task 1 / Exercises

PUBLISHING DESIGN - TASK 1 / EXERCISES

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