Publishing Design - Task 1 / Exercises

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

Anna Chin Siaw Fong / 0354370 
Publishing Design / Bachelor of Design (Honours) in Creative Media / Taylor's University
Task 1 / Exercises

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LECTURES

Lecture 1: Formats

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.

1. Mesopotamia 

• Denise Schmandt-Besserat (1995) contends in her essay on the token system “Record Keeping Before Writing,” that “It is remarkable that the first writing system developed from a counting technology.”
• The progression from simple and complex tokens to bullae set the stage for the early forms of pictographic writing on clay tablets. 

2. Indus Valley River Civilization

• In the Indus River Valley Civilizations (Harappan & Mohenjodaro) there is not much known about record keeping but we do know they had a complex system. Their writing, cuneiform, was one of the earliest systems of writing. They wrote records about their government, religion, and trade. Cuneiform was written on soft clay tablets by using sharp pointed tools.

3. Egypt

• The scribes were the only people in ancient Egypt that could read and write Hieroglyphics. The Egyptian scribes wrote on a special type of paper called papyrus. In addition to writing on papyrus the Egyptians also would write on the tomb walls.
• The word papyrus refers to a thick type of paper made from the pith of the papyrus plant (Cyperus papyrus).

4. Han- 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.

5. Turkey & 'The West'

• 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.

Lecture 2: History of Print

2nd - 8th century AD

• The emperor of China commands, in AD 175, that the six main classics of Confucianism carved in stone.
• Confucian scholars eager to own these important texts simply lay sheets of paper on the engraved slabs and rub all over it withcharcoal or graphite taking away a text in white letters on a black ground 

Korea and Japan: AD 750-768

• The invention of printing is a striking achievement of Buddhists in east Asia. Korea takes the lead. The world's earliest known printed document is a sutra printed on a single sheet of paper in Korea in AD 750.
• This is closely followed in Japan by a bold experiment in mass circulation. In AD 768, in devoutly Buddhist Nara, the empress commissions a huge edition of a lucky charm or prayer. It is said that the project takes six years to complete and that the number of copies printed, for distribution to pilgrims, is a million. Many have survived.
• The Hyakumantō Darani literally the One Million Pagodas & Dharani Prayers, is a famous large-scale woodblock printing, the earliest recorded uses of woodblock printing in Japan.

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.

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.

Special Styles

Underline: Many programmes handle underlining incorrectly (fig 12). The underline should be lowered so that they do not touch the characters as this impedes readability. There are two types of underlines, one that effects entire sentences, and one that effects only the words.

Small Caps & All Caps: Small Capitals are good for subheads or for the first line of a paragraph.

Text set in All Caps should be used in short headlines or subheads. All Caps should never be used for long sentences and for emphasis.

Special-Purpose Style: Many formatting styles exist within software's for making footnotes, references, and mathematical formulas. These tend to be embedded or nested within the tools sections and a lay user may not be aware of its functions.

Text Scaling: Some program allow for the user to create a pseudo-condense or pseudo-extended font by horizontally or vertically squeezing or stretching a font. This distorts the original design of the font. You should never do this, it distorts the font and makes the messaging appear cheap.

Outline & Shadow: Another style that tends to be abused a lot is the outline or shadow styles. This happens when deluded individuals through a flick of a mouse, and the aid of a software. think they can do magical things. Its takes many years of practice and many more years of experience before one can format text beautifully and effectively. Please avoid outline and shadow as far as possible

Type Size, Line Length & Line Spacing

Text that flow naturally when read, is achieved when a harmonious relationship exists between type size, line length, and spaces between lines of type (line spacing or leading)

A column of type usually is about 50 characters across, and no more than 65 characters. Type that is too small will "cram" too many letters per line and make the copy hard to read. Remember type that is hard to read may not be read at all.

Leading, or line spacing, refers to the amount of space between lines of type. As with type size, there are no set rules for how much line spacing to use; however. there are some major factors to

consider:

• The font used - some fonts require more line spacing than others to keep their ascenders and descenders from touching.
• The line length longer lines require more leading for easier reading.
• The type size -the larger the type size, the more line spacing is required. This rule mostly refers to body copy: headlines, which are normally set larger, may actually be set with tighter line spacing.

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

Many times, simply typing in the text and formatting the font, size, and line spacing is enough. However depending on the program used, extra attention is needed. Larger type sizes need adjustments to the space between characters; and paragraphs need to be adjusted to eliminate "widows" and "orphans.

Kerning: Inter-character spacing, known as kerning, creates a more pleasing look to the text. Most word processors do not allow kerning adjustments and most page-layout programs apply kerning auto-matically; however, certain letter combinations may require manual adjustments.

Word spacing, factors that determine correct word spacing includes typeface which is chosen, the size and weight of the type.

Consistent word spacing provides an even typographic "colour" a term referring to the overall lightness and darkness of the text.

Character & Word Space

Italics:

Italics and oblique type should be used with prudence, for large amounts of slanted characters set into text impede reading. Italics are best suited to create emphasis within text rather than to function as text.

Capitals:

TEXT SET IN CAPITAL NOT ONLY CONSUMES MORE SPACE THAN TEXT SET IN LOWERCASE, IT SEVERLY RETARDS THE READING PROCESS LOWER-CASE LETTERS IMBUE TEXT WITH VISUAL CUES CREATED BY AN ABUNDANCE OF LETTER SHAPES, ASCENDARS. DESCENDARS AND IRREGULAR WORD SHAPES. TEXT SET IN ALL CAPITALS IS VOID OF THESE CUES. FOR IT LACKS THIS VISUAL VARIETY

Alignment

Flush left, ragged right produces very even letter and word spacing, and because lines of type terminate at different points, the reader is able to easily locate each new line. This is perhaps the most legible means of aligning text.

Flush right, ragged left alignments worked against the reader by making it difficult to find each new line. This method is suitable for small amounts of text, but is not recommended for large amounts.

Centered alignments give the text a very formal appearance and are fine when used minimally. But setting large amounts of text in this way should be avoided.

Justified text can be very readable if the designer ensures spacing between words are consistent, and that award gaps "rivers" do not interrupt the flow of the text.

Paragraph Spacing is an automatic space between each paragraph that is applied when starting a new paragraph; once set, it can apply space either above the paragraph or below it.

Paragraph spacing is a more elegant way to soace out paragraphs than simply double spacing returns.

Paragraph Indent

The most common indent is the small indent at the beginning of each paragraph, but indents have many more uses, including adding an element of design to the page.

First-line paragraph indents only should be used if there is no paragraph space because the indents and the paragraph space exist to inform the reader when a paragraph stops and a new one begins. Using both the indent and paragraph space is overkill.

The standard amount of indent is equal to the type size. For example, if the type size is 12 points, the indent should be 12 points. (Most programs allow the user to enter sizes in points if typed as "p12" or "12 pt.) The amount of the first-line indent can be extended for design purposes.

Normally, a widow is a single line of text at the top of a page or column, separated from its paragraph, and an orphan is a single line of text at the bottom of a page or column, separated from its paragraph.

Widow

The adjustment of word spacing is called Tracking. It is similar to kerning but refers to the adjustment of an entire selection of characters, making the words farther apart.

Orphan

The adjustment of word spacing is called Tracking. It is similar to kerning but refers to the adjustment of an entire selection of characters, words, and spaces a required space without altering the type size or line spacing.

Tracking can be either negative, making the words closer together; or positive, making the words farther apart. Its main purpose is to make type fit

Special Formatting

Hyphens are usually used only to divide words or numbers, but they also are used to break words from one line to the next. Headlines and subheads should never be hyphenated at a line ending.

Dashes come in two varieties: the en-dash and the em-dash. En-dashes are slightly longer than hyphens (usually, the width of the letter "N*), and are used to separate ranges of items, such as dates, quantities, and time. As a rule, if you can substitute the word "to" or "through"

Often, lines (particularly headlines and subheads) need to be broken for readability. However, just typing a "return" to break the line can alter formatting when the intention is to break the line.

To avoid this problem, most programs allow line breaks; these are usually inserted by typing a "shift-return", rather than a normal return.

Drop caps are used to start off new chapters and special sections of a report. You can create the cap, then alter the font, the style, and the color of the character through the use of a Character style. Many programs have settings to automatically create the drop caps; if the program does not have automatic settings, drop caps should be avoided.

A sidebar is the text that accompanies the main body copy. It is usually an added description that has some relation to the main narrative but isn't important enough to be part of it. I is sometimes used to highlight alternate narrative's or facts or to describe an image used alongside the main body text in line with the sidebar. It is a good practice to maintain a leading that is similar to the main body text despite the smaller font size.

Character Styles refers to the formatting controls that are specific to the character/Fornt; Point Size, Leading, Kerning, Tracking etc.

Paragraph Styles refers to the formatting controls that control the formatting of entire paragraphs; Alignment, Indentation, paragraph spacing, paragraph rules, etc.

Lecture 4: The Grid

Raster Systeme

The grid divides a two-dimensional plane into smaller fields or a three-dimensional space into smaller compartments. The fields of compartments maybe the same or different in size.

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

Lecture 5: Elements

Book

All publications consists of 3 major elements:

1. Type
2. Colour
3. Image 

Holding the above together is the format and grid.

Variation

When using these 3 elements on a page within a grid system, it is important to not fall into the trap of predictability. You must try to create variation within the layout but at the same time maintaining consistency across the book

This entails keeping certain areas fixed; hang line typeface, colour, image style and such, while creating variation in combination of elements and variation within how it is arranged.

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INSTRUCTIONS

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EXERCISES

Exercise 1 - Text Formatting

Fig 1.0 Text Formatting

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Exercise 2: Mock-up Making

For this week's exercise, 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:

• 176mm x 250mm
• 153mm x 228mm
• 160mm x 222mm

Fig 2.0 Book Size Exploration

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I ended up going with 160mm x 222mm as I feel like its the best option and its the perfect size for my book. I proceeded to folding 8 pieces of A3 paper in half and cutting it to my desired size after binding them together. I ended up with a book with 32 pages.

Fig 2.1 Final Book Mock-up

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Fig 2.2 Final Book Mock-up Inside

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Fig 2.3 Stapler Binding

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Fig 2.4 Flat Lay

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Exercise 3: Signature Folding System

For this exercise, we were to fold the signature folding system (8+8=16).

Fig 3.0 Signature fold closed

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Fig 3.1 Signature fold opened

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Fig 3.2 Signature fold front (unfolded)

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Fig 3.3 Signature fold back (unfolded)

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Fig 3.4 Signature fold outer binding

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Fig 3.4 Signature fold inner binding

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Exercise 4: Classical Grid Structure

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 4.0 Van de Graaff (JPEG)

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Fig 4.1 Van de Graaff (PDF)

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<iframe src="https://drive.google.com/file/d/1NH_bXMO4RaKt_pTJVltXsBCI8Rn7ymdE/preview" width="640" height="480" allow="autoplay"></iframe>

Exercise 5: Determining Grid

For this exercise, we were to find a book layout online and determine the grids used. 

Fig 5.0 Determining grid (JPEG)

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Fig 5.1 Determining grid (PDF)

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 <iframe src="https://drive.google.com/file/d/1zUHiqfkS7bgHqRYpOjAunB_QK_mTgx6l/preview" width="640" height="480" allow="autoplay"></iframe>

Exercise 6: Form & Movement 

Fig 6.0 Form and Movement

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Fig 6.1 Form and Movement with Colour

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Fig 6.2 Form and Movement with Image

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Fig 6.3 Form and Movement with Text

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Fig 6.4 Form and Movement Combined (B&W, Colour, Image & Text)

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<iframe src="https://drive.google.com/file/d/1fzlW6bp9MCIbky-hD71mzJF5lakP_lRs/preview" width="640" height="480" allow="autoplay"></iframe>

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FEEDBACK

Week 2

Specific Feedback: Good job on your text formatting.

Week 5

Specific Feedback: Form and movement exercise pretty straightforward but has some continuity issues. Sometimes it's too predictable, sometimes it's not. Grid option does not have enough tension. Looks pretty balanced.

Week 6

Specific Feedback: Sophisticated. Pretty Good. Am okay with both the attempts.

Week 7

Specific Feedback: Good use of image but too much consistency. Try to crop the image differently.

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REFLECTION

Experiences

Participating in the exercises during my publishing design class has been an enriching experience for me. The hands-on approach to learning has allowed me to apply the concepts and theories I have learned in a practical manner. Engaging in these exercises has provided me with a deeper understanding of the subject matter and has allowed me to gain valuable insights into publishing design.

Observation

Throughout the exercises, I noticed a significant improvement in my design skills. As I tackled various tasks, such as creating layouts, selecting fonts, and arranging images, I could see a noticeable progression in my ability to create visually appealing and cohesive designs. I became more proficient in using design software, which enabled me to bring my creative ideas to life with greater ease and precision.

Findings

The exercises in my publishing design class have yielded valuable findings that have significantly enhanced my skills for future tasks. First and foremost, I discovered the immense importance of attention to detail in design. Through meticulous adjustments and refinements, I learned how even the smallest elements can have a substantial impact on the overall composition.

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FURTHER READING

For future reading, I read about layout grids for books. The link to the article can be found here.