Publishing Design
21/09/2025 - 31/12/2025(Week 1 - Week 7 )
ZHOU BOYING / 0369087
Publishing Design / Bachelor of Design (Honours) in Creative Media / Taylor's University
PUBLISHING DESIGN: TASK 01
LIST
1. Lectures
2. Instructions
4.Task 1
5. Feedback
6. Reflections
7. Further Reading
Lectures
Lecture 1 : Formats
The Book — focus this semester
Publishing has many formats (books, newspapers, magazines), but this course focuses on the book.
Why: historically significant; the oldest and among the most influential formats—many key publishing advances centered on books.
What a book does: records and transmits ideas, knowledge, records, and history.
Core skills for book design: Typography · Space/Layout · Attention to detail · Publishing-software fluency.
Design with the reader in mind; avoid laying out books in Illustrator—use proper layout tools.
Format — prompt to consider
Question: In your view, what factor(s) influence and determine the format of a book?
The Book — historical formats (by civilization)
Mesopotamian (Iran–Iraq)
Ancient Egyptian (Egypt)
Indus Valley (India–Pakistan–Afghanistan)
Han Chinese (China)
European (Europe incl. Turkey & beyond)
The Book / historical formats
Tech → Innovation. Innovation almost always follows technology. New technology creates opportunity; potent technology triggers cascading effects across life (including publishing and book formats).
Scope to investigate (by civilization/region):
Mesopotamia (Iraq & Iran) — starting point · Ancient Egypt · Indus Valley (India–Pakistan–Afghanistan) · Han China/China · Europe (incl. Turkey & beyond)
1) Mesopotamia
Key idea: Writing grew from counting tech (Schmandt-Besserat, 1995).
Pathway: tokens → bullae → pictographic writing on clay tablets.
Medium role: Clay = container (bullae) and writing surface (tablets).
Format takeaway: Accounting needs + clay technology shaped early tablet size & impressions.
Fig 1.2 Mesopotamia
2) Indus River Valley
Context: Indus River Valley (Harappan & Mohenjodaro); record-keeping details unknown, system complex.
Writing: Cuneiform noted on slide; among the earliest.
Records: Government, religion, trade.
Medium/Tool: Soft clay tablets + sharp pointed tools.
Fig 1.3 Indus River Valley
Medium/format: Dried palm leaves cut into narrow strips, string-bound through punched holes; example script: Devanagari.
Tool: Steel-tipped stylus for inscribing.
Date: Oldest surviving c. 800–900 CE (Nepal); usage possibly as early as 1000 BCE in the Indus Valley; common across South Asia.
Format takeaway: Material + binding dictate oblong size, hole margins, pagination via cords/boards.
Fig 1.4 Palm leaf manuscripts & old stylus
3) Egypt
Literacy: Scribes were the only people who could read/write hieroglyphics.
Medium: Wrote on papyrus—a thick paper made from the pith of the papyrus plant (Cyperus papyrus).
Also wrote on: Tomb walls (hieroglyphic inscriptions).
Fig 1.5 Egypt
4) Egypt (Papyrus example)
Date: c. 1600 BCE.
Script: Hieratic (cursive form of hieroglyphs), written right-to-left.
Ink: Black main text with red explanatory glosses.
Topic: Largely about trauma and surgery.
Fig 1.6 Hieratic medical papyrus, c. 1600 BCE (RTL; black text with red glosses).
5) China — ultra-short
Writing layout: Early Chinese written in vertical columns → thin bamboo strips fit a single column.
Binding: Two threads link each strip to its neighbor to form longer documents.
Etymology: The modern Chinese character for “book” comes from a pictogram of threaded bamboo strips.
Paper: Court eunuch Cai Lun reported a new substance (paper) in 105 CE; slide also shows early paper (Fangmatan, 179–41 BCE, Gansu).
Fig 1.7 Han-China
Work: Diamond Sutra, 868 CE.
Significance: Earliest known printed book; precisely dated.
Discovery: Found in a Dunhuang cave in 1899.
Format/Medium: Paper in scroll format (paper invention referenced earlier: 179–41 BCE).
Fig 1.8 Diamond Sutra, 868CE
6) Turkey & The West
Origin: Parchment first invented in Turkey, 197–159 BCE, then spread to Europe.
Material: Animal hide.
Format impact: Unlike papyrus/bamboo (good for scrolls), leather was thick/heavy → pushed Europeans (c. 50 CE) to make parchment books (codices).
Fig 1.9 Turkey & The West
7) Paper to Europe
Route: Paper traveled west from China → Persia/Arab empires → Turkey (Ottoman) → Europe.
Adoption: Became widely available in Europe c. 1400–1500 CE.
Material shift: Ingredients evolved; by the 1860s, wood pulp used—e.g., printing the Boston Weekly Journal.
Fig 1.10 Parchment: Codex & Scrolls (Turkey → Europe)
8) Europe (Folding & Binding)
Context: Paper’s westward journey was slow, but by the turn of the century folding format took hold in Europe.
Method: First with wooden blocks sewn with thread, later with parchment and then paper.
Result: Paper was sewn, bound, and glued → basis of modern bookbinding.
Figure 1.11 Folding Format
week 1
In the first week of the Publishing Design class, Ms. Vitya introduced us to Task 1: Exercise 1 and reminded us to prepare the necessary tools before the next session. She expects us to build a solid foundation of both theoretical knowledge and practical skills in book design through a series of exercises. At the same time, she emphasized the importance of documenting our learning process and reflections in a blog, in order to cultivate our ability to reflect on and summarize the design process.
Lecture 2 : History of Print
2nd – 8th Century AD
In AD 175, the Emperor of China ordered the six main classics of Confucianism to be carved into stone. Confucian scholars who wanted their own copies would place paper sheets over these engraved stones and rub them with charcoal or graphite. This process created white letters on a black background — an early form of text reproduction that marked the beginning of print history in China.
The invention of printing was a major achievement of Buddhists in East Asia. Korea led this development — the earliest known printed document in the world is a Buddhist sutra printed on a single sheet of paper in Korea around AD 750. This shows how religion played an important role in the technological progress of early printing.
Japan soon followed Korea’s example with a large-scale printing project. In AD 768, during the devoutly Buddhist Nara period, the Japanese Empress commissioned the printing of a massive number of lucky charms or prayers known as Hyakumantō Darani (One Million Pagoda Dharani). The project took six years to complete, and around one million copies were printed and distributed to pilgrims. Remarkably, many of these printed charms have survived to this day.
The Hyakumantō Darani, meaning One Million Pagodas and Dharani Prayers, represents one of the earliest known examples of woodblock printing in Japan. In AD 764, Empress Shōtoku ordered the creation of one million small wooden pagodas, each containing a printed Buddhist scroll about 6 × 45 cm in size. These scrolls were distributed to temples nationwide as an offering of gratitude after the suppression of the Emi Rebellion. The project stands as a remarkable early record of mass printing in Japan, and several examples have survived until today.
The earliest known printed book is Chinese, dating back to AD 868 during the late T’ang Dynasty. It is the Diamond Sutra, a Buddhist text discovered in 1899 inside a cave at Dunhuang. The sutra was printed using woodblocks and includes both text and illustrations. Its detailed date and dedication make it one of the most precisely recorded examples of early printing, vividly reflecting the cultural and spiritual life of its time.
The Diamond Sutra is a 16-foot-long scroll composed of sheets of paper glued together edge to edge. The text is printed with woodblocks, and the first sheet is particularly significant — it contains the world’s first printed illustration, depicting the enthroned Buddha surrounded by his attendants. This combination of image and text marks a turning point in the history of visual communication, integrating art and literature in a single printed form.
Chinese Publishing: 10th – 11th Century
After the invention of woodblock printing, Chinese printers achieved remarkable progress during the 10th and 11th centuries. They printed the complete Confucian classics, around 5,000 scrolls of Buddhist and Daoist texts, and the Standard Histories since the time of Sima Qian.
However, the process was extremely labor-intensive — every single Chinese character had to be carved in reverse on a wooden block. Despite the challenge, this was the only available method until the invention of movable type.
Movable Type in East Asia (11th – 14th Century)
Movable type printing was first invented in China during the 11th century by Bi Sheng, who made reusable clay type pieces. However, due to the large number of Chinese characters and the fragility of clay, the system was not widely adopted.
By the late 1300s, Korean inventors improved the technology by using bronze movable type, which was stronger and reusable. Around 1443, Korea also created its own alphabet, Hangul, a simpler phonetic system compared to Chinese characters.
Meanwhile, in the 1440s, Gutenberg in Europe was developing a similar movable type system. The difference was that the European alphabet (A–Z) required far fewer characters, making printing much faster and more practical.
Saints and Playing Cards: AD 1400
Around AD 1400, woodblock printing — first developed in Asia — was introduced to Europe. Early European prints were mainly religious images sold to pilgrims and playing cards used for games and entertainment.
The process involved carving a design into wood, inking the surface, and pressing paper on top — just like in Asia. By the late 15th century, especially in Germany, technological improvements turned printing into a major cultural and intellectual force that shaped Western civilization.
Gutenberg & Western Printing: AD 1439–1457
In 1439, Johannes Gutenberg appeared in historical records related to printing. Witnesses in Strasbourg described his printing tools, suggesting that he was already experimenting with movable type.
By 1450, Gutenberg had moved to Mainz, where he borrowed money from Johann Fust using his printing press as collateral. This marked the beginning of modern printing. Between 1450 and 1457, Gutenberg successfully printed the Gutenberg Bible, the first major book produced using movable type in Europe — an invention that transformed knowledge sharing, education, and culture.
The World’s Largest Book
The world’s largest book is made of stone and stands in the grounds of the Kuthodaw Pagoda at the foot of Mandalay Hill in Myanmar (Burma). Known as Kuthodaw, meaning “royal merit,” this monumental work contains the entire text of the Tipitaka, the Buddhist scriptures.
Each stone tablet is housed in a small white stupa with a gem-topped roof, forming a unique open-air library. There are a total of 729 stupas, each containing one inscribed marble slab, all arranged around a central golden pagoda — turning sacred text into a physical landscape of devotion and knowledge.
Lecture 3 : Typo Redux
Typography is like oxygen for graphic designers.To be good in design, we must also be good in typography because it’s not only about decoration — it’s about arranging and composing text to express ideas clearly. It’s both art and communication.
Characters in a Typeface
A typeface includes:
- Lowercase
- Capitals
- Small capitals
- Punctuations
- Non-aligned figures (old-style numbers with different heights)
- Fractions
- Ligatures
- Symbols
X-height and Ligatures
X-height means the space from the baseline to the meanline — it’s where most lowercase letters sit.
In the picture, there’s an example of capital swashes — usually used at the beginning of names. → Don’t use all capital swashes, it looks bad and hard to read.
Ligatures combine letters that usually clash (for example, f and i). This helps make the type more readable.
Uppercase and Lowercase Numbers
Uppercase numbers (modern numbers) are all the same height — popular in the 1940s.
Lowercase numbers (old-style) have different heights, like lowercase letters.
A good typeface has many weights (light, regular, bold, etc.) so it’s easier to use for long texts like books.
Legibility
If we want people to read easily, we should go back to basics — use clear, balanced fonts.
If we want to experiment, we should still understand the rules first.
Legibility means the text is easy to see and comfortable to read.
New term: Overshoot → When curved or pointed letters go a little beyond the x-height or baseline to look optically even.
Small Caps and All Caps
Capital letters work best for short headings. Too much capital text makes reading difficult. Remember, capitals were designed for the start of sentences, not long paragraphs.
Special Typographic Features
In the software, we can find:
Text scaling – stretch or squeeze fonts.
Outline & shadow – must use carefully; too much reduces readability.
A good text flow depends on the harmony of type size, line length, and line spacing (leading).
Line length: Ideal is around 50–65 characters per line for body text.
Text size: Normally 8–12 pt, unless it’s for visually impaired users.
Leading: Should be 2.5–3 pt bigger than the text size. Longer lines need more leading.
Kerning, Tracking & Alignment
Kerning = adjust space between two letters.
Tracking = adjust space between all letters in a word.
→ Both help avoid awkward spacing and widows/orphans in paragraphs.
Alignment:
Flush Left : natural and easy to read.
Flush Right : opposite to reading direction, not good for long texts.
Centered : ragged on both sides, must look even.
Justified : straight edges both sides but can make gaps; fix manually if needed.
Paragraph indent: Usually same as type size. Used for justified text, not flush left.
Hyphens, En-dashes, Em-dashes
Hyphens (-): used to divide words or numbers, e.g. mother-in-law, 800-555-1234.
En-dashes (–): slightly longer, used for ranges like Oct. 10–15 or 30–50 people.
→ can replace “to” or “through.”Em-dashes (—): longest one, used to separate thoughts or add emphasis.
→ don’t overuse.
Line Breaks
- For headlines, don’t just press “Enter” — it can mess up spacing.
- Use Shift + Return for soft line breaks.
Drop Caps
- Used at the start of a chapter or section.
- Can adjust size, line count, and font in InDesign.
- Avoid if software doesn’t support automatic setting.
Quotes and Marks
- Use correct curly quotes:
- ‘Single’ and “Double” — not "typewriter quotes".
- For measurements: 12″ = 1′ (use inch and foot marks).
Sidebar
- Extra text beside main body copy.
- Usually smaller size but same leading to match main text.
week 2
In the second week of the Publishing Design class, Ms. Vitiyaa introduced the concept of publishing and explained its relevance to graphic designers. She highlighted the differences between physical books and digital publishing, focusing on aspects such as typography, layout, and the preservation of information. The class also covered the technical processes of book production, including page arrangements in multiples of four, binding methods like stapled and perfect binding, and the importance of precision in design for mass printing. Through these explanations, she emphasized that publishing requires both creative design and technical accuracy, while also reminding us that this knowledge is valuable for professional practice, such as producing reports or publications.
Lecture 4 : The Grid
This lecture discusses the importance of the grid system in publishing and layout design. The grid is introduced as a practical tool for organizing content and dividing a page logically. It helps designers create clear, readable, and visually balanced layouts. The lecturer also mentioned the mindset behind grid use — it reflects a designer’s discipline, logic, and professionalism. At the same time, good designers should know how to stay flexible within the grid, balancing structure and creativity to communicate information clearly.
Highlights
Function of Grid
A grid is an effective page division method that helps designers place images, text, and elements neatly. It improves both visual order and communication clarity.
Information Organization
By using grids, information can be presented logically and consistently, making it easier for readers to understand and remember.
Design Ethos (Brockmann, 2010)
Using a grid reflects a professional mindset — constructive, clear, objective, and aesthetic, rooted in mathematical thinking.
Sharing and Learning
Designers are encouraged to document and share their experiences to promote design discussion and growth.
Key Terms
Margins : The space around the page; essential for visual balance.
Text Field : The area where the main text flows.
Gutter : The space between columns.
Hang Line : Guides for aligning text and visual elements consistently.
Lecture 5 : Elements
Elements of a Book
A book is made up of three main elements:
Type — the text and typography choices.
Colour — supports emotion and visual balance.
Image — adds visual meaning and rhythm.
All these elements are held together through format and grid, which create structure and unity in layout.
(Ref: Brockmann, 2010)
Variation within the Grid
When using type, colour, and image on a page, designers must avoid predictability.
Create variation within layouts while keeping consistency across the book.
Keep some areas fixed (like hang lines, typeface, colour style), and vary the combination and arrangement of elements.
The goal: make each page feel connected, but still interesting and fresh.
Form and Movement
The “Form and Movement” exercise helps students practice how to create variation using the grid.
Variation = creative rearrangement of content, not total change.
A 32-page book doesn’t mean every page is different — instead, reuse and rotate layout formulas.
Common Challenges
The “Form and Movement” exercise helps students practice how to create variation using the grid.
Variation = creative rearrangement of content, not total change.
A 32-page book doesn’t mean every page is different — instead, reuse and rotate layout formulas.
Learning Progress
Over time, you’ll begin to see the logic and connection between what you learned and what you design.
Layout decisions will feel easier and more natural.
Having a clear visual direction or reference helps define the mood and tone of your book.
Conclusion
Don’t be predictable — surprise the reader on every page.
Maintain variation within consistency.
The grid should be used flexibly: logical structure + aesthetic composition.
A good book takes its reader on a journey — smoothly, without them even realizing it.
week 3
In this week’s class, Ms. Vitiyaa went through the full process of how we will create our own book for the semester. She reminded everyone that the writing must be 3,000 words in English, divided into at least three chapters with a few side stories and one caption per chapter. The book should be slightly bigger than A5, and we need to include at least 16 visuals — either photos or illustrations — that match our content. She emphasized that this semester’s project should be fully original, no outside clients or reused materials. During the lecture, she also explained what “publishing design” really means — not just layout, but also paper types, bindings, typography, and colour. We discussed examples like magazines, catalogues, manuals, and coffee-table books, and she encouraged us to visit bookstores to feel different paper textures and look at real binding styles.
Ms. Vitiyaa’s class this week felt very hands-on and inspiring. She kept reminding us that a good book is not only beautiful, but also thoughtful in how it’s made — from page thickness to how images guide the reader’s eyes. I realized that publishing design combines both storytelling and material design. After this class, I plan to finish my writing soon, list out which parts can be turned into visuals, and start thinking about layout ideas. It was a relaxed but very informative session, and it made me more confident about starting my book project.
Week 4
Class notes
1. Introduction to Grid System
The grid system is one of the most essential frameworks in publishing design. It ensures consistency, readability, and visual flow across pages. In book or magazine design, every spread should follow a structured layout that guides the reader’s eye naturally from one page to the next.
The purpose of using a grid is to create order and a sense of rhythm throughout the publication, making the reading experience coherent and comfortable.
2. Types of Grids
There are four main types of grids used in publishing:
Manuscript Grid – A single-column layout, suitable for text-heavy materials such as novels or academic books.
Column Grid – The most common and flexible type, typically divided into two, three, or four vertical columns.
Modular Grid – A combination of intersecting rows and columns, ideal for layouts with many images or mixed visual content.
Baseline Grid – Aligns text consistently across pages by controlling line spacing.
Golden ratio and rule of thirds are often applied to achieve proportional harmony and balance within the layout.
3. Application of the Grid
A good layout should maintain both visual consistency and flexibility. Designers can “break” the grid to emphasize special pages, such as chapter openers or feature spreads.
It is important to consider both left and right pages as a single spread, rather than designing each page in isolation.
4. Core Design Principles
Ms. Vitiyaa emphasized four key principles when working with grids:
Alignment – Keep all text and visuals visually connected.
Balance – Avoid heavy or unbalanced compositions.
Focus – Use white space to guide attention.
Consistency – Maintain uniform typography, spacing, and structure.
After completing a layout, she suggested stepping back from the computer screen to visually check the overall balance of the page.
5. Typography
Typography determines both the tone and readability of the publication. Serif fonts are generally used for long-form reading, while sans-serif fonts convey a modern and minimalistic feel.
Line spacing (leading) and letter spacing (tracking) should be carefully adjusted for comfort and clarity.
Using drop caps at the beginning of a chapter can provide a professional and engaging visual cue.
6. Flowing Text in InDesign
InDesign supports the flowing text feature, allowing text to automatically continue across multiple pages.
If a text box turns red, it indicates overflow text that needs adjustment.
Paragraph and character styles should be defined early so that headings, subheadings, and body text remain consistent across all 32 pages.
7. Book Structure and Layout Components
A complete publication usually includes:
Title Page
Dedication or Acknowledgment Page
Chapter Opening Pages
Illustration or Photography Pages
Body Text Pages
summary
In Week 4, Ms. Vitiyaa focused on introducing the grid system in publishing design. She explained its importance in maintaining consistency and readability across pages, and demonstrated how different types of grids can be applied in book layouts. She reminded students to establish grids before adding text or images, to leave enough white space, and to keep alignment and balance throughout the design.
Week 5
In Week 5, I focused on refining my writing for the 3,000-word autobiographical story. I learned that writing for design is not just about describing experiences but also about expressing sincerity and emotion. I realized that a personal story can naturally shape the mood and direction of later visuals. This week helped me connect storytelling with design thinking more deeply.
Week 6
In Week 6, I focused on illustrating my 3,000-word story Between Home and Horizon. Through this process, I learned how to turn memories and emotions into visual form. Balancing realism and feeling helped me express warmth and personal connection in each illustration. It was also the first time I truly saw how images could carry the same emotional weight as writing.
Week 7
In Week 7, as I completed all my illustrations and arranged them in InDesign, I started to see my project coming together as a full book. I realized how design, storytelling, and printing preparation work as one process. This stage made me more confident in combining visuals and narrative, and I felt proud to see my story taking a complete, professional form.
Week 8
In Week 8, the lecturer reviewed our layouts and reminded us to keep our e-Portfolio up to date. While checking my pages, I noticed how important alignment, spacing, and visual balance are to the overall quality of the book. This week taught me that professional presentation is not only about creativity but also about discipline and attention to detail.
Instructions
Task 1 Exercises
Then I used new sheets of paper, taped them down, and cut them to the preferred size for my book.
Final Book Size: 220mm * 155mm
Publishing Design: Signatures_Ex2
The video demonstrates how to construct a Van de Graaf grid using geometric methods, emphasizing the importance of balanced layout in typography. By drawing diagonals and vertical lines, the text area and margins are defined, showing how ancient scribes applied geometry to create harmonious and readable page designs.
Publishing Design – Digi Van De Graff Ex3A
Classical Grid Structure Setup
Page Size: 180 mm (W) × 243 mm (H)
Columns: 2
Column Gutter: 5 mm
Margins (Classical Proportions):
Top: 27 mm
Bottom: 54 mm
Inside (spine side): 20 mm
- Outside (fore-edge): 40 mm
Summary
This video explains the process of digitizing the Van de Graaff Grid in Adobe InDesign. The lecturer demonstrates step by step how to create the page, adjust margins and columns, draw diagonals and vertical lines to construct the grid framework, and discusses key points of text formatting such as paragraph spacing, font size, and readability. Finally, attention is given to exporting the file correctly as PDF and JPEG.
Highlights
- Page Setup: Set page size to 180 × 243 mm with two-column layout.
- Grid Construction: Draw diagonals and vertical lines to build the Van de Graaff grid framework, ensuring precise central alignment.
- Text Formatting: Use suitable font sizes (body text 8–12 pt), and keep paragraph spacing between 2–3 pt.
- Readability: Maintain 40–55 characters per line for comfortable reading.
Publishing Design: Form and Movement Ex4
In this week’s exercise, I explored the concept of Form and Movement in publishing design. The goal was to understand how visual rhythm, balance, and spatial dynamics can transform a static layout into a composition that guides the reader’s eyes naturally across the page.
I referred to Mr. Vinod’s article “Form and Movement in Publishing Design” published on Kreatif Beats (2020) His step-by-step examples demonstrated how to build visual tension and flow using basic shapes, alignment, and photo crops.
Mr. Vinod’s layouts progress systematically:
Top-left: Monochrome form and movement using only black and white shapes.
Top-right: Dual-color composition adding contrast and rhythm.
Bottom-left: Incorporates photography with varied cropping for tension.
Bottom-right: Combines form, image, and type to achieve a dynamic final spread.
“Form and movement training helps students develop intuition, reduce design stiffness, and create layouts that surprise and engage readers.” — Vinod J. Nair, 2020
I was deeply inspired by this style, so I created my own Form and Movement composition (see Fig 4.10). Through this process, I explored how simple shapes and spatial rhythm can form a strong visual flow even without text. I fully agree with Mr. Vinod’s statement that “Form and Movement exercises truly help students develop intuition, reduce stiffness in design, and result in layouts that are richer, more engaging, and capable of surprising the reader during the reading experience.”
After completing the first composition, I wanted to deepen my understanding of form and movement by experimenting with a new version. This time, I introduced color (blue) and text integration, transforming the abstract composition into a more realistic book layout. Through this process, I learned how to maintain visual rhythm while balancing images, typography, and white space. It also helped me understand how dynamic elements can bring consistency and identity to a multi-page publication.
Task 2 Writing
Students must produce a 3,000-word written piece in English or Malay on a familiar topic. Possible themes include:
Yourself
Your family
Someone who inspires you
Your hometown
A meaningful experience, belief, or idea
Structure Requirements
At least 3 chapters
3–5 subtexts (sidebars or supporting sections)
1 caption per chapter
You may:
Use original writing
Use credited sources
Work with a real client (if applicable to your topic)
Task 2 Writing (26/10/2025)(Week 4)
After completing Task 1, I finished writing a 3,000-word personal story titled “The Journey of Growth — From Ningxia to Malaysia.”
The story is divided into three main chapters, describing my life stages from childhood to my present student life abroad. Each chapter combines emotion, memory, and reflection.
Chapter One — The Roots of Childhood (2002–2012):My early life in Ningxia, my Hui ethnic heritage, and warm family memories.
Chapter Two — The Challenges of Youth (2012–2021):Middle and high school experiences, pressure from exams, and the discovery of personal passion.
- Chapter Three — A New Journey (2023–Present):Studying abroad in Malaysia, challenges of language and adaptation, and transformation through design.
This week I continued refining my illustrations and completed the final layout in InDesign. The 18 illustrations were arranged in chronological order, forming a visual timeline that follows my personal journey:
- Fig. 1 — Cover: Between Home and Horizon
- Fig. 2 — Mother’s Embrace
- Fig. 3 — Summer Courtyard
- Fig. 4 — New Dress
- Fig. 5 — The Bright Lights of the Stage
- Fig. 6 — A Meal Made with Love
- Fig. 7 — First Journey to Beijing
- Fig. 8 — Farewell Day
- Fig. 9 — Midnight Practice
- Fig. 10 — Summer Victory
- Fig. 11 — The Night Before the Exam
- Fig. 12 — Morning after Graduation
- Fig. 13 — A New Chapter
- Fig. 14 — A New Dream
- Fig. 15 — Two Mentors
- Fig. 16 — Quiet Companionship
- Fig. 17 — Walking Together
- Fig. 18 — Roots and Wings
Ms. Vitiyaa reviewed the layout and suggested minor adjustments to image placement and spacing for better balance. She also reminded us to check print settings such as CMYK mode and bleed margins before exporting the final PDF.
Task 2 BOOK
Feedback
Week 1
Specific feedback:
Ms. Vitya reminded us that we should not only bring the necessary tools (such as sketchbook, pens, and laptop) but also ensure they are ready for use in class. She also highlighted that some students forgot to check the blog setup, and asked us to create or prepare our personal blog before Week 2.
General feedback:
In the first week, Ms. Vitya emphasized that the purpose of Task 1: Exercise 1 is not just to practice book design techniques, but also to develop our habit of reflecting on the process. She encouraged us to think of the blog as a “learning diary” where we can record experiments, inspirations, and problems encountered. The overall expectation is that by consistently documenting our journey, we will gain both theoretical understanding and practical growth.
Week 2
Specific feedback:
This week, Ms. Vitiyaa explained the meaning of publishing and why it matters for designers. She compared physical books with digital publishing, highlighting differences in typography, layout, and preservation of information. She also introduced the technical side of book production, such as multiples of 4, binding methods, and the importance of accuracy in printing. These details helped me understand that publishing is not only creative but also very precise and systematic.
General feedback:
Overall, I realized that publishing connects design with history, technology, and information preservation. The lecture made me more aware that even small details like spacing, color, or punctuation affect the final outcome. It also showed me that while not every designer may focus on publishing, the knowledge is valuable for professional projects like reports or books. The session encouraged me to see publishing as both a technical skill and a way of communication.
Week 3
Specific feedback:
Ms. Vitiyaa explained the full process for our Publishing Design book project. She reminded us that the writing must be 3,000 words in English, divided into at least three chapters, each with a caption and a few side stories. The book should be slightly bigger than A5 and include at least 16 visuals such as photos or illustrations that match the story. She also emphasized that the project must be fully original, with no reused materials or outside clients.
General feedback:
She highlighted that publishing design is not only about layout, but also about paper types, binding, typography, and colour choices. Ms. Vitiyaa encouraged us to visit bookstores to study real examples and understand how design and material work together. From this session, I learned that a good book is both visually balanced and meaningful in storytelling. It made me more confident and motivated to start planning my own layout and visuals.
Week 4
Specific feedback:
In this week’s class, Ms. Vitiyaa focused on explaining the grid system in publishing design. She demonstrated how grids help maintain consistency and readability across pages and introduced different types such as manuscript, column, modular, and baseline grids. She reminded us to always establish the grid before placing any text or images and to use flowing text and paragraph styles in InDesign for better efficiency and organization.
General feedback:
Ms. Vitiyaa advised that a good layout should balance alignment, spacing, and white space to achieve visual harmony. She emphasized that grids are not limitations but frameworks that guide creativity and structure. This class helped me understand how professional books achieve balance and flow, and I plan to apply these principles when developing my own publication design.
Week 5
Specific feedback:
In this week’s session, we continued developing our 3,000-word autobiographical writing. Ms. Vitiyaa reminded us to refine the tone of voice and make sure each chapter connects smoothly with the next. She also advised us to start marking parts of the text that could later be transformed into visuals for Task 2. We were encouraged to review our drafts and make emotional expression clearer and more personal.
General feedback:
This week taught me that writing design-related content requires both structure and sincerity. I realized that when a story comes from personal experience, it naturally carries stronger emotion that guides future visual direction. The process helped me connect my storytelling to the overall concept of publishing design.
Week 6
Specific feedback:
This week focused on illustrating my 3000-word autobiographical story Between Home and Horizon. I began developing my 18 illustrations based on the key moments from each chapter, using a chronological approach to visualize emotional growth. Ms. Vitiyaa reminded me to maintain stylistic consistency—especially in line weight, colour tone, and texture—and to ensure that every artwork supports the written narrative rather than repeating it.
General feedback:
Through this week’s illustration process, I learned how to translate memories into visual form. Balancing realism and emotion helped me express the warmth and intimacy of personal stories. The lecturer’s advice guided me to treat illustration as part of storytelling—each image functioning as a visual sentence that enriches the reader’s experience.
Week 7
Specific Feedback：
This week focused on finalizing the book layout and integrating my original illustrations. While Ms. Vitiyaa emphasized that all visuals must be self-created and prepared correctly for print (CMYK mode, EPS/PSD format, and bleed settings), I continued completing my 18 illustrations and arranged them into the final InDesign layout.
General Feedback:
Through completing the illustrations and layout, I learned how design, storytelling, and printing preparation come together in a professional publication. This stage made me more confident in combining visual and narrative elements and gave me a clearer sense of completion for my project.
Week 8
pecific Feedback:
This week, Ms. Vitiyaa reviewed each student’s book layout and reminded us to ensure our e-Portfolio was fully updated with Task 1 and Task 2 materials, including the story PDF and all illustrations. She emphasized that our InDesign layouts should be neat, well-balanced, and printed in colour for review. We were also reminded to finalize and upload everything by Friday.
General Feedback:
This session helped me understand the importance of presenting my work professionally and keeping my e-Portfolio up to date. Checking the layout in detail allowed me to spot alignment and spacing issues, ensuring the final book appears polished and complete.
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