Publishing Design

24/09/2025 - 07/11/2025 (Week 01 - Week 07)

Aveline Kristie / 0372310 

Publishing Design / Bachelor of Design (Honours) in Creative Media / School of Design

Task 1: Exercises

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TABLE OF CONTENTS

1. Lectures

2. Instructions

3. Tasks

4. Feedback

5. Reflection

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1. LECTURES

Week 1: Publishing Design - Formats

Publishing covers a wide range of media such as books, newspapers, magazines, and digital publications. Among these, the book has long served as an essential medium for recording knowledge, sharing ideas, and preserving history.

A. Considerations That Influence a Book’s Shape

1. Reader category (for example, children vs. adults)
2. Intended age group
3. Type and volume of content

B. Physical Components of a Book Format

1. Binding style
2. Paper quality
3. Dimensions and thickness

C. Historical Development of Formats

1. Mesopotamian Region (Iran–Iraq)

• (8000–7000 BC) Early marks and pictorial symbols appeared on clay pieces.

• (3000 BC) Writing grew more organized, with clearer divisions between characters on clay tablets.

Fig 1.1 Early Clay Records, Week 1 (25/09/25)

2. Indus Valley (India–Pakistan–Afghanistan)

• Cuneiform script emerged as one of the earliest structured systems, carved into damp clay with pointed instruments.
• (800–900 BC) Use of palm leaves as manuscripts, with letters incised using a stylus.

Fig 1.2 Palm Leaf Example, Week 1 (25/09/25)

3. Egyptian Civilization

• Papyrus, made from the inner pith of the papyrus plant, became the main writing surface.
• Texts and illustrations were also preserved on tomb and temple walls.

Fig 1.3 Papyrus Sheet, Week 1 (25/09/25)

4. Chinese Civilization

• Writing was arranged vertically on bamboo slats, which were then fastened with cords to form long strips.

• (868 CE) The Diamond Sutra is recognized as the earliest printed book, produced in a scroll format.

Fig 1.4 Bamboo Script, Week 1 (25/09/25)

Fig 1.5 Early Scroll Format, Week 1 (25/09/25)

5. Turkey and the European West

• (197–159 BC) Pergamon pioneered the use of parchment, processed from animal skin, as a durable alternative to papyrus.

• (1400–1500 CE) Paper became widely circulated in Europe, leading to stitched manuscripts and, later, glued bindings that shaped the modern codex.

Fig 1.6 Parchment Sample, Week 1 (25/09/25)

Overview

Across time, the materials and methods of making books transformed drastically, from clay and palm leaves to papyrus, parchment, and finally paper. Binding methods also advanced from simple stitching to adhesive techniques, establishing the foundation of the contemporary book form.

Week 2: Publishing Design - History of Print

1. China

• (AD 175) Confucian texts carved in stone; scholars placed sheets on slabs, rubbed with charcoal to transfer text.
• (179–41 BCE) Paper invented in China, one of the most important materials for printing.

Fig 1.7 Carved Stone Rubbings, Week 2 (29/09/25)

2. Korea

• (AD 750) World’s earliest printed document: a Buddhist Sutra on a single sheet of paper.
• (14th Century) Movable type cast in bronze, stronger and reusable compared to clay.
• (1443) Creation of Hangul alphabet simplified typesetting compared to Chinese script.

Fig 1.8 Korean Sutra, Week 2 (29/09/25)

3. Japan

• (AD 768) First example of mass printing: one million small wooden pagodas, each holding a printed prayer scroll.

• Woodblock printing widely used for religious texts and charms.

Fig 1.9 Lucky Charm Scroll in Stupa, Week 2 (29/09/25)

4. China (Tang Dynasty)

• (AD 868) Diamond Sutra: earliest surviving printed book in scroll format, with both text and illustration.

• Scroll format read by unrolling across a table, unlike today’s bound pages.

Fig 1.10 Diamond Sutra Scroll, Week 2 (29/09/25)

• (11th Century) First experiments with movable type in China (clay characters).

• Issues: too many characters + fragile material made it impractical.

5. Europe (Turkey & the West)

• (AD 1400s) Woodblock printing introduced, mainly for religious images and playing cards.

• (1439–1457) Johannes Gutenberg developed metal movable type and the printing press in Germany.

• Gutenberg’s 42-line Bible printed in mid-1450s; later experiments included colour printing.

• His invention spread rapidly, becoming the foundation of Western publishing.

Fig 1.11 Gutenberg Press & Bible, Week 2 (29/09/25)

6. Burma (Myanmar)

• (19th Century) World’s largest book created in Mandalay: 729 stone tablets of Buddhist texts, each housed in its own stupa.

Week 3: Publishing Design - Typo Redux

Importance of Typography

Typography is to graphic design what oxygen is to life. It is essential, serving not only as a tool for communication but also as a medium for expression. Mastery of typography directly influences the quality of your design work.

Definition of Typography

• The art of arranging and composing text.
• Medium for communication.
• Tool for visual expression.

1. Typeface and Character Variations

A. Small Capitals and Glyphs

Most type families include multiple glyphs: lowercase, uppercase, small caps, numerals, fractions, ligatures, punctuation, symbols.

Small caps are useful for acronyms (e.g., TDS repeated in text) and are designed to match the x-height of lowercase letters.

B. Ligatures

• Created to avoid awkward spacing between letter pairs such as “fi” or “fl.”
• Improves visual harmony in text.
• Often applied automatically in software like Adobe InDesign.

Fig 1.12 Ligatures Example, Week 2 (01/10/25)

C. Numerals: Old-Style vs Uppercase

• Lowercase numerals: blend with text, ideal for historical or mathematical content.
• Uppercase numerals: larger, more 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, as it reduces legibility.

2. Choosing Good Typefaces

• Books and magazines benefit from type families with many variations, allowing differentiation of headings, body text, captions, and footnotes.

• Legibility is key: select 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: median line (top) to baseline (bottom).

• Ascender line: extends above x-height.

• Cap line: top of uppercase letters.

• Descender line: below baseline.

Fig 1.13 Line Structure Example, Week 2 (01/10/25)

B. Special Styles

• Underline: should not touch the descenders; keep a small gap for readability.

• Small caps: suitable for subheads or paragraph openings.

• All caps: limited to short headings; avoid long sentences.

• Italics: emphasize words or phrases, not entire paragraphs.

Fig 1.14 Special Style Examples, Week 2 (01/10/25)

C. Text Effects to Avoid

• Scaling: vertically/horizontally stretching fonts distorts type.

• Thick outlines: disrupt readability; max ~1 pt.

• Long shadows: should stay close to text.

Fig 1.15 Text Effect Examples, Week 2 (01/10/25)

4. Type Size, Line Length, and Spacing

Harmonious text flow requires balance of:

• Type size: 8-12 pt for books.

• Line length: ~50 characters (max 65).

• Leading: 2.5–3 pt larger than type size.

Key points:

• Larger type: more leading required.

• Long lines: increase leading to maintain readability.

• Short lines: less leading, avoid excessive spacing.

5. Character and Word Spacing

• Kerning: adjusts spacing between individual letters.

• Tracking: adjusts spacing across a group of letters.

Fig 1.16 Character and Word Spacing Examples, Week 2 (01/10/25)

Used to eliminate widows and orphans:

• Widow: single word/sentence at paragraph end.

• Orphan: single word/sentence at start of a column.

6. Alignment and Paragraph Formatting

A. Text Alignment Options:

• Flush left (ragged right): preferred for long text.

• Flush right (ragged left): limited use.

• Center: short text only.

• Justified: watch for rivers; adjust spacing and kerning.

Fig 1.17 Alignment and Paragraph Formatting Examples, Week 2 (01/10/25)

B. Paragraph Settings:

• Spacing: use space above OR below, not both; generally equal to leading.

• Indentation: same as type size (e.g., 10 pt font - 10 pt indent).

7. Special Formatting

• Hyphens (-): divide words/numbers.

• En-dash (–): replaces “to” (e.g., 10-20).

• Em-dash (—): inserts a pause or sentence within a sentence.

• Line break (Shift + Enter): maintains leading without creating new paragraph space.

• Drop caps: limit to 2-3 lines; decorative use only.

• Quotation marks: use correct typographic quotes for speech; typewriter-style quotes are outdated.

• Superscript/Subscript: for references, footnotes, math formulas.

• Baseline shift: adjust vertical alignment of symbols or numbers.

Fig 1.18 Special Formatting Examples, Week 2 (01/10/25)

8. Sidebars

• Sidebar text leading should match body text for cross-alignment.

• Maintains consistent reading rhythm across columns.

Fig 1.19 Sidebars Examples, Week 2 (01/10/25)

Week 4: Publishing Design - The Grid

1. Introduction

The grid is one of the most practical and widely used typographic systems for structuring layouts. While many methods exist to divide a page, the grid stands out for its balance of practicality, clarity, and adaptability. It should not be viewed as the only system, but it is a foundational one that can work in conjunction with other systems to create stronger design solutions.

2. Can design exist without grid?

Some argue that grids are essential, while others believe design can thrive without them. Ultimately, using a grid reflects a mental attitude toward order, rationality, and clarity.

3. Historical Development of Grid Systems (Raster Systeme)

• El Lissitzky: Russian Constructivist, pioneer of modernist approaches

• Jan Tschichold: Modernist designer who established typographic standards

• Paul Renner: Designer of Futura, a typeface based on geometric principles

• László Moholy-Nagy: Bauhaus figure, explored universal typography

• Josef Müller-Brockmann: Swiss designer, central figure in grid systems

“The use of grid as an ordering system is the expression of a certain mental attitude inasmuch 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.”

(Müller-Brockmann, 2010)

4. The Grid and Its Structure

A grid divides a surface into smaller, manageable fields. It can be applied in both two-dimensional planes (pages) and three-dimensional spaces (exhibitions, architecture).

Fig 1.20 Margin Area, Week 2 (02/10/25)

Key components include:

• Margins: space around the layout that ensures balance and breathing room

• Text fields: designated areas for text

• Gutters (column intervals): spaces separating columns

• Hang line: baseline for aligning text or headings across columns

• Rows and guidelines: horizontal structuring lines to align content

5. Purpose of the Grid

A. The grid is widely used by:

• Typographers

• Graphic designers

• Photographers

• Exhibition designers

Its purpose is to solve visual problems by organizing content systematically. By arranging text, images, and diagrams within a grid, designers create layouts that are coherent, logical, and functional.

B. Benefits of using a grid include:

• Compact and systematic planning

• Intelligibility and orderliness

• Improved readability and legibility

• Faster information processing and stronger memory retention (scientifically supported)

6. Readability, Legibility, and Responsibility

A designer’s foremost responsibility is toward the people who will experience, use, and interact with their work. In doing so, the designer also fulfill the client’s goals, even if the client does not explicitly recognize it.

A well-executed grid:

• Works subtly in the background

• Allows the content itself to communicate clearly

• Provides a reading experience that feels logical, elegant, and pleasant

• Encourages engagement and retention by making the reading process smooth

7. Flexibility of the Grid

A. Designers can:

• Adjust column usage (e.g., using two columns for body text, one for subtext)

• Crop and adapt images to serve the layout, rather than placing them unedited

• Apply hang lines differently depending on headings or body text

B. Balance is key:

• Too much variation: confusion and inconsistency

• Too little variation: predictability and boredom

• The designer’s task is to find the healthy range of variation that keeps the design engaging yet coherent.

8. Application in Book and Editorial Design

Books, magazines, and other multi-page works benefit greatly from grids, as they often involve multiple content types (body text, images, diagrams, charts, subtext, pull quotes). A grid ensures that these diverse elements are:

• Differentiated clearly

• Positioned consistently across pages

• Ordered in a way that supports navigation and comprehension

Fig 1.21 Grid Application Example, Week 2 (02/10/25)

Rigid modernist grids once dominated layouts, but contemporary design allows for more fluidity and flexibility. Today’s designers can mix rigid structure with creative freedom to achieve both clarity and visual interest.

Conclusion

The grid is a modular and flexible system that reflects a designer’s professional ethos of clarity, order, and functionality. It works subtly in the background, enabling content to communicate effectively while keeping readers engaged. Good design balances structure and variation, ensuring information is clear, logical, and visually compelling.

Week 5: Publishing Design - Elements

1. Introduction

Publishing design is made up of several fundamental elements that form the backbone of book design. While factors such as format, binding, size, and paper type play a role in shaping a book’s tactile quality, the three main elements that designers actively engage with are:

• Type

• Colour 

• Image (visuals and graphical elements)

Fig 1.22 Three Major Elements, Week 2 (02/10/25)

These elements work together within a format and grid system, which provides the hidden framework for structuring content logically and attractively.

2. The Three Elements of Book Design

A. Textual Element

• The primary component in most books.

• Includes body text, subtext, captions, and pull quotes.

• Pull quotes are extracted sentences from the main text, emphasized for impact, sometimes paired with imagery.

Typography choices are crucial for clarity and consistency. Beginners are encouraged to use one strong type family to maintain coherence across the book.

B. Visual Element

• Encompasses photographs, illustrations, or mixed-media graphics.

• Also includes graphical elements or themes that support visual storytelling.

• Plays a key role in balancing large amounts of text and in surprising or engaging the reader.

C. Colour

• Functions both as a highlight (to direct attention) and as a subtle, supportive tone (to create variation within long passages of text).

• Even when a book is in black and white, shades function as visual elements that influence perception and hierarchy.

3. Variation and Consistency

A. When applying text, images, and colour within a grid, it is crucial to:

• Avoid predictability. Repetition without variation creates monotony.

• Maintain consistency. Too much variation, however, leads to chaos.

The balance between consistency and variation is achieved by fixing certain elements (e.g., typeface, colour palette, image style) while experimenting with their placement, proportion, and sequencing.

B. Layout Formulas

Designers often reuse and rotate different formulas within a book to keep readers engaged. Examples include:

• Body text with a visual element (symmetrical balance).

• Large image with caption or pull quote.

• Two columns of body text side by side.

• Full-page image opposite a page of text.

In a 32-page book, around 6–7 variations may be enough to create visual interest without overwhelming the structure.

Fig 1.23 Variation with Consistency Examples, Week 2 (02/10/25)

4. The Role of the Grid

• The grid is the modular framework that organizes text, visuals, and colour.

• It ensures logical placement while supporting creative composition.

Adjustments to the grid are common during the design process as the designer refines the relationship between content and layout. A book’s pages must be divisible by 4, due to the printing and folding process of signatures (often 16 pages per signature).

5. Overcoming Design Challenges

A. Designing a book for the first time can be overwhelming, as it involves solving multiple problems simultaneously:

• Deciding what element to emphasize.

• Balancing visuals and text.

• Creating variation while preserving consistency.

• Exercises for Practice

B. The “Form and Movement” exercise is designed to help students:

• Understand variation within a grid.

• Develop cognitive problem-solving skills.

• Gain comfort and confidence with layout design.

Initially, the learning outcomes may not be apparent, but over time, students recognize improved decision-making, faster problem-solving, and more intuitive design choices.

6. Research and Visual Direction

A strong visual direction or point of reference helps guide the design process. Without adequate research into layouts and visual references, students risk making avoidable mistakes or falling into repetitive patterns.

• Looking at diverse, high-quality examples provides inspiration and helps clarify design intentions.

• Over time, designers learn to imagine a layout directly from the content, creating more original and expressive designs.

Conclusion

Book design revolves around the three fundamental elements: text, image, and colour, brought together by the format and grid. The key to effective publishing design lies in balancing variation and consistency, surprising the reader while maintaining clarity. The grid functions as a modular system that organizes elements logically yet allows creative freedom. Ultimately, a well-designed book takes its reader on a journey, seamlessly, engagingly, and often without them even realizing it.

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2. INSTRUCTIONS

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3. TASKS

Exercise 1 - Mock-up Making

We were told to bring A3-sized paper. Then, I folded the paper in half to make A4 size. After watching the tutorial video, I continued to make three sizes for our book that were not smaller than A5 or larger than A4. I decided to go with my second attempt, which is 23 cm × 16.5 cm, highlighted with a blue highlighter.

Fig 3.1 Mock-up Making Progress, Week 2 (01/10/25)

Fig 3.2 Mock-up Making Progress, Week 2 (01/10/25)

Exercise 2 - Signature Folding System (8+8=16)

For this exercise, we had to fold our A3-sized paper three times to get a 16-page book. After numbering the pages, we then cut the paper and stapled it together to make a mini book.

Fig 3.3 Signature Folding System Progress, Week 2 (01/10/25)

Fig 3.4 Signature Folding System Progress, Week 2 (01/10/25)

Exercise 3 - Classical Grid Structure

In this exercise, we had to watch the tutorial video first, then follow the steps on how to draw each line so that we could create the Van de Graff grid. I made three attempts to finally achieve precise lines.

Fig 3.5 Classical Grid Structure Progress, Week 2 (01/10/25)

Fig 3.6 Classical Grid Structure Progress, Week 2 (01/10/25)

Next, we began creating the Van de Graff digitally using Adobe InDesign. By watching and following the tutorial video, I was able to produce the result. I use dummy text that I generated on Google for the content.

Fig 3.7 Classical Grid Structure Progress, Week 3 (08/10/25)

Fig 3.8 Classical Grid Structure Progress, Week 3 (08/10/25)

Fig 3.9 Classical Grid Structure Progress, Week 3 (08/10/25)

 

Fig 3.10 Classical Grid Structure Progress (PDF), Week 3 (08/10/25)

Exercise 4 - Form & Movement 

For the fourth exercise, I also followed the tutorial video on how to create movement for each page. Mr. Vinod explained and taught us how to create a good movement flow from page 1 to page 16.

Fig 3.11 Form & Movement Progress, Week 3 (08/10/25)

Fig 3.12 Form & Movement Progress (PDF), Week 3 (08/10/25)

Next, I tried to make the movement for my own book layout, and below here is the finalized version:

   

Fig 3.13 Form & Movement Progress, Week 10 (26/11/25)

 

 Fig 3.14 Form & Movement Progress (PDF), Week 10 (26/11/25)

Exercise 5 - Text Formatting

For this exercise, we were instructed to develop the content of our book, which should be up to 3,000 words in total.

Fig 3.15 Text Formatting (PDF), Week 5 (22/10/25)

Exercise 6 - Determining Grid

For this exercise, we have to determine our book grid. My margin is 12mm, gutter is 5mm, with 4 columns and 6 rows. Below here are few samples of my book layout designs.

 

 Fig 3.16 Determining Grid Samples (PDF), Week 9 (19/11/25)

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TASK 2 - Content Generation

Project Brief:

Write 3000 words in English or Malay on a topic you are familiar with.
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

You may:

• Use original writing
• Use text from a credited source
• Work with a real client if the project fits the criteria

After completing your writing:

• Identify 16 areas in your text for visual interpretation
• Use any medium that suits your topic:
  • Illustration
  • Photography
  • Mixed media
  • Other creative approaches

1. Content Writing

For this task, I decided to write a story about my university life and how I have changed since studying abroad. I divided the story into four chapters.

Fig 3.17 Content Writing (PDF), Week 5 (22/10/25)

2. Visualization

After completing the writing, I decided to use photographs that I captured with my phone for the visualisation. Below here are the pictures I will use for my book visuals:

Fig 3.18 Visuals, Week 7 (07/11/25)

Fig 3.19 Visuals, Week 7 (07/11/25)

Fig 3.20 Visuals, Week 7 (07/11/25)

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TASK 3A - BOOK

Project Brief:

After developing your text and visuals, the next stage is to design your 32-page book by focusing on format, layout, typography, and colour.

What You Need to Do:

1. Book Format & Binding

• Size: Smaller than A4, bigger than A5
• Binding: Staple binding (saddle stitch) is required
• You may try another binding method with lecturer approval

2. Layout Design in InDesign

• Choose and adapt a suitable grid system
• Select an appropriate font or font pairing
• Create a balanced, clear, and attractive layout

3. Use of Colour

• Colour should complement your visuals
• Avoid overusing colour – keep it simple but dynamic where needed

4. Paper Selection

Decide on paper type for:

• Cover
• Inside pages

You are advised to visit:

• Hiap Moh
• Conqueror
• Or a local print shop

5. Final Output

• Create a full-size mock-up of your book
• Ensure clean finishing and professional presentation

In this task, we have to choose the book size based on our previous exercise. I referred back to my exercise 1, so I set my document size as 230mm x 165mm in Adobe Indesign.

Fig 3.21 Mock-up Making Progress, Week 2 (01/10/25)

Then I use 4x4 grid structure to be all 12mm for the margins and 5mm for the gutter, and I use 4 columns for my text and visuals layout. Then, I also add bleed to all pages since I placed some of my visuals touching the edge of the paper.

Fig 3.22 Adjusting Layout Progress, Week 7 (08/11/25)

After my consultation with Ms. Vitiyaa, she said that most of my pages are already good and neat. However, she suggested that I should reduce the size of my headings and make the kerning neater.

Fig 3.23 First Book Draft Before Feedback, Week 9 (17/11/25)

Fig 3.24 Adjusting Layout Progress, Week 9 (19/11/25)

She also mentioned that since none of my pictures overlap, I should rearrange the only pictures that I made overlap because they look inconsistent. And if I want to align the quotes to the left, then all quotes should follow the same alignment to maintain consistency.

Fig 3.25 Before & After Revision, Week 9 (19/11/25)

Since I feel that the flower picture make the page looks more crowded than the rest, I decided to just remove the flower picture to make the page looks more consistent with the other pages.

Lastly I made the book cover and the back cover for the last, and also added my book synopsis at the back cover.

Fig 3.26 Front & Back Cover Design, Week 9 (20/11/25)

Fig 3.27 Second Book Draft .PDF, Week 9 (20/11/25)

Final Book Layout Designs

Fig 3.28 Final Draft Book Layout Design.PDF, Week 10 (26/11/25)

Book Printing

After some feedback and trial, I refined some of my text layout and refined the kerning again. The, I'm ready to print my pdf to a physical book with this final outcome:

Fig 3.29 Final Book Layout Design.PDF, Week 10 (28/11/25)

For this book, I decided to do the printing at Mummy Design in Sunway. At the printing shop, I have to make decision for the material, the paper thickness, and the binding model. So here is the detailed information for my book printing:

Book Cover

Material: Art Card 260gsm (matte lamination).

Size: 230mm (H) x 165mm (W) (closed size)

Side Print: 1 Side Colour 

Qty: 1 pcs

Content

Material: Art Paper 157gsm

Size: 230mm (H) x 165mm (W) (closed size)

Side Print: 2 Side Colour

Qty: 40 pages

Binding model: Perfect Bind Book

Book Price: RM 82.50

Then, the admin gave me a template for the book cover in Adobe Illustrator.

Fig 3.30 Book Cover Template, Week 10 (28/11/25)

I decided to go with art paper for the material since I put photograph pictures for my book illustrator. So the material is suitable for my book theme since that material can give glossy effect to the pictures, so the quality looks better.

Fig 3.31 First Book Printing Attempt, Week 10 (29/11/25)

However, after I tried to print the physical book for the first time, I realize that some of my font size are too big. At the feedback session, Ms. Vitiyaa also said the same. So then, I decided to refine my book by reducing the size of my imprint information to be smaller than my body text, all of my quotes to be the same with the rest of the body text, and also the synopsis on the back cover.

Fig 3.32 Revised Layout Comparison Example (Back Cover), Week 11 (03/12/25)

Then, I also realize that my pictures' quality are very poor, most of them look a little pixelated. So, I decided to enhance the quality of the pictures, then I updated most of the illustrations in my book. 

After I'm done revising everything and I'm satisfied with the latest outcome, I decided to reprint my book with the same details and information again, but this time the price is RM70. So the total amount I spent to make my finalized book is RM152.50

Moving on, I'm really satisfied with the outcome for my second & last printing attempt. The illustrations are clearer and better quality, and the font size fits better. Unfortunately, I forgot to take a picture for the final book outcome physically and was already submitted, so I will show the finalized later as an E-Book.

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TASK 3B - EBOOK

Project Brief:

In this final task, you will adapt your printed book into a digital format for on-screen reading.

You will explore digital publication formats such as:

• ePub (Fixed Layout)
• Interactive PDF
• HTML/Online Reading Experience

Key Focus Areas

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)

For the next step, I decided to use Fliphtml5 to make the E-Book. I customized the background colour to be brown and black as a gradient background. I also make the preview to be two-sided to see the whole visual harmony of the book better. 

Fig 3.33 Making E-Book Progress, Week 11 (04/12/25)

However, we have to subscribe in order to save it as a pdf, so I decided to copy the preview link and embed the code to my portfolio since it still works perfectly.

E-Book preview link: https://online.fliphtml5.com/scszg/mgsf/

Fig 3.34 E-Book Preview (Fliphtml5), Week 11 (04/12/25)

After that, I made a poster mock up for a book launch event in Adobe Illustrator and also presentation slides that I used for the final presentation.

Fig 3.35 Book Launch Poster, Week 12 (09/12/25)

Fig 3.36 Final Presentation Slides, Week 12 (09/12/25)

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4. FEEDBACK

Week 1

General Feedback: Ms. Vitiyaa briefed us on the module in general and told us what to prepare for next week. Lastly, she asked us to watch the lectures before starting the assignments.

Week 2

General Feedback: Ms. Vitiyaa briefed us about our first exercise and the submission requirements for Task 1. She also explained to us about paper sizes and the concept of publishing design.

Week 3

General Feedback: Ms. Vitiyaa explained more to us about publishing design. We also got to see and feel different types of paper samples. She guided us through our exercises and helped us in creating content for our book later on.

Week 4

General Feedback: Ms. Vitiyaa briefed us about our writing task for our book. She also explained about types of grid that we can apply to our book layout.

Specific Feedback: Ms. Vitiyaa said that I can continue my writing and gather some pictures for the visualization of the book.

Week 5

General Feedback: Ms. Vitiyaa said that we should complete our exercises and book content, and continue formatting the text.

Week 6

General Feedback: Ms. Vitiyaa said that we should complete our exercises and book content, and continue formatting the text.

Week 7

General Feedback: Ms. Vitiyaa guided us in formatting our book. She helped us convert our photo visuals to TIFF format and CMYK colour mode. After that, we need to continue formatting our text and visuals.

Week 8

General Feedback: This week, Ms. Vitiyaa briefed us on what we need to do for now and for next week.

Specific Feedback: Ms. Vitiyaa said that it’s better to make the layout as consistent as possible. If it’s light, keep all pages light, if it’s heavy, keep all pages heavy. She also reminded me to add the bleed for the book visuals.

Week 9

General Feedback: This week, we must print our full book layout on A3 paper and revise it after the feedback session. All work must be done in Adobe InDesign.

Specific Feedback: Ms. Vitiyaa said that my layouts are overall good, but I need to readjust the kerning for some text. She also advised me to change the overlapping pictures since I only used that effect once, which makes it look odd.

Week 10

General Feedback: Ms. Vitiyaa said that next week we should try to print our book so we still have time to revise anything that needs to be improved.

Specific Feedback: Ms. Vitiyaa said that some of my kerning still needs adjustment, as some letters are too loose while others are too tight. Other than that, everything is good.

Week 11

General Feedback: Ms. Vitiyaa briefed us to prepare our presentation for next week and to get ready for our book submission.

Specific Feedback: I should make the quote’s font size the same as the rest of the body text, and reduce the font size of the synopsis on the back cover.

Week 12

General Feedback: Today is the final presentation day and the submission date for our E-Book & physical book.

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5. REFLECTION

Experience

Throughout these twelve weeks, I learned many new things about publishing design and creating a book from scratch. At the beginning, I was still unsure about the steps, but each week’s guidance helped me understand what needed to be done. I went through writing, designing layouts, formatting text, choosing visuals, and preparing files for printing. Sometimes it felt challenging, especially when adjusting layouts or fixing kerning, but the weekly progress made me more confident. Having to print drafts, revise them, and prepare both the digital and physical book taught me how detailed the publishing process really is. Overall, the experience helped me improve my design skills and time management. It was a very fun and memorable experience, as a new graphic design student.

Observations

Throughout this project, I noticed that consistency and attention to detail are very important in publishing design. Even small things like kerning, font size, and picture placement can change the overall look of the book. I also observed that planning ahead made the work easier, such as gathering photos early, understanding paper types, and learning how grids work in layouts. Seeing how the lecturer reviewed each part of our work showed me that every design choice needs a reason. I also observed that printing drafts helped reveal mistakes that I couldn’t see on screen. These observations taught me how designers refine their work step by step.

Findings 

From the feedback I received each week, I found that my main improvements were in layout consistency, formatting, and technical preparation. I learned the importance of using the same style across all pages so the book feels balanced. I also discovered that preparing images in the correct format (TIFF, CMYK) is necessary for proper printing. Another finding was that kerning and text formatting take a lot of patience, but they make the book look more professional. Lastly, I realized that reviewing, revising, and staying open to feedback are key to producing a polished final outcome. These findings can help me in future design projects.