Lectures

Lecture #1 - Book

The book is the oldest format of publishing, and most important advances in publishing were centered around the book. A book is a medium to document and transmit ideas, knowledge, records, history, and so much more.

A discussion session (one-way)

Question: What factors influence and determine the format of a book? (Questioned by Mr. Vinod)

Answer by Mr. Vinod: It depends, as a designer, we have to make sure that our design can work based on its function. In this case, Mr. Vinod gave an example: if he were about to create a book, he would see the target audience. If the book was meant for kids, he would make the size compatible for the kids' hands, also if the book is for babies, the material should be sturdy/strong enough since babies are not aware of the stuff around them. Another example can also be seen on a contact book, a contact book has a thin paper material because it contains a lot of people's telephone numbers.

Highlight: A Making of a book not only considering about the layout, but also material (keywords: size, amount of content, type of binding, paper material).

Book Format Based on Civilization

Iran - Iraq = Mesopotamian civilization
Egypt = Ancient Egyptian civilization
India - Pakistan - Afghanistan = Indus Valley civilization
China = Han Chinese civilization
European (Turkey & beyond) = European civilization

A. Iran - Iraq: Mesopotamian civilization

Keeping before writing method, mentioned in Denise Schmandt-Besserat's (1995) essay on the token system "Record Keeping Before Writing". It is mentioned that the first writing system was correlated with counting. Or more likely, the first writing system was developed from counting technology.

How does this method work?

800 - 7000 BC: People would collect ball-shaped clay of different sizes.
3000 BC: Then it developed into a bigger piece of clay, and the writing/drawing was much clearer, and there was a division of place.
2400 BC: Same as in 3000 BC, but there's an enhancement in the material

[insert picture from minute 14]

B. India - Pakistan: Indus Valley

Cuneiform was one of the earliest writing systems. It was a more complex writing system. The people in this civilization mainly wrote about their government, religion, and trade. Cuneiform itself was a symbolic representation of a word that was written on a soft clay tablet using a sharp-pointed tool.

(15:00) -> (2600 - 1500 BC).

Not only is cuneiform on a clay tablet. Indus River Valley people also used palm leaves as a medium to write (15:14 picture) or a so-called palm leaf manuscript that was written using a sharp, pointed tool (stylus) on a dried palm leaf. The oldest surviving manuscript originated from Nepal. There's also a Sanskrit Shaivism text from the 9th century, discovered in Nepal (and a palm leaf manuscript), now it is preserved in the Cambridge University Library.

C. Egypt: Ancient civilization

The only people who could write Hieroglyphics were the scribes who lived in the ancient era. Those Egyptian scribes wrote on a special type of paper called papyrus; the Egyptians also would write on a tomb wall.

Information: The word papyrus refers to a thick type of paper made from the pith of the papyrus plant (Cyperus papyrus)

(minute 19:53 and 20:44).

In 1600 BCE, Hieroglyphics were written in hieratic (writing from left to right).

D. China: Han Chinese civilization

Chinese characters in the early period were written in vertical columns on thin bamboo strips (thin). To make a longer document, they started to thread the bamboo strips so they formed a page.

From this, the modern Chinese character for a book originated from the bamboo strips threaded together.

The earliest printed book is Chinese, from the end of the Tang dynasty. Discovered in a cave at Dunhuang in 1899, it is a precisely dated document. The paper was in a roll format, paper itself was invented as mentioned earlier in 179 - 41 BCE.

Chinese Publishing: 10th - 11th Century

Printing from a wood block was a work, because they had to carve the text one by one and then stamp it into each page. If there's a typo, they have to redo the carving process.
Despite the hard process, Chinese printers did an amazing job, because they manage to produce a huge amount of important books:

All the Confucian classics (books to educate and train government officials)
Around 5000 scrolls of a booklist and Daoist text.
The official histories of China, going back to Sima Qian (a famous historian from 200 years ago).

Later on, they found a better solution called the movable method, in which each letter was carved separately so it could be reused and didn't have to be re-carved if they do mistakes. This method was invented in China, but it was refined in Korea.
Why was the new method not finished by China? It happened because in China, they used clay or porcelain as the medium, which made the letters disappear or not last long. Meanwhile, in Korea, they invented a new writing system (by making 26-27 characters only, because Chinese characters were too many and it would be hard to track each letter) and used different materials that could make the carving last longer.

E. Turkey: European and Turkey

Parchment (invented in Turkey 197 - 159 BC), which later spread to Europe. This medium was made from animal hide/human skin. But this material is heavy because it was made from skin. Around 50 AD, Europeans made a parchment book. Back then in Europe, books are so expensive because of its material. If someone has it,we can tell that they are a wealthy person.

In 197 - 159, the two leavesof parchment filled with legible text from Al-Qur'an (Islam's holy book), have been carbon dated to close to the time of the Prophet Muhammad SAW.

paper becomes commonly available in Europe during 1400 - 1500 CE. Wood pulp is the main ingredients to make paper during 1860s (so the material changed into wood pulp during that time. The first paper that was wood pulp based was used to print the Boston weekly journal.

While paper started its journey, the folding format started to settle in the 'west'. First with wooden blocks, with thread sewn to hold them together, then with parchment and later with paper, where paper was sewn and bound together.

Lecture #2 - History of Print

AD = After the death of Christ

BC = Before Christ

BCE = Before Common Era

CE = Common Era (now)

2nd - 8th century AD: The emperor of China used stone to document their script about classic Confucianism by carving the text onto a stone. Later on, they tried to transfer it with the rubbing method, which is how they do it to transfer the text from stone to paper:

They placed a sheet of paper on top of the engraved stone.
Then they rubbed charcoal or graphite over the paper.
The ink only touched the flat surface of the stone, not the carved-in letters.
As a result, the background turned black, and the letters stayed white, forming a reverse copy of the original text.

Fig. Brass-rubbing

Korea and Japan - AD (750-768): Printing on a sutra (the earliest printed document).

Fig. Dharani sutra exhibited at National Museum of Korea

A dharani is a sacred Buddhist chant or spell believed to bring protection, peace, or merit (good karma).

The dharani texts were woodblock printed — carved onto wooden blocks and then pressed onto paper.
Each printed prayer was rolled up like a scroll.
The scroll was then placed inside a tiny wooden pagoda.
A total of one million of these were made and distributed to temples across Japan.

"One Million Pagodas and Dharani Prayers" refers to a collection of Buddhist prayers or mantras that were printed on paper, rolled up, and placed inside small wooden containers shaped like miniature pagodas—symbolically and visually. While Japan had already encountered woodblock-printed texts from Chinese Buddhist temples as early as the 8th century, the Hyakumantō Darani are the oldest known printed materials produced in Japan. Along with the Korean Dharani Sutra, they are among the earliest surviving examples of printed works in the world (Wikipedia)

Fig. Hyakumanto Darani

The first printed book - AD 868

16 feet long and a foot high, printed from from T'ang dynasty. Discovered in a cave at Dunhuang in 1899 (in the form of a scroll). It's the world's printed illustration, formed by the two sheets of papers that are glued together at their edges.

Fig. Printed roll from the T'ang dynasty

Chinese publishing: 10th - 11th century

Woodblock printing, like what was used for the Diamond Sutra, was very slow and required a lot of effort.

But despite this, Chinese printers did amazing work. In the 10th and 11th centuries, they printed:

All the Confucian classics for scholar-officials.
About 5,000 scrolls of Buddhist and Daoist texts.
And the complete Standard Histories since the time of Sima Qian (a famous early Chinese historian).

To do this, they had to carve each Chinese character in reverse onto wooden blocks — a process that took a huge amount of labor.

But they had no choice, because this was the only method available until movable type printing was introduced.

Movable type was first invented in China, but it was later improved and more widely used in Korea.

To better understand:

Diamond Sutra = a printed Buddhist scripture
Printing method used = Woodblock printing
Importance = World's oldest known printed book with a date

Movable type: from the 11th Century

Simpler printing method.
Made separately (can be arranged in the correct order for a particular text and reused).
More efficient.
The idea was found in China, but because of the material and the system that had too many characters, which was not practical at that time, the material used was also fragile for being reused, which was clay. This method was finalized in Korea.

Type foundry in Korea: C 1380

In the late 1300s, Koreans started using movable type made of bronze, which was stronger and more reusable than the earlier pottery-based movable type from China. At the time, Korea used Chinese characters, which made printing difficult because there were thousands of different characters. In 1443, Koreans created their own writing system, called Hangul, which is alphabet-based and much simpler than Chinese characters. Around the same time (1440s), Gutenberg in Europe was also developing movable type printing. But Europe already had a phonetic alphabet (like A–Z) for over 2000 years, which only needs a small set of letters to form words. This made it much easier for Europeans to use movable type because they didn't have to deal with thousands of characters like in Chinese writing.

Saints and playing cards: AD 1400

Around the year 1400, woodblock printing, a method developed in Asia over 600 years earlier, was introduced to Europe. Just like in the East, the process involved inking a carved wooden block, placing paper on top, and rubbing the back to transfer the image. Early printed items in Europe were mainly religious images sold to pilgrims, and playing cards. By the late 15th century, especially in Germany, new technological improvements turned printing from a small-scale craft into a major force that helped shape Western civilization.

Note:

Pilgrim: A person who travels to a sacred place for religious reasons, often to show devotion, seek blessings, or fulfill a vow.
Playing cards: Small rectangular cards used in games or gambling, often decorated with printed suits (like hearts or spades). In early Europe, they were one of the first printed items sold for entertainment.

Gutenberg & Western Printing: AD 1439 - 1457

Gutenberg first appears in historical records related to printing in 1439, when he was sued by two business partners in Strasbourg. Witnesses described his printing tools, suggesting he had already begun experimenting with movable type, though no printed work from that time survives. By 1450, he had moved to Mainz, where he borrowed money from Johann Fust using his printing equipment as collateral, marking the beginning of the major developments that would lead to the invention of the printing press.

The world's largest book

Location: Foot of Mandalay Hill, Burma, Myanmar

The book was carved from stone, with each slab placed under a roof Refer to the picture below for a clearer vision:

Fig. The World's largest book taken by Mr. Vinod

Lecture #3 - Typography Redux

Typography = oxygen for graphic designers. To be good in graphic design, we should be good in typography as well, because it's the art of arranging and composing text, it is also a medium for expression, and most importantly, communication.

Characters in a typeface:

Lowercase
Capitals
Small capitals
Punctuations
Non-aligned figures: "non-aligned figures" in a typeface usually refers to numerals (figures) that do not all share the same height or alignment, specifically, old-style figures (also called text figures).
Fractions
Ligatures
Symbols

Fig. Characters in a typeface

X height: from the baseline to the meanline (the space in between those lines).

Fig. Characters in a typeface

In the picture, a common use of capital swashes is evident, typically at the beginning of the name. Do not use capital swashes in all capitals (it looked bad and hard to read). While ligatures are a way of combining two alphabets that usually clash, for example, in the picture above, letter f and i usually clash; that's why typography designers use ligatures to combine them to improve the readability.

Uppercase numbers: designed in the same height and called modern numbers (preferred in the 40s).
Lowercase numbers/oldstyle numbers: have varied heights that could extend above and below the baseline, just like lowercase numbers.

A good typeface has a variety of weights. It will ease its use of it, especially if the typeface is gonna be used for a book that has a lot of information. In typography, if the goal is to make people easily read our text, the best way is back to basics by understanding the basic rules of legibility (play safe). But if we wanted to experiment and go crazy, it's better if we understand and familiarize ourselves with this, or the content that we're making is expressive enough. To make type legible, use typefaces that are balanced and clear.

Fig. Example of legibility

New insight: overshoot refers to the slight extension of curved or pointed letterforms beyond the boundaries (x-height, baseline, cap height) of other, flatter letterforms, creating the optical illusion that all letters are aligned.

Fig. Capital letters

Small caps and all caps: The usage of capitals is only good to be applied in short headings compared to long sentences or emphasis, as it could reduce readability. Capital letters were designed to be the beginning of a new sentence.

Fig. Special Styles

In the picture, we can see some of the features that we can use in our type setting that exist in our software.
Another feature that is not listed in the picture is text scaling, which allows people to stretch the font
Outline & shadow: The use of it needs practice and experience to beautifully apply this feature to the design. If not, the usage of this feature could damage the readability.
A good flow of text is produced from a good harmony between type size, line length, and spaces between lines of type (line spacing or leading).

Line length:

Another thing that needs to be remembered is that when we want to put text on a column, we cannot make the column too small or too big; usually, a column type contains 50 characters and not more than 65 characters, or else it would cramp the text and make it hard to read.

50 characters is the ideal number of letters that we could have if we prioritize readability and legibility.

The general size of text is 8 to 12 point, not bigger than that. Unless we designed it for a visually impaired person.
Point size also determined the line length.
The ideal leading should be 2.5 to 3 points larger than the text size.

Leading: The amount of space between lines of type

The font that we used could affect the leading, as it depends on the design. Some of them require more line spacing compared to other fonts. So it cannot be generalized.
Line length also determines the leading; longer line need more leading to make reading comfortable.
Type size: The larger the type, the more line spacing it needs. This usually applied to body copy. While for the headlines, which are normally set larger compared to other types/text. Need tighter line spacing.

Fig. Line spacing example

Palatino 9/10 is a balanced line spacing application in this lecture, but if it comes to a big paragraph, we might want to increase the line spacing.

Character & word spacing

Kerning needs to be done wisely. One of the functions of kerning is to avoid orphans and widows at the end of paragraphs. Have to remember that tracking and kerning are similar but not the same, kerning is adjusting the space between single letters, while tracking is adjusting the spacing in one word (ex: H E L O).

Alignment

Flush left, when using this alignment, we want to ensure that the ragging is smooth.
Flush right, this works against our reading direction, and might not be applicable for a long text or body text.
Centered alignment, it's ragging on both sides, so we have to make sure that it has smooth ragging.
Justified, this can be challenging because it could create gaps between words. To avoid that, we need to adjust it manually with kerning, adding or removing some words (idk if this is illegal?).

Paragraph indent.

Standard indentation should be the same size as your type size. Usually, this is used when you are using justified text, not flush left, because it gets ragged.

Special formatting

Hyphens (-)

to divide words or numbers.

En-Dashes (–)

to separate ranges or items, for example, 1-10.

Em-Dashes (—)

often used to separate thoughts or clauses.
example: My friend — who just got back from Japan — brought me a yukata.

Some of the headlines needs to be separated because they're to long, but clicked enter would make a huge gap between the sentences. Instead of clicking 'enter' we could press shift+enter. But this combo usually only exists in certain software like Adobe InDesign.

Lecture #4 - The Grid

"The use of grid as an ordering system as an expression of a certain mental attitude in as much as it shows that the designer conceives his work in terms that are constructive {...} This is the expression of a professional ethos: the designer's work should have clearly intelligible, objective, functional and aesthetic quality of mathematical thinking"

(Brockmann, 2010)

Grid is a guide to help designers make their design to look beautiful and make text more readable. By using a grid, designers will be able to place pictures, text, and other elements that they want to add to their design neatly, because besides making the design look good, ga rid could increase the clarity of the design and deliver the message of the design. There are some important elements in grid that we have to know:

Margins (space around the page) are is crucial to any design, because the result of our layout, whether it's beautiful or not depends on the space that we give around the text field.
Text field is where the text flows into.
Gutter: the spaces between the columns.
Hang lines are guides for aligning out text content.

Lecture #5 - Elements

Elements that make up the book:

Visual elements
Actual elements
Color

All publications consist of 3 major elements such as type, color, and Image. When we are using all of these three elements, we should be careful; we don't want to turn our design into something boring. That's why variation is important. This is where grid, consistency of colour usage, and hang line play an important role. Together, variation and consistency will create harmony and make our book design look beautiful. This is what we tried to apply during the book-making.

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Instruction

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Task 1-Exercises

All exercises prescribed are to be completed and documented (labelled, clean, clear & concise) in your eportfolio.

The exercises are as follows:

Text formatting
Mock-up making
Signature folding systems (8+8=16)
Classical Grid structure
Determining Grids
Form & Movement Exercises (Thumbnail)

1 Colour
2 Colour
2 Colours + Image
Colour + Image + Text

Exercise 1: Mock-up 1 Book Size

In this task, we were told to make a book mockup that has a size smaller than A4 but bigger than A5. In this task what we need are:

2 pieces of A4 paper
Pencils
Ruler
Clear tape

There's a video provided to guide us in determining the size. First, we need to make an A5-size book, and after that, we could do another size. Below is the result:

Fig. 2.1 Different sizes

Fig. 2.2 Mock-up book opened

Fig. 2.3 Mock-up book cutted 185 x 240 mm

Exercise 2: Signatures

In the signatures exercise, we have to fold A4 paper into 8 small parts. The purpose of this exercise is to teach us about how the book works. After folding the paper, we wrote the page number, because there are 8 folds, which means we have 16 pages. Ms. Vitya also mentioned that if we wanted to add pages, make sure that the number of pages is even. The last step is to staple the paper together so it forms a book.

Fig. 2.4 Folding the paper into 8 parts

Fig. 2.5 Added page numbers

Fig. 2.6 Use a stapler to bind the paper

Exercise 3: Van De Graff

In the 3rd exercise, we should draw a Van De Graff structure on paper and then make the digital version of it as well to be used as a guide for putting our text layout.

Fig. 2.7 Van De Graff manual

Fig. 2.8 Digital Van De Graff and layout with grid

Fig. 2.9 Digital Van De Graff and layout without grid

Exercise 4 - Determining Grid

Fig. 2.10 Determining grid with grid

Fig. 2.11 Determining grid without grid

Exercise 5 - Form & Movement

Practice Form & Movement

Fig. 2.12 Form & movement practice PDF

1 Color Movement

Fig. 2.13 Form & movement 1 Color PNG

Fig. 2.14 Form & movement 1 color with grid PDF

Fig. 2.15 Form & movement 1 color without grid PDF

2 Color Movement

Fig. 2.16 Form & movement 2 color with grid PNG

Fig. 2.17 Form & movement 2 color with grid PDF

Fig. 2.18 Form & movement 2 color without grid PDF

Picture & Color Movement

Fig. 2.19 Form & movement color + picture with grid PNG

Fig. 2.20 Form & movement color + picture with grid PDF

Fig. 2.21 Form & movement color + picture without grid PDF

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Task 2 - Content Generation

In this task, we were told to write a 3000-word story of ours, later the text will be put into a book of 32 pages in a size smaller than A4 but bigger than A5. We also need to collect illustrations or photographs to complement our text.

For this task, I am not sure that I would produce a good story, since I'm not into writing, so I just put my own experiences. To be honest, I kinda feel that my writing is a bit cheesy, but fortunately, Ms. Vitya doesn't mind it. I wrote about my childhood and how my mom and I migrated to the city where my father is working right now. The main point of the story is how I adapted to the new environment I was in. In week 3, I sent my story to Ms. Vitya, and she said that it sounds good. So I continued to collect pictures for the book as well. I decided to use photographs to add a nostalgic atmosphere, since the background of my story was mostly taken when I was a kid.

FINISHED TEXT

Fig. 3.1 Final text

Below are some of the potential pictures that I will use in the book:

Fig. 3.2 Pictures for the book

Most of the pictures were scanned from an album in my grandparents' house. I'm glad I scanned them every time I visited my grandparents' house, but since they're scanned pictures, I need to refine some parts. There are some pictures where I have light reflection on them.

Fig. 3.3 Refine the picture in Photoshop

Other than fixing the reflection, I also added a black and white filter and some effects to the picture to bring a nostalgic feeling. Below is the before and after of the picture:

Fig. 3.4 Before and after editing

This is the final result of all chosen pictures after editing:

PHOTOGRAPHS

Fig. 3.5 Photographs

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Task 3 (A&b) - Book & Ebook

Click here to see the final result

In this task, we should develop the content, putting the text into the layout. Before starting to place all of the text into the layout, I looked at some references on the internet. I want my book to resemble the story of my life, and I want to emphasize the photographs that I have. That's why I wanted to go with a clean look and decided on focusing on using 3 colors like black, orange, and white.

Moodboard:

Fig. 4.1 Layout inspo

Arranging pictures and placing text was fun for me, because I got to experiment with stuff and gain knowledge as Ms. Vitya gave me feedback. One of the examples is when I showed her my first sample of the layout.

Fig. 4.2 First attempt

It can be seen that the in (figure 4.2) is imbalanced, and the black background usage is not consistent. Ms. Vitya also suggested I copy and overlap the picture if I wanted to showcase one image in the middle of a spread, basically like having a picture that extends to another page, or when you wanted to put a picture fully on two pages. Because when we send it to the printing shop, they will do the print based on a single page, not as a spread. On my first attempt, Ms. Vitya also suggested to re arrange the use of the lines and background.

Fig. 4.3 Second attempt

Fig. 4.4 Book cover first attempt

This is the result of the second attempt. I printed it out, and Ms. Vitya left some notes about it:

The cover is not in the correct alphabetical manner; perhaps change it into a logoform title.
Need to make the use of the lines element balanced, because in some pages, they only have one line, but some have two lines.
Kerning still needs to be adjusted, because there's a paragraph that looks loose (there's a hole in it).

After receiving feedback, I tried to improve based on the feedback. I did the cover first. Ms. Vitya suggested that I overlap the i's or turn it into a form of line so it looked similar to the line element that I used inside the book, or I could use masking to combine the picture and letter. Below is the amendments of the layouts and book cover.

Fig. 4.5 Layout attempt 3

After handing these printed layouts, Ms. Vitya still suggested to improve the book cover; other than that the layout had no issues and only had minor changes needed. So after received the feedback I continued to focus on creating more book cover design.

Fig. 4.6 Cover amendments

These four are the cover designs I made. I mainly used Adobe Illustrator to make them. I took the letter 'i from a serif letter Times New Roman and combined it with Futura.

The first cover design was the first improvement of the original book cover, but it still needs to be changed. How I made this design was by taking the old version and only changing the i's. But then I think I should explore more.
On the second cover, I attempted to transform the letter 'i' into a scooter shape, inspired by the original picture where I was trying to ride a scooter. I thought it would be great to disguise the 'i' into the design and make the whole cover look more personal.
For the third cover, I'm trying to play with distance and added a line element in it to match the book content.
The last one was initiated by Ms. Vitya's feedback by masking the picture in the letter.

Fig. 4.7 Making a book cover from Adobe Illustrator

After discussing with Ms. Vitya and receiving her feedback, I selected cover number 3. After deciding on the cover, I also finalized the whole layout and in Adobe InDesign, at first I got an issue with kerning, and Ms. Vitya suggested I use hnj violation, which is one of the features in InDesign that could help with making better kerning and adjusting my paragraphs.

Fig. 4.8 Using hnj violation

Hnj violation helped me a lot in revealing which paragraphs need to be adjusted. I also double-checked the paragraphs to prevent orphans or widows at the end of the paragraphs. After checking all of them, I printed out my book. For the material, I used maple paper 140 GSM for the inside paper and 250 GSM for the book cover. Below is the final result.

Ps. I added extra pages because my original pages were 38 pages, which cannot be divided by 4, while for making a book, you should have pages that can be divided by 4. For the extra pages, I added a quote by George Bernard Shaw saying, “Life is not about finding yourself. Life is about creating yourself. The reason I chose this quote because it aligns with the content inside my book, and it has a meaningful message that can be applied in our lives.

Ms. Vitya also told us to make a poster for the book. I decided to go with a book launching poster as and use a clean layout by focusing on the book and putting a description underneath the book.

Fig. 4.9 Promotional poster design process

FINAL RESULT

E-book link

Fig. 4.10 Final Compiled Layout

Fig. 4.11 Final Layout Spread

Fig. 4.12 Final layout pages

Fig. 4.13 Promotional Poster PDF

Fig. 4.14 Promotional Poster PNG

Fig. 4.15 Physical Book

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Feedback

Week 1: Module briefing

Week 2:

Doing exercise one and briefing on task 3A.
And in the next week, all of the students should be prepare with 3000 words story and 10 illustrations/photographs.

Week 3:

Continuing on exercise 4, receive short lecture from Ms. Vitya about publising and showing our task 2.

Week 4:

Ms. Vitya said that my 3000 words can be continued to the next step, Ms. Vitya also gave us brief about the movement exercise.

Week 5:

On the movement exercise, Ms. Vitya give me suggestion to balance the picture arrangement (I put all on the left side, and it's suppose to be for a thick book)
Ms. Vitya gave more clarification on how to do the movement layout, short lecture on typography

Week 6:

(Task 3A) - The color orange is too overpowering (but it's okay to have more elements, later we can figure out which one need to removed or improved)
If we want to go with full color page, we should set the bleed. Also if have picture/elements, can't just drag the element into full page (divide it by doing > copy paste in place > basically duplicate the pic (i don't know how to elaborate it, but I understand in my heart))

Week 7:

Need to adjust the kening and leading for the title, explore more.
Most importantly, the color black is too much, make the layout looks heavy. Elements should have function as well, it's there for a reason.
Can use different color for each page. (Touch some grass, Aisya)

Week 8:

No consultation (ILW)

Week 9:

The paragraph setting, there's hole that bothering the look of the paragraph. The i's on title could resemble the lines element
Line usage should be consistent as well (example: why page the picture of me, ayah, kakung has 2 lines while others not)
There's an orphan in one of the page, check again KERNING AGAIN!
Logo-form title
Page number & paragraph font-space
Last image is blurry, need to check the relink file

Week 10:

The cover might need to be improved, the flow and color choices looks good.

Week 11:

No hyphenation, make sure to pay attention to the font size for the cover.

Week 12:

The promotional poster need to add more information about the author, location, and type of event. Actually, for the book, the page number is too big.
The size should be similar or same as the body text size. But no need to reprint the book, just fix it on the digital version.

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Reflection

Experience: I did not expect that this class would be one of my favourite classes. In the first week, I was a bit skeptical because I had found another module that stressed me out and made me cry twice already. However, as time passed, I began to feel joy doing this module, not only that... Somehow, this class gives me calm whenever I attend it. I also think that it is related to the project that I'm doing. Ms. Vitya is also very supportive and gives clear explanations and pushes us (in a good way) to do the work so we could finish everything on time. In this class, I also started to have the courage to ask to my lecturer in front of my friends, because I was usually scared to ask cause I didn't want people to think that my question is dumb (what a bad way to think). But somehow I feel safe in that class, the environment was very supportive and it helped me to absorb the information better.

Observation: The lessons I got from Mr. Vinod also play an important role in this module, because building a book is all about making our readers feel comfortable reading it. I am glad that we got a throwback lecture about some of the things that I need to apply. I also unlocked new features in Adobe InDesign that I had not been taught before. Like how using hnj violations to make our type look readable and other design tricks. What I realize is that Ms. Vitya always set a clear deadline for all of the students, and it helped us to be more disciplined and finish our work on time.

Findings: This module is very interesting and makes me want to learn more about publishing, the experience that I got from coming to the printing shop, the feelings that I got from touching the paper material, it sooths me (maybe it's because I always work with laptop and it drained me so much that I feel sick of it sometimes). I gained a lot of insights from this class, and I'm happy that now I know how to publish a book. I would like to learn further about this if I have the chance.

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Aisya Diva Anwagodsa (0365505)

Publishing Design

Table of Contents

Lectures

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Instruction

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Task 1-Exercises

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Task 2 - Content Generation

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Task 3 (A&b) - Book & Ebook

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Reflection

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