Publishing Design - Project 1
Publishing Design - Project 1
Wong Kai Yi (0340236)
Publishing Design
Project 1 (Content Generation)
1. LECTURE
Fig 1.1 Formats
Formats
Civilizations:
Mesopotamian
Pictographic writing on clay tablets
Ancient Egyptian
Hieroglyphics is wrote on special type of paper - papyrus.
Indus Valley
Cuneiform is one of the earliest systems of writing (written on soft clay tablets)
Han Chinese
Chinese characters are written in vertical columns, a thin strip of bamboo is ideal for a single column
Earliest printed book: Chinese, end of T'ang dynasty (paper scroll using Chinese wood blocks - movable type)
European
Parchment (animal hide)
Paper becomes widely used
Fig 1.2 History of Print
History of Print
2-8th century AD China
6 main classics of Confucianism carved in stone
AD 750-768
Hyakumantō Darani: large-scale woodblock printing (earliest recorded uses of woodblock printing in Japan)
AD 868 China
First printed book: Chinese (end of T'ang dynasty)
Movable type: from the 11th century
separate ready-made characters
concept experimented in China
AD c.1400
Woodblock printing introduced in Europe
AD 1438 - 1457
Gutenberg & Western printing
Individual letters (metal)
Gutenberg Bible
Fig 1.3 Typography Redux
Typography Redux
Legibility
1. open and well proportioned text typefaces
Underlining: underline should be lowered so that they do not touch the characters as this impedes readability
Small Caps: subheads / first line of paragraph
All Caps: short headlines / subheads
never in long sentences and for emphasis
Never pseudo-condense or pseudo-entend font by horizontally / vertically squeezing / stretching a font
Outline & shadow
Takes many years of experience before one can format text beautifully and effectively. Avoid these as far as possible.
Type size, line length, line spacing
50-65 characters per line
overly long / short lines of type tire the reader & destroy a pleasant reading rhythm
Kerning & Tracking
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.
Fig 1.4 The Grid
The Grid
Using the grid, the designer can favorably use it 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.
The grid allows for flexibility, but it must have a limit when using within a book in order to maintain a certain amount of continuity / coherence in outlook / navigation.
Fig 1.5 Elements
Elements
1. Type
2. Colour
3. Image
The format and grid hold these elements together.
Variation
Create variation within the layout (but maintain consistency) to avoid predictability. This can be seen through the form and movement exercise.
Using a grid system, create variation. You can reuse and rotate the formulas in the book (each spead does not have to be different).
Surprise the reader at every page turn.
A good book takes its reader on a journey without the reader even knowing it.
2. INSTRUCTIONS
Exercises
04.09.2020 (Week 2)
Text formatting
Fig 2.6 text formatting
18.04.2020 (Week 4)
Fig 2.7 illustration and animation moodboard
We needed to come up with 3 different levels of visuals:1. High Quality2. Medium Quality3. Low Quality
The quality is the coverage of the visuals but not the actual quality of work.
25.09.2020 (Week 5)
Before starting, I did a thumbnail sketch to plan for my visuals. The placement and visuals are not final, but serve as a guide for me to know the size of the visuals and type of quality required. It also gives me a direction on what to illustrate. This was very important to me because I was painting with watercolor on paper.
Thumbnail sketch:
 |
| Fig 2.8 thumbnail sketch |
During class, I showed the first 3 visuals that I have done. They are done not according to the pages.
First three visuals that I have shown:
 |
| Fig 2.9 illustration 1 |
 |
| Fig 2.10 illustration 2 |
 |
| Fig 2.11 illustration 3 |
After receiving feedback, Mr Vinod stated that these visuals have a lot of white space and are low to medium quality.
Here are some process photos:
 |
| Fig 2.12 Baby elephant watercolor process |
 |
| Fig 2.13 Baby elephant with mother watercolor process |
02.10.2020 (Week 6)
The process of digitizing the artworks were done with Photoshop. After scanning them, I did some color corrections and removed the background. I worked on the following visuals and here are my final illustrations. Not all of them were used for the book design.
Final illustrations:
 |
| Fig 2.14 Final Illustration 1 |
 |
| Fig 2.15 Final Illustration 2 |
 |
| Fig 2.16 Final Illustration 3 |
 |
| Fig 2.17 Final Illustration 4 |
 |
| Fig 2.18 Final Illustration 5 |
 |
| Fig 2.19 Final Illustration 6 |
 |
| Fig 2.20 Final Illustration 7 |
 |
| Fig 2.21 Final Illustration 8 |
 |
| Fig 2.22 Final Illustration 9 |
 |
| Fig 2.23 Final Illustration 10 |
 |
| Fig 2.24 Final Illustration 11 |
 |
| Fig 2.25 Final Illustration 12 |
 |
| Fig 2.26 Final Illustration 13 |
 |
| Fig 2.27 Final Illustration 14 |
 |
| Fig 2.28 Final Illustration 15 |
 |
| Fig 2.29 Final Illustration 16 |
 |
| Fig 2.30 Final Illustration 17 |
Final Illustrations Thumbnails:
PNG:
 |
| Fig 2.31 Final Illustrations Thumbnails (PNG) |
 |
| Fig 2.32 Final Illustrations Thumbnails (PNG) |
PDF:
Fig 2.33 final illustrations thumbnails (PDF)
3. FEEDBACK
18.09.2020 (Week 4)
The eye and elephant are medium detailed, the abstract flowing grass is low detailed.
25.09.2020 (Week 5)
I need to work fast. A lot of them have a lot of white space.
25.09.2020 (Week 5)
4. REFLECTION
28.08.2020 (Week 1) - 02.10.2020 (Week 6)
When doing the visuals, it is important to have the placement in mind so I know how it is going to look like on a page / spread. It's the planning that is important. Also, some visuals with white space tend to look more empty, so I need to have visuals which are full and also some with white space. Throughout the process of searching for inspirations and images to reference, I learnt that producing visuals is not a one-off creative moment. Instead, it requires thinking, planning, rationalizing and more. It has to suit the text, as is done fairly systematically.
5. FURTHER READING
28.08.2020 (Week 1) - 04.09.2020 (Week 2)
Title: Layout Essentials: 100 Design Principles for Using Grids by Beth Tondreau
Fig 2.8 Layout Essentials (front cover)
This book explains about how to use grids when designing layouts. Determining the number of columns by assessing the materialSingle-column grid: For continuous text, such as a book or an essay. It is less intimidating and more luxurious, which makes it suitable for catalogs and art books.Two-column or multicolumn grid: For flexibility. It can have the greatest number of variations because the columns can be further broken down. It is usually used for websites, newspapers and magazines. For a lot of information, a modular grid arranges the units of information into manageable chunks. All grids create order.
 |
| Fig 2.8 Layout Essentials (front cover) |
This book explains about how to use grids when designing layouts.
Determining the number of columns by assessing the material
Single-column grid: For continuous text, such as a book or an essay. It is less intimidating and more luxurious, which makes it suitable for catalogs and art books.
Two-column or multicolumn grid: For flexibility. It can have the greatest number of variations because the columns can be further broken down. It is usually used for websites, newspapers and magazines.
For a lot of information, a modular grid arranges the units of information into manageable chunks.
All grids create order.
11.09.2020 (Week 3) - 18.09.2020 (Week 4)
Title: Design Elements : Understanding the Rules and Knowing When to Break Them - Updated and Expanded by Timothy Samara
Form and SpaceThe Shape of Space (format)Definition: the proportional dimensions of the space where form is going to do its thing is something to think about.The size of the format space compared to the form within it, will change the perceived presence of a form. For example, a smaller form within a larger spatial format will be perceived differently from a large form in the same format. It is a message that has to be controlled.A small format enhances the presence, or apparent mass, of an element; a larger format decreases the presence of an element with the same physical size.
Form and Space
The Shape of Space (format)
Definition: the proportional dimensions of the space where form is going to do its thing is something to think about.
The size of the format space compared to the form within it, will change the perceived presence of a form. For example, a smaller form within a larger spatial format will be perceived differently from a large form in the same format. It is a message that has to be controlled.
A small format enhances the presence, or apparent mass, of an element; a larger format decreases the presence of an element with the same physical size.
25.09.2020 (Week 5) - 02.10.2020 (Week 6)
Title: Making and Breaking the Grid by Timothy Samara
Fig 2.10 Making and Breaking the Grid (front cover)
Alternative Architectures Grid Deconstruction: OrthogonalSplitting, Splicing and ShiftingOrthogonal is in right angles. The process starts with a base grid. Then, the designer manipulates how columns and rows relate and interact with each other. The results might have overlapping information, creating situations where foreground and background appear to swap places. Designers can use different axes of alignment to explore a more dynamic architectural space. Overlapping grids with modules of different proportions can introduce a kind of order to the directional and spatial ambiguity that layering creates.
Title: Making and Breaking the Grid by Timothy Samara
 |
| Fig 2.10 Making and Breaking the Grid (front cover) |
Alternative Architectures Grid Deconstruction: Orthogonal
Splitting, Splicing and Shifting
Orthogonal is in right angles. The process starts with a base grid. Then, the designer manipulates how columns and rows relate and interact with each other. The results might have overlapping information, creating situations where foreground and background appear to swap places. Designers can use different axes of alignment to explore a more dynamic architectural space. Overlapping grids with modules of different proportions can introduce a kind of order to the directional and spatial ambiguity that layering creates.
Comments
Post a Comment