Publishing Design

Book design involves more than simply arranging text and images; it requires a strong grasp of typography, composition, spatial organization, and publishing tools. The process balances creativity with functionality, ensuring that a publication’s format suits both its content and intended audience.

Key Considerations in Book Formatting

Audience and purpose: The format must reflect the users’ needs — for instance, children’s books often adopt smaller sizes and lightweight paper to make handling easier.
Nature of content: Text-based materials differ from visual-heavy publications (e.g., atlases, manuals, or photo books), which demand larger pages for better readability and visual clarity.
Content volume and usability: Lengthy manuscripts or directories typically use thinner, lighter pages to minimize cost and weight while maintaining durability.
Physical components: Elements such as paper texture, binding style, cover material, and trim size all shape the final design outcome and tactile experience.

Figure 1.1 The Book / Historical formats, Week 1 (25/09/25)

Figure 1.2 The Book / Historical formats 2, Week 1 (25/09/25)

Historical Evolution of Formats

1. Mesopotamia

Early documentation emerged as part of accounting systems around 7000–8000 BC, where clay tokens and later cuneiform tablets were used for trade and record-keeping. These were among the first examples of information being stored and structured physically.

Figure 1.3 Early Clay Records, Week 1 (25/09/25)

2. Indus Valley

In the Indus civilization, inscriptions appeared on soft clay tablets (~2600 BC) for administrative and religious purposes. Later, palm leaf manuscripts (around 800–900 BC) were used, inscribed with styluses and treated with soot to highlight characters — materials that survived well in dry climates.

Figure 1.4 Indus Valley River civilization, Week 1 (25/09/25)

Figure 1.5 Indus River Valley Civilizations (Harappan & Mohenjodaro), Week 1 (25/09/25)

3. Ancient Egypt

Egyptians developed hieroglyphic writing on papyrus, an early plant-based medium. Papyrus scrolls and wall inscriptions were reserved for scribes and priests. Later, the hieratic script allowed for faster, more practical writing around 3000 BC, setting the foundation for structured written communication.

Figure 1.6 Papyrus Sheet, Week 1 (25/09/25)

4. Chinese Civilization

About bamboo slats:
Text was written vertically on narrow bamboo strips, which were tied together with cords to create long continuous surfaces for reading.
About the Diamond Sutra:
Dating back to 868 CE, The Diamond Sutra is considered the oldest known printed book and was produced in the form of a scroll.
Figure 1.7 Bamboo Script, Week 1 (25/09/25)

Figure 1.8 Early Scroll Format, Week 1 (25/09/25)

4.Turkey and the European West

While Gutenberg’s press (mid-1400s) is credited with revolutionizing Western printing, earlier innovations in Asia laid the groundwork. In Europe, the use of parchment (originating in Pergamon, ~159 BC) dominated before paper became accessible. Parchment, made from animal skin, was durable but costly and thus reserved for elite works.

Paper arrived in Europe via the Middle East around the 14th–15th centuries. Early European paper was made from cotton and linen rags, enabling mass production of affordable printed books and transforming access to knowledge.

5. Turkey and the European West

Pergamon and parchment:
Between 197 and 159 BC, Pergamon introduced parchment made from treated animal skin, offering a more durable substitute for papyrus.

Paper and the codex:
From the 15th century onward, paper became widely used across Europe, encouraging the development of stitched manuscripts and later glued bindings, which contributed to the formation of the modern codex.

Figure 1.9 Parchment Sample, Week 1 (25/09/25)

Figure 1.10 Parchment Sample, Week 1 (25/09/25)

Overview

Throughout history, book production materials and techniques have evolved significantly, progressing from clay tablets and palm leaves to papyrus, parchment, and eventually paper. Binding practices likewise developed from basic stitching methods to adhesive techniques, forming the basis of the modern book format.

Week 2

Lecture 2

Publishing Design - History of Print

1. China

175 AD: Confucian texts were engraved on stone slabs. Scholars placed paper over the carvings and rubbed charcoal across the surface to transfer the text, an early form of printing.
179–41 BCE: Paper was invented in China, becoming a foundational material that later enabled the development of printing technologies.

Figure 1.11 Carved Stone Rubbings,, Week 2 (29/09/25)

2. Korea

750 AD: The world’s earliest known printed document, a Buddhist sutra, was produced on a single sheet of paper.
14th century: Movable type cast in bronze was developed, offering greater durability and reusability than earlier clay types.
1443: The invention of the Hangul alphabet simplified typesetting and printing processes compared to the complex Chinese writing system.

Figure 1.12 Korean Sutra, Week 2 (29/09/25)

3. Japan

768 AD: One of the earliest examples of mass printing was produced in Japan, consisting of one million small wooden pagodas, each containing a printed Buddhist prayer scroll.
Woodblock printing: This technique was widely used for reproducing religious texts and devotional charms.

Figure 1.13 Lucky Charm Scroll in Stupa, Week 2 (29/09/25)

Figure 1.14 Korea and Japan: AD 750-768, Week 2 (29/09/25)

4. China (Tang Dynasty)

868 AD: The Diamond Sutra is the earliest surviving printed book, produced in scroll format and combining both text and illustration. The scroll was read by unrolling it across a table, unlike the bound pages used today.
11th century: Early experiments with movable type were conducted in China using clay characters. However, the large number of characters and the fragility of the material made the system impractical for widespread use.

Figure 1.15 Diamond Sutra Scroll,, Week 2 (29/09/25)

5. Europe (Turkey & the West)

1400s: Woodblock printing was introduced in Europe, primarily used for religious imagery and playing cards.
1439–1457: Johannes Gutenberg developed metal movable type and the printing press in Germany.
Mid-1450s: Gutenberg’s 42-line Bible was printed; later experiments also explored colour printing.
Impact: Gutenberg’s innovations spread rapidly across Europe, forming the foundation of Western book production and publishing.

Figure 1.16 Gutenberg Press & Bible, Week 2 (29/09/25)

6. Burma (Myanmar)

19th century: In Mandalay, the world’s largest book was produced, made up of 729 stone slabs carved with Buddhist scriptures, each individually enclosed within a stupa.

Figure 1.17 The World's Largest Book, Week 2 (29/09/25)

Week 3

Lecture 3

Publishing Design – Typography Redux

Importance of Typography
Typography is fundamental to graphic design. It not only conveys information but also expresses ideas visually. Effective typography enhances the overall quality and impact of a design.

What is Typography?

Arrangement and composition of text
Medium for expression
Means of communication

Definition of Typography

The art of arranging and composing text

A medium for communication

A tool for visual expression

One of the most crucial aspects of graphic design

Figure 1.18 Characters in a typeface, Week 2 (29/09/25)

1. Typeface and Character Variations

A. Small Capitals and Glyphs

Type families include multiple glyphs: lowercase, uppercase, small caps, numerals, fractions, ligatures, punctuation, symbols.
Small caps: ideal for abbreviations (e.g., TDS) and designed to match the x-height of lowercase letters.

B. Ligatures

Special glyphs that combine letter pairs (e.g., “fi”, “fl”) to avoid awkward spacing.
Enhance visual rhythm and readability; often applied automatically in software like Adobe InDesign.

Figure 1.19 Ligatures Example, Week 2 (29/09/25)

C. Numerals: Old-Style vs Uppercase

Old-style numerals: blend with lowercase text, ideal for historical or mathematical contexts.
Uppercase numerals: larger, modern, suitable for commercial design and signage.

D. Decorative Glyphs

Swashes: ornate initial letters, often used in invitations or headings.
Avoid using swashes in all-caps text to maintain legibility.

2. Choosing Good Typefaces

Books and magazines benefit from type families with multiple variations for headings, body text, captions, and footnotes.
Legibility is key: choose open, well-proportioned typefaces.

Examples of Legible Fonts:

Serif: Garamond, Bodoni, Bembo, Minion Pro, Baskerville, Jenson, Caslon
Sans-Serif: Franklin Gothic, Frutiger, Gill Sans, Helvetica, Myriad Pro

3. Text Legibility Guidelines

A. Line Structure

X-height: height of lowercase letters (baseline to median line)
Ascender line: extends above x-height (e.g., for “b”, “d”)
Cap line: top of uppercase letters
Descender line: extends below baseline (e.g., for “p”, “q”)

Figure 1.20 Line Structure Example, Week 2 (29/09/25)

B. Special Styles

Underline: keep a small gap from descenders to maintain readability.
Small caps: ideal for subheadings or paragraph openings.
All caps: use for short headings; avoid long sentences.
Italics: emphasize words or phrases, not whole paragraphs.

Figure 1.21 Special Style Examples, Week 2 (29/09/25)

Figure 1.22 Special Style Examples, Week 2 (29/09/25)

C. Text Effects to Avoid

Scaling: stretching fonts vertically or horizontally distorts letterforms.
Thick outlines: reduce readability; keep outlines ≤1 pt.
Long shadows: should remain close to text to avoid distraction.

Figure 1.23 Text Effect Examples, Week 2 (01/10/25)

Outline & Shadow

Thick outlines: distort readability and text shape; keep stroke ≤1 pt.
Shadows: should stay close to the text to maintain legibility.

Figure 1.24 Text Effect Examples, Week 2 (01/10/25)

Legibility: Type Size, Line Length & Spacing

Harmonious text depends on type size, line length, and leading.
Type size: 8–12 pt for books
Line length: ~50 characters (max 65)
Leading: space between lines, 2.5–3 pt larger than type size
Longer lines → more leading; short or overly long lines disrupt reading rhythm

Legibility: Character & Word Spacing

Proper font, size, and line spacing are usually enough, but extra attention may be needed to prevent widows and orphans
Word spacing depends on typeface, size, and weight
Kerning: adjusts spacing between individual letters
Tracking: adjusts spacing across words or entire sentences
- Recommended: 20 units generally, 5 units for books
  Figure 1.25 Character and Word Spacing Examples, Week 2 (01/10/25)

Widows & Orphans

Widow: single word or short line at the end of a paragraph
Orphan: single word or short line at the start of a column
Use spacing, kerning, or line adjustments to eliminate

6. Alignment and Paragraph Formatting

A. Text Alignment Options

Flush left (ragged right): preferred for long text
Flush right (ragged left): limited use
Center: for short text only
Justified: ensure even spacing; watch for rivers; adjust kerning as needed

Figure 1.26 Alignment and Paragraph Formatting Examples, Week 2 (01/10/25)

B. Paragraph Settings

Spacing: use space above or below a paragraph, not both; typically equal to leading
Indentation: match type size (e.g., 10 pt font → 10 pt indent)

7. Special Formatting

Hyphen (-): divides words/numbers
En-dash (–): replaces “to” (e.g., 10–20)
Em-dash (—): inserts a pause or breaks a sentence
Line break (Shift + Enter): keeps leading without adding paragraph spacing
Drop caps: limit to 2–3 lines; decorative only
Quotation marks: use proper typographic quotes; avoid typewriter-style
Superscript/Subscript: for references, footnotes, or formulas
Baseline shift: adjust vertical position of symbols or numbers

Figure 1.27 Special Formatting Examples, Week 2 (29/09/25)

8. Sidebars

Sidebar leading should match body text for alignment
Ensures consistent reading rhythm across columns

Figure 1.28 Sidebars Examples, Week 2 (01/10/25)

Week 4

Lecture 4

Publishing Design - The Grid

Introduction

The grid is a widely used typographic system for structuring layouts.
Offers balance, clarity, and adaptability.
Not the only method, but foundational; can be combined with other systems to enhance design.

Can Design Exist Without a Grid?

Some see grids as essential; others design successfully without them.
Using a grid reflects a mindset of order, rationality, and clarity.

Historical Development (Raster Systeme)

El Lissitzky: Russian Constructivist, modernist pioneer
Jan Tschichold: Modernist typographic standards
Paul Renner: Designer of Futura, geometric typeface
László Moholy-Nagy: Bauhaus, universal typography
Josef Müller-Brockmann: Swiss grid systems expert

Grid Structure

Divides 2D or 3D spaces into smaller, manageable compartments.
Margin: defines the outer space of a layout; crucial for aesthetic balance.
Gutter: space between columns.
Hang line: lines that cut across a column.

Figure 1.29 Margin Area, Week 2 (02/10/25)

Key Components of a Grid

Margins: the empty space surrounding the layout that provides visual balance and breathing room.
Text areas: designated zones where text is placed.
Column gutters: the spaces separating columns, preventing elements from merging visually.
Baseline (hang line): a reference line for aligning headings and body text across columns.
Rows and guides: horizontal lines that help position elements accurately and maintain order.

Purpose of a Grid

Who uses it: grids are commonly employed by typographers, graphic designers, photographers, and exhibition designers.
Function: a grid organizes visual information systematically, making layouts logical, coherent, and easy to follow.

Benefits of Using a Grid

Simplifies planning and structuring of layouts.
Enhances clarity and visual organization of content.
Improves readability and legibility of text and visuals.
Supports faster information processing and better memory retention (research-backed).

Figure 1.30 Grid Application Example, Week 2 (02/10/25)

Week 5

Lecture 5

Publishing Design - Elements

Book Format and Components

Format considerations:

Binding type – e.g., perfect bound, stitched, hardcover
Book size – the physical dimensions of the publication
Paper type – weight, texture, and finish

Core elements of a book layout:

Textual elements – body text, subtext, pull quotes
Visual elements – illustrations, graphics, and images
Colour – palette that unifies the design

Together, these three aspects define the book’s format and underlying grid.

Figure 1.31 Three Major Elements, Week 2 (02/10/25)

Pull Quotes:

Select a sentence from the main text
Emphasize it by enlarging or styling it to stand out within the layout

Variation with consistency:

Avoid predictability; introduce variations in layout and design
Keep key elements consistent: hangline, typeface, colour, imagery, and overall style
Experiment with different arrangements and combinations of textual, visual, and colour elements
Use the grid system to balance variation and uniformity, ensuring the design is coherent yet dynamic

Figure 1.32 Variation with Consistency Examples, Week 2 (02/10/25)

Text – Visual Element (same size): balanced pairing of text and image
Large Visual Element – Caption: prominent image accompanied by explanatory text
Text – Text: consecutive textual blocks
Full-Page Visual – Body Text within Grid: image spans entire page, while text is positioned according to the grid

Variation Guidelines:

The number of layout variations depends on the total pages in the book (e.g., a 32-page book may require 6–7 different layouts)
Books are ideally printed in multiples of 16 pages (16, 32, 48, etc.) since each spread consists of 4 pages

Design Principle:

Create diverse layouts while maintaining consistency in the grid system and in the use of text, visual elements, and colour
This approach ensures the book feels cohesive yet visually engaging
“A good book takes its reader on a journey without the reader even knowing it.”

Conclusion

Book design is built upon three essential elements: text, image, and colour, all unified through the format and grid. Successful publishing design strikes a balance between variation and consistency, offering visual interest while preserving clarity. The grid serves as a flexible framework, organizing elements logically yet providing room for creative expression. In the end, a thoughtfully designed book guides the reader on a seamless and engaging journey, often without them even noticing the structure behind it.

TASK 1: EXERCISES

Task 1 Exercises
1. Text formatting
2. Mock-up making
3. Signature folding systems (8 + 8 = 16)
4. Classical Grid structure
5. Determining Grids
6. Form & Movement (Thumbnail)
7. Colour applications:
  - 1 Colour
  - 2 Colours
  - 2 Colours + Image
  - Colour + Image + Text

3.1. Exercise 1 Book Format Exploration

Exercise video Click here

Task Description

In this exercise, two A4 sheets were joined together using tape along the middle to create a wider working surface. Different square and rectangular outlines were drawn to explore how book dimensions can vary according to purpose and design intention. After comparing proportions and visual balance, one preferred size was chosen for the final format. A mock-up sample was then produced and trimmed according to the selected dimensions.

Figure 3.1.1 Screenshot of the process from the video, Week 2 (01/10/25)

Work Process

The sheets were aligned and folded horizontally to create a visual guide for the layout. Several sketches were developed to experiment with size relationships and composition. Throughout the activity, the lecturer provided additional notes and observations related to book production and format design, which were recorded on the left side of the sheet for reference.

Figure 3.1.2 Book size reference, Week 2 (01/10/25)

The selected measurements (178mm × 229mm) were used to produce a physical mock-up, allowing a clearer understanding of the book’s real-world scale.

3.2. Exercise 2: Signatures

Exercise video Click here

Task Brief

This exercise focuses on understanding how signatures are formed and organized in the process of book production. A landscape A4 sheet was used to demonstrate folding methods and page sequencing in a printed publication.

Figure 3.2.1 Screenshot of the process from the video, Week 2 (01/10/25)

Work Process

A single A4 sheet was positioned horizontally and folded multiple times along the vertical axis to simulate a signature layout. After the folds were completed, each section was numbered in proper order to visualize how pages are arranged within a booklet. The spine was then fastened using staples to imitate binding. Finally, the opposite folded edge was trimmed open, creating individual, functional pages similar to those in an actual printed book.

Figure 3.2.2 Open number placement, Week 2 (01/10/25)

Figure 3.2.3 Folded format, Week 2 (01/10/25)

3.3. Exercise 3: The Van de Graaf Grid

Exercise video Click here

Task Brief

This exercise aimed to explore the process of creating a Van de Graaf grid, a fundamental layout system used in book design to achieve balanced and harmonious page compositions. To begin, two A4 sheets were joined with tape along the long edge, producing an A3-sized working surface. With the help of a ruler and pencil, guide lines were carefully drawn to establish proportional divisions and margins within the page. The activity emphasized precision, spatial awareness, and an understanding of how mathematical structure contributes to visual balance in publishing design.

Figure 3.3.1 Screenshot of the process from the video, Week 2 (01/10/25)

Work Process

The combined sheets were first aligned to form a clean, even surface. Measurements were taken accurately to mark the key axes and diagonals that define the Van de Graaf construction. Step by step, the layout was built using connecting lines to locate the text area within the page framework. The process required close attention to geometry and alignment, highlighting how grid systems bring consistency and order to printed layouts.

Figure 3.3.2 Van De Graff grid, Week 2 (02/10/25)

3.4. Exercise 3A: Digitalization of the Van de Graaf Grid

Exercise video Click here

Task Brief

This task focuses on translating the manually constructed Van de Graaf grid into a digital layout. The objective was to understand how traditional book layout principles can be accurately recreated using digital design software. By working digitally, students explored how the same geometric proportions and margins could be applied to create consistent, professional page structures suitable for publishing.

Figure 3.4.1 Screenshot of the process from the video, Week 2 (02/10/25)

Work Process

The physical grid created in the previous exercise served as a reference for this stage. Using Adobe InDesign, the page dimensions were set to match the earlier A3 layout. Guides and margin lines were then placed according to the Van de Graaf proportions, ensuring precise alignment and balanced spacing. This process allowed for experimentation with text blocks and image placement within the defined grid, demonstrating how classical design methods integrate seamlessly into modern digital workflows.

Font size is 8 pt, leading is 10 pt, and paragraph spacing is 10 pt.

Figure 3.4.2 Van De Graff grid (digital), Week 2 (02/10/25)

Figure 3.4.3 Added dummy text, Week 2 (02/10/25)

Figure 3.4.4 The final version, Week 2 (02/10/25)

Figure 3.4.5 The final version PDF with grid, Week 2 (02/10/25)

Figure 3.4.6 The final version PDF without grid, Week 2 (02/10/25)

Exercise 4 - Form & Movement

Exercise video Click here

During the fourth exercise, I explored a tutorial on designing page movements. Mr. Vinod provided detailed guidance on how to create dynamic transitions and ensure a consistent flow of motion throughout the entire sequence, from page 1 to page 16. This helped me understand how to maintain visual continuity and guide the reader’s eye smoothly across the pages, enhancing the overall reading experience.

Figure 3.4.7 Form and movement, Week 2 (02/10/25)

Figure 3.4.8 Form and movement PDF (02/10/25)

Figure 3.4.9 Image for Exercise 6 (02/10/25)

Figure 3.4.10 Form and movement (02/10/25)

Figure 3.4.11 Form and movement (02/10/25)

Figure 3.4.12 Form and movement (02/10/25)

Exercise 5 - Text Formattin

This exercise required us to produce the content for our book, limited to a maximum of 3,000 words.

Figure 3.5.1 Text Formattin PDF (02/10/25)

Exercise 6 - Determining Grid

Figure 3.6.1 Determining Grid PDF (02/10/25)

TASK 2 / CONTENT GENERATION

Book Design Project Brief:

You will design and create a 32-page book that is smaller than A4 but larger than A5.

1.Writing

Write 3000 words in English or Malay on a topic you are familiar with. (Original Writing)

Choose any of the following topics or something similar:

Yourself

Your family

Someone who inspires you

Your hometown

A meaningful experience, belief, or idea

Structure Requirements:

At least 3 chapters

3 to 5 subtexts (sidebars or supporting content)

1 caption per chapter

2. Visualisation

Identify 16 areas in your text for visual interpretation

Use any medium that suits your topic:

Illustration

Photography

Mixed media

Other creative approaches

4.1 Writing

For this task, I decided to write a story about my country, Kyrgyzstan, a land of breathtaking mountains, clear lakes, and rich traditions. I wanted to share not only its natural beauty but also the culture, history, and the personal memories that make it a place I am deeply connected to. This book is my way of celebrating my homeland and showing why it holds a special place in my heart.

Figure 4.1 Content, Week 5 (22/10/25)

In each chapter, I explore different aspects of Kyrgyzstan:

Chapter 1 — Land of Mountains and Sky: I describe the majestic mountains, rivers, and valleys, highlighting how the landscapes shape the life, rhythm, and spirit of the people.
Chapter 2 — Echoes of History: I explore the history of Kyrgyzstan, including ancient trade routes, historical monuments, petroglyphs, and the epic tales passed down through generations, showing how the past continues to influence the present.
Chapter 3 — Faces and Traditions: I focus on the people, family life, customs, music, festivals, and ornaments, illustrating how traditions, stories, and values create a sense of home that lives in the hearts of the Kyrgyz people.

Through this structure, the book captures both the external beauty and the emotional essence of my country, guiding readers on a journey through its landscapes, history, and culture, and reflecting my personal connection to the homeland that shaped me.

4.2 Visualisation

For the visual content of the book, I chose to use photographs taken with my phone, capturing the natural landscapes of Kyrgyzstan. These images are personal and authentic, as they were photographed during my own experiences in the country. In addition, I included several photographs provided by my friends, which helped enrich the visual narrative and present different perspectives of Kyrgyzstan’s nature. Together, these visuals support the storytelling and strengthen the emotional connection of the book.

Alongside photography, I also decided to create my own illustrations to further personalise the book. I illustrated the book cover myself, ensuring it visually reflects the theme and atmosphere of the story. All illustrations were drawn on my iPad using the Procreate app, allowing me to maintain a consistent visual style throughout the book.

Figure 4.2.1 Visuals 1 (29/10/25)

Figure 4.2.2 Visuals 2 (29/10/25)

Figure 4.2.3 Visuals 3 (29/10/25)

Figure 4.2.3 the process of drawing an illustration (30/10/25)

Figure 4.2.3 Visuals 3 (30/10/25)

TASK 3A / BOOK

Task Overview:

Following the development of both text and visual content, the next stage of this project focuses on designing a 32-page book. This involves careful consideration of its format, layout, typography, colour palette, and overall presentation to ensure a professional and cohesive result.

Design Process:

Book Format and Binding
The book size was selected to be between A5 and A4, offering a balance between readability and portability. Saddle-stitch (staple) binding was chosen to provide a practical and durable finish.
Layout Design in InDesign
A suitable grid system was applied to structure the pages consistently and maintain visual hierarchy. Fonts and font pairings were carefully selected to complement the tone of the book, ensuring clarity and aesthetic appeal. The layout was designed to be balanced and engaging, guiding the reader smoothly through the content.
Use of Colour
Colours were chosen to enhance the visual elements without overwhelming the text. Minimal and thoughtful use of colour was applied to highlight key sections, create visual interest, and maintain a harmonious overall design.
Paper Selection
Appropriate paper types were considered for both the cover and the interior pages to achieve the desired tactile and visual effect. Recommendations from suppliers such as Hiap Moh, Conqueror, and local print shops were taken into account to ensure quality printing results.
Final Output
A full-size mock-up of the book was produced to review the overall design, layout, and finishing. The final presentation aims to reflect a polished, professional standard suitable for submission in an academic context.

Task 3(A): Book Design & Layout

Task 3A focused on shaping the project into a cohesive publication by assembling and refining all previously developed textual and visual elements. This stage involved refining the layout and page structure in Adobe InDesign. The book format and dimensions were applied based on earlier planning decisions made in Task 1, allowing the project to remain consistent while evolving into its final form.

Figure 3.1.2 Book size reference, Week 2 (01/10/25)

When the text and visual materials were ready, I started making the book in Adobe InDesign. A 3×3 grid system was chosen to organize the pages, which helped build the composition. When placing images, I left 5 mm margins to avoid cropping visual elements at the edges when printing.

Figure 5.1 Indesign Layout, Week 7 (03/11/25)

After that, I started placing text and images. To design the first chapter, I first created fields for visual content, which allowed me to build the page layout and think through the balance between text and images in advance. This approach helped me determine how best to present the material and create a harmonious perception of the book.

Font:Charter & Marion

Heading (Charter & Marion, Bold, 37 pt) → Leading:  pt

Body Copy (Regular, 11 pt) → Leading: 14 pt

Sidetext (Italic, 15 pt) → Leading: 18 pt

Quote (Italic Bold, 15 pt) → Leading: 18 pt

Figure 5.2 Indesign Layout, Week 7 (03/11/25)

In the process, I also took some photos from the Internet that matched the style. This was done solely to visually assess how the pages of the book with images would look before using their own photographs and illustrations.

Figure 5.3 First Test Print Feedback, Week 10 (19/11/25)

Figure 5.4 First Test Print Feedback, Week 10 (19/11/25)

I printed out my pages and showed Ms. Vitiyaa my work in class. She pointed out what needed to be changed and where, noted the presence of a large roll, and emphasized that the text should be aligned relative to other blocks. I took all the comments into account and immediately started making adjustments.

Figure 5.5 Layout First Draft, Week 8 (19/11/25)

Figure 5.6 First Test Print Feedback, Week 10 (19/11/25)

Figure 5.7 First Test Print Feedback, Week 10 (19/11/25)

After making all the changes, I printed the pages again and showed my progress to Ms. Vitiyaa. She pointed out that the kerning was still too large and highlighted a few minor errors. I am very grateful for her feedback — without her guidance, I would not have been able to improve my work or fully understand where my mistakes were.

I needed to take note of all the feedback and make the necessary changes. In addition, I had to add my original photographs. I immediately began working on implementing these improvements.

Figure 5.8 Refinement , Week 10 (19/11/25)

Figure 5.9 Refinement , Week 10 (19/11/25)

After that, I started exporting the images to InDesign.Ms. Vitiyaa showed us how to convert images from JPEG to CMYK format and save them in TIFF format so that they have high quality and optimal resolution when printing.

Figure 5.10 Convert to CMYK, Week 7 (19/11/25)

After converting the images to TIFF format.

Figure 5.11 Week 10 (19/11/25)

Task 3(A): Printing

After receiving comments and several trial edits, I finalized the text markup and adjusted the kerning once again. As a result, the work was completed, and I was ready to print the final PDF file in book format with the final result.

I chose ArchPrint (Sunway Geo) printing company to print this book. In the process of preparing for printing, I had to make decisions on the choice of material, paper density and type of binding. Below is detailed information about the parameters of my book.

COVER

Size: 180 × 240 mm
Color: Full colour (CMYK)
Material: Artcard 260 gsm + matt lamination
Quantity: 1 pcs

CONTENT

Size: 180 × 240 mm
Color: Full colour (CMYK)
Material: Artpaper 160 gsm
Quantity: 32 pages

Binding Perfect bind

TOTAL 74 RM

After I printed the book, I was unhappy with the result, as the font size turned out to be too large and this negatively affected the overall perception of the book. I showed the work to Ms. Vitiyaa, and she also noted that the font was really too large. After that, I decided to make all the necessary changes and print the book again. Unfortunately, I didn't have time to take a picture of the updated version before handing it in.

FINAL BOOK LAYOUT

Figure 5.12 Final book Layout Week 10 (28/11/25)

The book was printed for the second time, following the same printing specifications; however, this time it was bound using saddle stitch instead of the original binding.

COVER

Size: 180 × 240 mm
Color: Full colour (CMYK)
Material: Artcard 260 gsm + matt lamination
Quantity: 2 pcs

CONTENT

Size: 180 × 240 mm
Color: Full colour (CMYK)
Material: Artpaper 160 gsm
Quantity: 32 pages

Binding Saddle stitch

TOTAL 50 RM

Figure 5.12 Final book Layout Week 12 (08/12/25)

TASK 3B / E-BOOK

1. Device & Format Compatibility

Choose the most suitable format for the content and platform:
ePub/eBook
Interactive PDF
HTML or web-based
Example: “How to Create a Fixed Layout eBook with Adobe InDesign CC”

2. Navigation & User Interface

Design clear, intuitive navigation
Ensure smooth page-to-page reading
Focus on usability – the interface must not be a barrier

3. Interactivity & Engagement

Use digital features creatively to enhance the reading experience(e.g., clickable elements, animations, links, embedded media)

Task 3B / E-Book

At the next stage of the project, I switched to creating an electronic version of the book using the FlipHTML5 platform. I intentionally changed the background of the interface, using a dark gradient in brown and black shades to blend in with the visual style of the book. In addition, I set up a two-way viewing mode, which helped me better assess the rhythm of the spreads and the overall visual integrity of the publication.

Click here for the link to E-book

After that, I created a poster to promote the launch of my book, as shown below.

Figure 6.1 poster to promote the launch of my book /Week 11 (09/12/25)

I also created mock-ups of my book.

Figure 6.2 Mock-up #1 /Week 11 (09/12/25)

Figure 6.3 Mock-up #2 /Week 11 (09/12/25)

Figure 6.4 Mock-up #3 /Week 11 (09/12/25)

Finally, here is the slide from my final presentation.

Figure 6.5 Presentation Slide, Week 12 (09/12/25)

FEEDBACK

Week 1

General feedback

In the first week of the course, Ms. Vitya introduced us to Assignment 1: Exercise 1 and reminded us to create a blog in our e-portfolio specifically for this subject. She also emphasized the importance of reading the Module Information in order to better understand the aims and structure of the course. The lecturer highlighted that our learning is not only about completing exercises, but also about documenting the process in the blog. This will help us develop the ability to reflect, analyze our steps, and gain a deeper understanding of book design. Overall, the first week laid a solid foundation for both theory and practice, while also stressing the importance of reflection in our learning journey.

Week 2

General Feedback

In Week 2, I focused on continuing the book design exercises and documenting my progress in the e-portfolio. I was able to follow the tutorial video, work on my exercises during the lesson, and start exploring ideas for my final project. This week helped me improve my understanding of layout, spacing, and basic book design principles while keeping track of my workflow.

Specific Feedback

During class, Miss visited my workspace to check how I was progressing. She asked if I was managing the exercises successfully and gave positive comments on my work. She suggested that my current progress could be added to the e-portfolio, which gave me reassurance and motivation to continue refining my exercises.

Week 3

General feedback

It was dedicated to developing ideas and written content for a future book. We started turning the concept into concrete material, which helped us see how design can enhance the meaning and atmosphere of a story.

Week 4

General feedback

Ms. Vitya talked about grids and how to apply them when designing a book layout. We also discussed how text and visual elements should interact to create a balanced composition.

Specific feedback

She advised me to refine the layout and ensure that the visual hierarchy is clear. I was also reminded that before proceeding with the detailed design, the text content needs to be finalized.

Week 5

General feedback

This week, Mrs. Vithiya guided us on how to organize our written content and illustrations effectively. She emphasized the importance of storytelling flow and consistency in tone across all chapters. We also learned how to combine visuals with text to make the reading experience more engaging.

Specific feedback:

She suggested that I refine my chapter structure and make the content more cohesive. I was advised to check grammar and ensure that the text supports the visual direction of my book.

Week 6

General feedback

During this week, we started finalizing the text and visuals for submission. Mrs. Vithiya reviewed our progress and explained how to prepare the content for the layout stage. She reminded us to maintain consistency in font choices and visual style.

Specific feedback

I was advised to finalize all my illustrations and ensure they match the theme of my book. She also reminded me to prepare my files and content for the upcoming Book Design task.

Week 7

General feedback

Complete the InDesign assignment by week 10. We were given recommendations on how to improve the layout and organization of pages, as well as instructions on how to quickly number pages in InDesign and convert images to CMYK format using batch processing in Photoshop.

Week 8

General feedback

Miss asks you to continue working on the layouts and photos. It is necessary to finalize the layouts and prepare them for printing in order to facilitate receiving feedback. It is also worth paying attention to the differences between newspaper and magazine layouts and applying this knowledge in future work. When exporting to Adobe PDF format, enable the bleed settings and prepare the file for printing in A3 format on several pages so that the result looks professional and ready for evaluation.

Week 9

General feedback

This week our task was to finalize the design of the book layout. It was necessary to prepare a complete layout on A3 paper and make final edits after receiving feedback. All the work was done in Adobe InDesign, with special attention to page consistency and visual harmony. We need to finalize all the remaining pages and make sure that the layouts are fully ready for test printing.

Specific feedback

This week I wanted to show the process of my work, but the layout was not yet fully ready for demonstration, so I continued to refine it before the final check.That's why I couldn't get a review.

Week 10

General feedback

The main focus of the classes was on checking each student's progress and continuing to work on the book.

Specific feedback

This week, I showed Miss the process of working on my book. She noted that it is important to always work on time and regularly demonstrate results in order to receive timely feedback. I felt embarrassed that I hadn't shown her my progress earlier. After that, Miss explained in detail what changes needed to be made to the layout and pointed out that there was significant kerning that needed to be corrected urgently. Her advice helped me better understand how to organise my work on the book and improve its design.

Week 11

General feedback

During this week, a consultation session was held to review the printed version of Task 3. Feedback was provided on necessary revisions and improvements to ensure the final submission met the required standards.

Week 12

General feedback

The focus of this week was on presenting our book in class. In addition, we were reminded to complete and submit the accompanying blog before Week 13. The week concluded with the final presentation day, during which both the physical book and the e-book version were submitted.

Week 13

General feedback

Complete work on the e portfolio for submission.

REFLECTIONS

Experience
Creating my first book was an exciting and unforgettable experience. Every step, from writing the content and capturing or selecting images to designing the layout and preparing it for print and digital formats, taught me something new. It was both challenging and rewarding to see my ideas transform into a tangible book, and this process gave me a deeper appreciation for the amount of effort and care that goes into publishing.
Observations
During this project, I realized how important it is to plan my time wisely and start working early. At first, I hesitated to show my progress, which made me feel nervous and slowed me down. However, once I began sharing my work with Miss Vitiyaa, I gained valuable guidance and constructive feedback. Her advice helped me fix issues such as kerning, layout alignment, and overall design balance. I learned that asking for help — it is a crucial part of learning and improving. I also noticed how small details, like font size or spacing, can significantly affect the final result, which made me more attentive to every aspect of design.
Findings
This project gave me practical skills in typography, layout, illustration, and digital publishing. I discovered how to combine text and visuals to tell a story effectively and how to adapt a book for both print and digital formats. Most importantly, I learned about patience, persistence, and the value of feedback. I also realized the importance of correctly planning and managing my time in future projects — starting tasks earlier and allocating enough time for revisions is crucial to avoid stress and achieve the best results. Thanks to Miss Vitiyaa’s guidance, I was able to understand my mistakes and improve my work. I am extremely grateful for her support — without her insights, I could not have completed my first book successfully. This project was more than just an assignment; it was a journey of growth, creativity, and discovery. I am proud of what I achieved, and I hope this is only the beginning of many books I will create in the future.

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Aidina Begimbaeva (0380489)