PUBLISHING DESIGN - PROJECT 2
Neoh Kar Yan (0339338)
Publishing Design
Project 2 - Book Design
INSTRUCTIONS
PROJECT 2
Week 7 (27/05/20)
After completing project 1 of content generation, the next stage was to design our book layout. We were told to look for layout references, create a type specimen sheet and grid options. Then, we were told to experiment with the layout from our half-titles to the end of chapter 1.
Type Specimen Sheet:
The experimented typeface combination was:
Heading: Special Elite / 18pt
Body text: Crimson Text / 10pt
Pull-quote: Special Elite / 12pt
Sub-text: Crimson Text / 9pt
Final Typeset:
Heading: Special Elite / 18pt
Body text: Garamond / 10pt
Pull-quote: IM Fell English / 12pt
Sub-text: Crimson Text / 9pt
Body text: Garamond / 10pt
Pull-quote: IM Fell English / 12pt
Sub-text: Crimson Text / 9pt
Layout References:
Grid options:
3 x 6
4 x 5
5 x 7
Final Grid Chosen: 5x6
First attempt on the layout:
Week 8 (27/05/20)
I prepared 3 layouts to show this week, one of them was from last week's progression after feedback.
Second Attempt:
Third Attempt:
Not available because I forgot to save my progress before Mr. Vinod gave me feedback. However, I managed to compile some snapshots of the progress through the Facebook Live stream (My apologies...)
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| Fig 1.3: Third Attempt Snapshots |
Fourth Attempt:
After Feedback done in class:
Week 9 (10/06/20)
This week we were to complete all pages with complete page numbers. We were also told to work on our book cover.
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| Fig 1.1: Book Cover |
I attempted to design the book cover. Frankly, I had a really high expectation as it is the book cover, I want it to stand out from the rest of my visuals. First and foremost, I have already had an idea in mind, which was to have a silhouette of a lady and having elements or photos behind with a double exposure effect. After some thought, I figured that going too much with the double exposure would steer me away from my style.
Hence, I still maintain my scrapbook-ish style but instead of having a plain background like the rest, the cover will mimic the cover of an actual scrapbook, by having layers and layers of old textured paper. I've also made a rectangular border at the side to mimic the iconic masking tape borders. The silhouette of the lady contains two pictures, one is a photo of a lady with a bicycle and a layer of body text. These elements work together to symbolize how women back then were treated lowly as compared to men and they often have a muted identity or little to no significance in society. The hibiscus also represents Malaysia. The silhouette of a soldier is placed on the shoulder of the lady/ wheel of the bicycle to symbolize the Japanese invasion of Malaysia on bicycles as well as the never-ending cycle of war.
Hence, I still maintain my scrapbook-ish style but instead of having a plain background like the rest, the cover will mimic the cover of an actual scrapbook, by having layers and layers of old textured paper. I've also made a rectangular border at the side to mimic the iconic masking tape borders. The silhouette of the lady contains two pictures, one is a photo of a lady with a bicycle and a layer of body text. These elements work together to symbolize how women back then were treated lowly as compared to men and they often have a muted identity or little to no significance in society. The hibiscus also represents Malaysia. The silhouette of a soldier is placed on the shoulder of the lady/ wheel of the bicycle to symbolize the Japanese invasion of Malaysia on bicycles as well as the never-ending cycle of war.
Final Book Link (Issuu):
Final Book Layout:
Final Book Layout Thumbnails:
Final Book Mockup:
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| Fig 2.1: Book cover mockup |
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| Fig 2.2: Book layout mockup |
FEEDBACK
WEEK 7
General Feedback: For our book design, we should always start our first chapter strong and make sure our text boxes are linked without islands of texts. We should also analyse and look into the margins and columns of the existing layout references that we have. For our e-portfolios, we should embed the power point lecture slides and not the lecture videos, we should also summarize what we have learned and the takeaway points from that particular lecture. For the form and movement exercise, the thumbnail PDF and GIF would be sufficient.
Specific Feedback: The right sequence of the book should consist of the half title, full title with the author's name and publisher and contents page with the imprint. The drop cap that I did can be done in the paragraph control tab, not just merely increasing the point size while it sticks out in the paragraph. If I want to have a drop cap or indentation, I must have a compact body text and it will look story-bookish. It is also important to note that the drop cap should have decent space around the body text because generally the drop cap has a decoration around the letter. Prelude looks very vague for the introduction as it isn't a magazine. The point size of the title of my chapter can be reduced half the size as I have already created contrast in the structure of the type, typeface that I've used (Sans serif and serif), so that it will look more seamless. Once I change the drop cap typeface to suit the title, it's starting to come together as a layout. The more I use the entire space the better it looks.
WEEK 8
General Feedback: Make the kerning to 5 and maximum is 15. We should all have our text linked throughout the chapter. We should also unable hyphenate for all our text. By next week, we should have the full book layout ready.
Specific Feedback: For my chosen book layout that I showed, Mr. Vinod says that I already have an indentation for the paragraphs. Hence, there is no need for paragraph space. However, since I said that it looks a little cramped, I can have either one, paragraph space without indentation or indentation without paragraph space. The margins are also used to see the book. It is where the content should stick to. Pull-quotes doesn't have to stick to the margin, it is like an image, used to attract the attention of readers. After showing him the three layouts I prepared, he told me to choose one and rework on it, focus on the text arrangement then show him again. After showing him the second round, he mentioned that now my layout looks too predictable and boring. Variation is important as what you learned in the form and movement exercise.
WEEK 9
WEEK 9
Specific Feedback: My layout looks fine and good to go so far. The pages of my book should best have 32 pages, or in multiples of 4. I may want to add more pages or images to that. Since my visuals are very tactile, it is a good relief to have a flat vector.
REFLECTION
EXPERIENCE
Week 7: This week we started designing our layouts from the half-titles to the end of chapter 1.
Week 8: I focused on reworking and perfecting my chapter 1 layout based on what was taught in class and the exercises, then only proceeded to do the rest.
Week 9: This week my layout was good to go after some minor adjustments. I only added colour and made sure everything looks good.
OBSERVATION
Week 7: This week was a bad week for all of us as Mr. Vinod was disappointed. Our work wasn't done well and it did not reflect all the things that we learned.
Week 8: I noticed that my layouts lack variation and surprise although it is now consistent.
Week 9: After playing around with the size and placement of the image, I noticed that my layout has started to have more variation.
Week 8: I noticed that my layouts lack variation and surprise although it is now consistent.
Week 9: After playing around with the size and placement of the image, I noticed that my layout has started to have more variation.
FINDINGS
Week 7: It was my first time designing a book layout and I find it challenging because even though it was supposed to be similar to the form and movement exercise, it felt different for me and it was hard to find that same flow again.
Week 8: I realize that I have to keep introducing surprise factors in each spread to keep the surprise level going, but my visuals are kind of fixed, with roughly the same size and treatment. Hence, I need to think of other ways.
Week 9: Having to finally finish the official book design makes me happy as I am able to see the whole thing in its glory, started from nothing to writing our content, and to see the visuals working with the text to produce a book feels satisfying, but I'm not fully satisfied frankly, I felt that my visuals could do better in having more variation.
Week 9: Having to finally finish the official book design makes me happy as I am able to see the whole thing in its glory, started from nothing to writing our content, and to see the visuals working with the text to produce a book feels satisfying, but I'm not fully satisfied frankly, I felt that my visuals could do better in having more variation.
FURTHER READING
1. Making and Breaking the Grid: A Graphic Design Layout - Timothy Samara
Week 7 - Week 8
For designers working in every medium, layout is arguably the most basic, and most important, element. Effective layout is essential to communication and enables the end user not only to be drawn in with an innovative design but to digest information easily. Making and Breaking the Grid is a comprehensive layout design workshop that assumes that in order to effectively break the rules of grid-based design, one must first understand those rules and see them applied in real-world projects.
Text reveals top designers' work in process and rationale. Projects with similar characteristics are linked through a simple notational system that encourages exploration and comparison of structure ideas. Also included are historical overviews that summarize the development of layout concepts, both grid-based and non-grid based, in modern design practice. When seeking for compositional options beyond the grid, it is not necessary to abandon the structure completely. One possibility is deconstruction: taking apart a grid and subverting it to create new spatial relationships. But there also many other kinds of structure that happen to not be based on a logic of repeating, modular or orthogonal geometry. These may be derived from nature, sach as seen in crystals or molecules or tree branches.
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