24/09/2025 – 30/12/2025 (Week 1 – Week 14)
Valerius Ethan Wirawan / 0372774
Publishing Design / Creative Media / School of Design
TABLE OF CONTENT
1. Lectures
2. Instructions
3. Process Work
4. Final Outcome
5. Feedback
6. Reflection
1. LECTURES
All pre-lecture materials are the intellectual property of Mr. Vinod
Nair.
1.1. Lecture 1 (Publishing Design: Formats)
Designing a book requires a comprehensive understanding of
typography, space, details, and publishing softwares.
Factors influencing the format of a book include:
-
Size of the target audience: For example, designing smaller
books for children, with considerations for age and handling.
-
Content type: Visual-heavy books like maps or diagrams require
larger formats to accommodate images and details.
-
Content volume: Large directories or extensive texts
necessitate thicker, lighter pages to manage weight and cost.
-
Format components: Includes paper type, binding, size, and
material, all tailored to the purpose and content.
Historical formats across civilizations:
-
Mesopotamia (Iraq & Iran):
Record-keeping originated from accounting technology, with
early tablets from 7000–8000 BC used for bookkeeping, evolving
to include written records on clay tablets with cuneiform
(~2600 BC).
Fig. 1.1.2. Mesopotamia Clay Tablets
-
Indus Valley (India-Pakistan-Afganistan):
Used clay tablets and later cuneiform on soft clay for
government, religion, and trade records (~2600 BC). Palm leaf
manuscripts appeared around 800–900 BC, carved with stylus and
soot, surviving in dry climates.
Fig. 1.1.3. Indus Valley Soft Clay Tablets
-
Ancient Egypt:
Oldest civilization with hieroglyphics written on papyrus, a
plant-based material, often on walls or papyrus scrolls.
Scribes were the only ones who could read/write hieroglyphics,
and writing was painstaking, often in cursive hieratic script
(~3000 BC).
Fig. 1.1.4. Egyptians Hieroglyphics on Papyrus
Paper
-
China:
Early writing on bamboo strips in vertical columns, with the
modern character evolving from pictograms (~105 BC). The
earliest printed book is the Diamond Sutra (868 AD), printed
on scrolls using woodblock printing which were labor-intensive
but revolutionary. Movable type was pioneered later, with
significant development in Korea (~1400s), where they created
their own script and used brass characters.
Fig. 1.1.5. Chinese Bamboo Book and Wood Block Printing
European printing history:
-
The printing press was developed by Gutenberg, but similar
presses existed in China and Korea earlier.
-
European books were expensive due to laborious production,
especially with parchment made from animal hides, which
involved extensive processing and was costly.
-
Parchment was invented in Turkey (~159 BC), made from animal
skins, and used for books. It was heavy and expensive, often
reserved for wealthy individuals.
-
The process involved stretching and scraping animal skins,
which was labor-intensive. The use of parchment persisted
until the 15th century when paper became widespread.
-
Paper arrived in Europe around the 14th–15th centuries,
initially from China via Persia and the Arab world. The
earliest European paper was made from rags, and the first
printed European book using paper was produced in the late
1400s.
1.2. Lecture 2 (Publishing Design: History of Print)
The history of print began in East Asia, especially in Korea
and China. The earliest known printed documents appeared
around 750 CE, when Korea produced a Sutra on a single sheet
of paper about 750 years after the death of Christ. Printing
first used woodblock carving, which was labor-intensive but
achieved remarkable results. For example, Buddhist prayer
scrolls in Japan around AD 768 took six years to complete
and were distributed to pilgrims.
Fig. 1.2.1. Document Printed on Sutra
Chinese printing later advanced with movable type. Clay type
was first used but was fragile and difficult because of the
10,000 characters needed. Korea developed bronze movable
type around AD 1380, which was stronger and reusable. The
creation of the Hangul alphabet in 1443 simplified printing
compared to Chinese characters.
Fig. 1.2.2. World's First Printed Ilustration
Woodblock printing was also used for Buddhist texts in
China, producing many scrolls and images. A famous example
is the Diamond Sutra, the world’s earliest dated printed
book from 868 CE, with both text and illustrations. Printing
methods spread to Korea and Japan, where they created large
works, including the world’s largest stone-engraved book in
Myanmar with 729 slabs stored in stupas.
Fig. 1.2.3. Johannes Gutenberg & His
Printing
In Europe, woodblock printing started around AD 1400. The
breakthrough came with Johannes Gutenberg’s metal movable
type between 1440 and 1450 in Strasbourg. This method
allowed rapid, repeated printing by arranging reusable metal
letters, reducing labor and cost. Gutenberg’s press used
steady downward pressure and durable metal alloys. His
Gutenberg Bible, printed in the mid-1450s, featured colored
initials and gilding.
1.3. Lecture 3 (Publishing Design: Typo Redux)
Type Families & Typefaces
-
Each family has multiple typefaces (small caps,
numerals, ligatures, symbols).
-
Includes fractions, mathematical symbols, and
glyphs.
-
Accessible in Illustrator and InDesign.
Character Variations
Fig. 1.3.1. Characters in a Typeface
-
Small capitals match x-height, better for
acronyms (e.g., TDS).
-
More elegant than full caps in body text.
-
Swashes add decorative flair for
invites/headlines, but not for all caps.
Ligatures & Glyphs
Fig. 1.3.2. Swashed Characters, Ligatures,
Glyphs
-
Ligatures (fi, fl) prevent clashing strokes;
InDesign auto-substitutes them.
-
Glyph variations (finials, leakages) improve
aesthetics and fix clashes (e.g., F + i).
Numeral Styles
-
Old-style numerals (non-aligned) fit running
text, common in historical/math texts.
-
Lining numerals (uppercase) look modern, good for
headlines.
-
Choice depends on context.
Readability
Fig. 1.3.3. Typeface Anatomy
(Legibility)
-
Recommended well-proportioned fonts: Garamond,
Minion, Caslon, Times, Frutiger, Univers, Futura,
Helvetica.
-
Legibility depends on spacing: baseline
(characters sit), cap line, descender line.
Capitals
-
All caps are good for headlines/subheads, but
poor for long text.
-
Small caps preferred for acronyms/emphasis in
body text.
Formatting & Effects
Fig. 1.3.4. Special Styles on Typefaces
1.4. Lecture 4 (Publishing Design: The Grid)
The grid is a practical and historical tool in
publishing design, essential for creating order,
coherence, and clarity in visual communication. It
functions as a modular, constructive framework
that reflects the designer’s mental attitude,
beliefs, and values.
Historically, the grid emerged during the
modernist period, influenced by rationalism and
designers like El Lissitzky and Moholy-Nagy, who
used it to organize space systematically. The
Futura typeface, for example, was designed on
geometric grid principles, showing how grids
shaped modern design aesthetics.
Fig. 1.4.1. Raster Systeme:
Grid
Practically, grids arrange text, images, diagrams,
and captions in a clear and logical manner,
enhancing readability and comprehension. They
ensure body text, subtext, and images remain
visually distinct yet cohesive, while margins,
gutters, and hang lines contribute to balance and
overall aesthetic appeal.
"The grid is modular in nature." -Mr. Vinod
The modular structure of grids allows for
flexibility and variation, keeping layouts
engaging across multiple pages without losing
coherence. Designers may combine different grid
formulas, but excessive variation risks creating
confusion.
Importantly, the grid is not a constraint but an
expression of rational, functional, and aesthetic
design principles. It works subtly in the
background, supporting the content and letting
information take center stage. Mastery of the grid
lies in understanding its flexibility, using it as
a hidden framework that opens new possibilities
for creative, innovative, and engaging layouts.
1.5. Lecture 5 (Publishing Design: Elements)
In publishing design, the main elements are
text, visuals, and color, all working within a
grid system to create effective layouts. Text
involves choosing typefaces and maintaining
consistency, often by using a single type
family. Visual elements include images,
graphics, and pictorial components, which bring
balance and interest. Color is used either as a
focal point or a subtle support, adding
variation and emphasis in text-heavy
pages.
"Don't fall into the trap of predictability"
-Mr. Vinod
Design principles stress balancing variation and
consistency: variation keeps layouts engaging,
while consistency ensures cohesiveness. The grid
system organizes elements logically and
attractively, allowing modular layouts that can be
rotated for surprise without losing harmony.
Variations may include large images with captions,
side-by-side text and visuals, or full-page
visuals with text.
Practical steps include planning with thumbnail
sketches, setting margins, and selecting typefaces
early. Designers should create variation within
the grid while maintaining overall harmony,
avoiding monotony. Color use must be deliberate,
either to highlight or to provide subtle shifts in
dense text pages.
Technical factors include ensuring page counts are
divisible by four, since books are printed in
16-page signatures, and planning varied layouts
across spreads to keep the reading dynamic. The
grid may be adjusted during the process to fit
content and visual direction. Overall, successful
book design depends on careful placement of
elements, thoughtful variation, and consistency,
guided by research and design intent.
Fig. 2.1. Module Information Booklet (MIB)
3. PROCESS WORK
3.1. Task 1 Exercise 1: Mock Up - Book Size
Task Brief
Use two A4 sheets of paper and tape them together along the center. Draw squares of various sizes on the combined sheet to visualize different potential book dimensions. Highlight and select the size you prefer for your final book format. Create another sample using this chosen size and cut it out accordingly.
Work Process
The paper was folded into half horizontally, the drawn. The
lecturer adds some notes about publishing a book in the left part
of the paper.
Fig. 3.1.1. Exercise 1: Mock Up Book Size #1 (JPEG -
06/10/2025)
Then the selected size (178mm x 229mm) was cut out.
Fig. 3.1.2. Exercise 1: Mock Up Book Size #2 (JPEG -
06/10/2025)
3.2. Task 1 Exercise 2: Signatures
Task Brief
The purpose of this task is to understand the anatomy of signatures in publishing. For the demonstration, a landscaped A4 sheet was folded in half vertically four times, and the pages were numbered. The spine area was then stapled to bind the pages together. Finally, the folded edge was cut so that the sheet formed individual pages.
Work Process
Fig. 3.2.1. Exercise 2: Signatures #1 (JPEG
- 06/10/2025)
Fig. 3.2.2. Exercise 2: Signatures #2
(JPEG - 06/10/2025)
3.3. Task 1 Exercise 3: The Van De Graaf Grid
Task Brief
The purpose of this task is to demonstrate the process of constructing a Van de Graaf grid for visualization or experimental use. For this activity, two A4 sheets were taped together along the middle edge to form an A3-sized paper. Using a ruler and pencil, equally spaced parallel lines were drawn across the surface to generate the grid pattern. This hands-on exercise focuses on precision in measurement and alignment, reinforcing the importance of accuracy and technique in preparing experimental apparatus for scientific demonstrations.
Work Process
Fig. 3.3.1. Exercise 3: The Van de Graaf
Grid #1 (JPEG - 06/10/2025)
3.4. Task 1 Exercise 3A: Digitalization of The Van De Graaf Grid
Task Brief
The purpose of this task is to understand the anatomy of signatures in publishing. For then a landscaped A4 sheet was folded.
Work Process
Fig. 3.4.1. Exercise 3A:
Digitalization of Van De
Graaf #1 (PDF -
14/10/2025)
Fig. 3.4.2. Exercise 3A:
Digitalization of Van De Graaf
#1 (PDF - 14/10/2025)
3.5. Task 1 Exercise 4: Movement
Task Brief
Create a two-page visual narrative using simple forms and limited color, focusing on movement and transitions—not decoration. Use grids to manipulate shape size and position, ensuring clarity and simplicity throughout the sequence.
Work Process
Fig. 3.5.1.
Exercise 4: Form
& Movement
#1 (PDF -
15/10/2025)
Fig. 3.5.2. Exercise
4: Form & Movement
#2 (PDF -
15/10/2025)
3.6. Task 2: Content Generation (Publishing Content)
Task Brief
For this project, we are required to design and produce a 32-page book containing approximately 3,000 words. The final book must be smaller than A4 but larger than A5 in size. The dimensions I have chosen are 178mm x 239mm.
Work Process
For my book,
I chose to
write
approximately
3,000 words
about my
photography
journey,
beginning from
the moment it
was merely a
casual
interest and
gradually
developing
into a focused
practice
beyond just a
hobby. My
growth and
identity as a
photographer
today are
largely shaped
by my mentor,
whose guidance
played a
significant
role in my
development.
A major portion of
the book reflects on
the lessons he
taught me, both in
photography and in
life. Our
relationship grew
beyond that of a
typical teacher and
student, evolving
into a close
friendship that
eventually felt more
like a brotherhood.
Through this
journey, I express
deep gratitude for
the experiences I
have gained and for
the mentor who
guided me along the
way.
Before starting the
design process in
Adobe InDesign, I
first wrote the full
three thousand words
and planned the
overall structure of
the book in a Google
Docs file.
Fig. 3.6.1. Book
Content (PDF - 18/10/2025)
All of the
photographs
featured in
this book are
my own
creative
works. The
only
exceptions are
a few
documentation
images,
especially
those where I
appear in the
frame, which
were taken by
other
people.
Fig. 3.6.2.
Highlighted
Parts For
Visuals (PDF
- 18/10/2025)
The photographs
presented in
this book are
primarily my own
artistic works.
However, several
images that
serve as
documentation,
particularly
those in which I
appear in the
frame, were
taken by other
photographers.
Fig.
3.6.3.
Compiled
Photographs
For
The
Book's
Visuals
(PDF -
28/10/2025)
3.7. Task 3: Publishing a Book
Before starting the layout design, I went back to Exercise 4 Movement and adapted it for my book to see how the layouts could flow from one page to the next. After that, I started planning the layout and developing the overall design of the book, which took about two weeks to finish.
Fig.
3.7.1.
Book
Design
Layout
&
Composition
Draft
(PDF - 3/11/2025)
After
that, I
continued
by
creating
a
contact
sheet
for the
book
layout
design I
had just
completed.
The
contact
sheet
was
printed
on A3
paper
and
submitted
to Ms.
Vitiyaa
for
feedback.
She
provided
several
comments,
including
notes on
orphans,
alignment,
and
composition.
In the
end, she
mentioned
that the
work was
solid
overall
and said
she was
proud of
the
outcome.
She also
signed
the
contact
sheet.
Fig.
3.7.2.
Contact
Sheet
&
Feedback
(JPEG
- 5/11/2025)
I
also
designed
the
book
cover
at
a
later
stage.
The
cover
features
three
circles,
one
white
circle
and
two
red
circles
formed
from
the
letter
o.
This
concept
represents
my
journey
of
following
my
mentor
path,
with
the
hope
that
one
day
I
can
become
a
mentor
to
someone
else
and
continue
the
chain.
Fig.
3.7.3.
Final
Book
Cover
Design
(JPEG
- 19/11/2025)
After
receiving
feedback
on the
printed
contact
sheet,
I
continued
to
revise
the
design
based
on
what
Ms.
Vitiyaa
shared
and
spent
more
time
analyzing
it,
identifying
mistakes
and
areas
for
improvement.
I then
created
a new
contact
sheet
and
consulted
Ms.
Vitiyaa
again,
after
which
she
approved
it.
Shown
here
is the
approved
contact
sheet.
Fig.
3.7.4.
Final
Contact
Sheet
(PDF
-
20/11/2025)
Here
is
the
final
spreads
for
the
book
including
the
cover
page.
Fig.
3.7.5.
Final
Book
Spreads
(PDF
-
26/11/2025)
Printing Process
The
first
print was
done
at
Mummy
Design,
and
the
second
until
the
fourth
prints
were
also
produced
there.
During
the
printing
process,
a
few
design
issues
appeared.
The
font
I
used
was
ITC
Avant
Garde
Gothic
Pro
set
to
one
hundred
percent
CMYK.
Using
full
values
for
cyan,
magenta,
yellow,
and
black
caused
the
black
ink
to
bleed
into
the
paper.
There
was
also
one
page
where
an
image
was
missing.
This
was
a
printing
error,
as
the
image
was
present
in
my
InDesign
file,
which
led
me
to
proceed
with
a
second
print. I
also
realized
that
I
needed
to
add
more
space
to
the
inside
margins
because
the
content
was
too
packed.
Fig.
3.7.6.
First
Try
Print
(JPEG
-
27/11/2025)
After the
second
print,
I
noticed
that
some
of
the
text
was
not
the
black
color
I
had
intended.
I
also
realized
that
the
inside
margins
had
only
been
applied
to
the
right
pages,
while
the
left
pages
needed
the
same
spacing.
Instead
of
sending
single
pages,
as
Mummy
Design
preferred,
I
insisted
on
sending
the
book
in
spreads
to
ensure
consistency.
Fig.
3.7.7.
Second
Try
Print
(JPEG
- 3/12/2025)
On
the
third
print,
I
finally
resolved
the
text
bleeding
issue
by
using
registration
black
or
the
standard
#000000
black.
Below,
I
included
a
picture
comparing
the
previous
bleeding
from
100
percent
CMYK
black
with
the
regular
black,
which
appears
thinner.
However,
the
printing
still
had
errors.
The
page
that
previously
had
a
missing
image
now
had
the
image
doubled.
Because
of
time
constraints
and
the
printing
shop
policy,
I
decided
to
go
for
another
print.
Even
though
Ms.
Vitiyaa
said
it
was
fine
since
the
mistake
was
on
their
side,
I
felt
the
artist’s
need
for
perfection
and
wanted
everything
to
be
completely
right.
Fig.
3.7.8.
Third
Try
Print
(JPEG
- 5/12/2025)
Fig.
3.7.9.
Third
Try
Print
(MP4
- 5/12/2025)
After the fourth print, I realized that it was good enough. Ms. Vitiyaa told me that I would always notice mistakes when I looked back, but that the work was solid and well done.
Fig.
3.7.10.
Fourth
Try
Print
(MP4
- 13/12/2025)
This picture was taken when some of my classmates and I went together to Mummy Design to print the book. We were also printing other group projects at the same time, which is why my laptop screen was not showing the publishing process.
Fig.
3.7.11.
Mummy
Design
Printing
Process
(JPEG
- 27/11/2025)
3.8. Task 3: Promotional Poster
Fig.
3.8.1.
Promotional
Poster
(JPEG - 5/12/2025)
Promotional Poster Mock-Up
Fig.
3.8.2.
Promotional
Poster
Mock-Up
#1
(JPEG
- 5/12/2025)
Fig.
3.8.2.
Promotional
Poster
Mock-Up
#2
(JPEG
- 5/12/2025)
3.9. Task 3: Presentation
Presentation Process
Fig.
3.9.1.
Presentation
Slides
(PDF
- 8/12/2025)
Fig.
3.9.2.
In
Class
Presentation
Process
(JPEG
- 10/12/2025)
3.10. Task 3: E-Book Publication FINAL OUTCOME
4. FINAL OUTCOME
Fig. 4.1. Final Outcome of 'Obscuran Head Who Taught Me Book in Spreads' (PDF - 20/11/2025)
Fig. 4.2. Final Outcome of 'Obscuran Head Who Taught Me Book Contact Page' (PDF - 26/11/2025)
Fig. 4.3. Final Outcome of 'Obscuran Head Who Taught Me Book Promotional Poster' (JPEG - 5/12/2025)
Fig. 4.3. Final Outcome of 'Obscuran Head Who Taught Me Book Promotional Poster Mockup #1' (JPEG - 5/12/2025)
Fig. 4.4. Final Outcome of 'Obscuran Head Who Taught Me Book Promotional Poster Mockup #2' (JPEG - 5/12/2025)
Fig. 4.5. Final Outcome of 'Obscuran Head Who Taught Me Book Presentation Slides' (PDF - 8/12/2025)
Week 13
Specific Feedback:
Well done.
Week 12
General Feedback:
Presented all the slides about the book.
Specific Feedback:
No specific feedback.
Week 11
General Feedback:
Prepare for next week final outcome presentation for five minutes per individual.
Specific Feedback:
Do not waste money printing a new book because of the bleed, but you can if you insist.
Week 10
Specific Feedback:
The space between "Obscuran Head" "who" "taught me" is too much. It does not align with your layout for the content. Your book content layout is more compact.
Week 9
Specific Feedback:
Good work, proud of your work. Make alterations on orphans, organize the kernings and tracking, and adjust some spreads regarding the layout.
Week 8
Specific Feedback:
Make the leading looser to improve readability and spacing between lines. Avoid using gradients, as they often print poorly and may look uneven on paper. A black background feels too heavy and can disrupt visual balance. In CMYK, using K100 alone is not pure black, use Registration Black for a deep, rich black. Adjust the text color in the final stage to show more refined design work. Treat this as a coffee table book, replicate the layout and composition first, then refine and edit it later.
Week 7
General Feedback:
Ms. Vitiyaa gave a detailed tutorial on setting up documents in InDesign, emphasizing master pages, facing pages, bleed, columns, and grids. Grid settings can be adjusted later for Exercise 4 since the book layout will be finalized in InDesign. Use only CMYK Photoshop (.TIFF) files, vectors, or EPS formats, avoid PNG or JPEG. She also showed how to enable Overprint Preview for print quality and how to create Paragraph Styles for headings and body text, as well as image placeholders for automatic cropping.
Week 6
General Feedback:
Refer to the notes provided for a clearer understanding of the content requirements that need to be included in the book.
Week 5
General Feedback:
Finish the exercise given to understand the basic tutorial of the module and guide you for the upcoming tasks.
Week 4
General Feedback:
A grid should be used to maintain alignment, balance, focus, and consistency.
Week 3
General Feedback:
Explanation brief for the final publishing task started from Task 2, the drafting of the storybook itself. Finish the exercises.
Week 2
General Feedback:
Since our class is faster paced, there is a lot of time to design the book. Do not rush; create the best outcome possible. Watch the pre-recorded lecture of Mr. Vinod. Finish the exercises and document them on your blog.
Specific Feedback:
In publishing a book, choose a book size carefully. The number of pages determines the thickness of the spine. Consider the inside front cover (IFC), inside back cover (IBC), front cover (FC), and back cover (BC).
Week 1
General Feedback:
Module briefing and pre-recorded lecture.
Experience
This module has been an eye-opening journey that challenged me in ways I did not anticipate. From the very start, Ms. Vitiyaa guided us clearly, providing advice and support that helped me navigate the process from concept development to the final printed book. We were tasked with creating a fully bound book using our own written content and photographs, which required taking responsibility for every stage of production.
Learning Adobe InDesign was central to this journey. I spent a significant amount of time mastering layout structures, grids, paragraph styles, and maintaining consistency across over a hundred pages. Writing my poems for the book was also a rewarding part of the process, allowing me to connect my love of writing with visual storytelling.
Preparing images for print was another important skill I developed. I learned how to convert and batch-process photographs from RGB to CMYK TIFFs in Photoshop, which significantly reduced the time needed for this otherwise labor-intensive task. Despite these preparations, printing brought unexpected challenges. Multiple reprints were necessary due to margin errors, alignment issues, and realizing too late that the inner margins needed to be increased to accommodate the spine.
Printing the book also highlighted the importance of seeing the full layout physically. Ms. Vitiyaa required us to print all pages as an A3 contact sheet. While it initially felt like extra work, this exercise became one of the most valuable parts of the process. Viewing all pages together allowed me to spot unbalanced spreads, inconsistent images, and layout issues that would have been impossible to detect when examining pages individually.
The experience with the printing shop was another learning opportunity. Disorganization and mishandling of prints caused delays and mistakes, from color changes to missing images. These issues taught me the importance of giving precise instructions, checking the print process carefully, and exercising patience.
Observation
Throughout this module, I realized that the details truly define publishing design. Typography choices, spacing, alignment, margins, and type hierarchy all influenced the visual feel of each spread. The consistency of grids became crucial, as even minor misalignments were immediately noticeable in print.
I also observed the difference between digital and printed outputs. Colors on screen were more vibrant, while printed colors appeared muted. Font sizes looked different in print, reinforcing the necessity of test prints and physical reviews. The A3 contact sheet layout proved invaluable, allowing me to evaluate the book holistically rather than page by page.
Another key observation was that external factors, such as printing staff, environment, and workflow, can significantly affect the final product. Even the best design can be compromised if these factors are not managed. Being present during printing and overseeing each step helped ensure the outcome aligned with my vision.
Findings
This module taught me that publishing design requires both artistic vision and technical precision. Producing a printed book demands patience, as even small mistakes can trigger a chain of problems. Understanding print requirements, from CMYK conversion to bleed settings, inner margins, paper weight, and binding, is as crucial as the creative process itself.
Reviewing layouts physically is an invaluable step. Digital mock-ups are helpful, but holding printed pages, comparing them side by side, and analyzing contact sheets revealed problems invisible on screen. Material choices, including paper texture, weight, and cover finish, also greatly impact the reader's perception of the book.
Creating content for the book was a deeply reflective process. Writing about my personal journey required revisiting both pleasant and challenging memories. This task pushed me to articulate my experiences clearly and thoughtfully while considering how they would be visualized across the book.
Drawing inspiration from authors I admire helped me shape the narrative and bring my story to life.
The process of compiling the final book was both stressful and rewarding. Aligning text, images, and layout details while navigating printing challenges taught me to pay meticulous attention to the smallest details. Every step, from ideation and mood boards to final print, contributed to developing my skills in editorial design and print production.
24/09/2025 – 30/12/2025 (Week 1 – Week 14)
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