CREATIVE PROCESS JOURNAL

STUDIO 2 DCE103

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WEEK 1

Type as Narrative

Before I begin analysing my photos for our first week's CPJ assignment, I'd
like to explain my understanding of type as narrative. Storytelling is an
important component of successful creative design. It is not, however,
required to entirely tell the story. Graphic design uses elements such as
forms, colours and textures to evoke emotions in the audience. This would
be type as narrative.

Fig 1. Examples of Type as Narrative.

From left to right.

How high we go in the dark: This is dystopian fiction, and the typography
reflects that perfectly. I particularly like how genuine the faded and
dissolving writing appears. However, I feel like incorporating a warm colour
to the composition spoiled the ominous mood it had going on. I also want to
point out how the designer used texture effectively by putting a few shiny
areas to the matte cover to give the illusion of droplets.
Overall, the design was effective. ↳

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Melissa Paradise: Melissa is a commercial footwear brand that has just
released its spring collection, 'Paradise.' The poster's typeface is not uniform,
giving it a carefree look that is appropriate for the spring and summer
seasons. Despite the fact that the typeface is inconsistent, it is still legible.
The design is simple, yet youthful and playful, catering to the target
audience. Overall, the design was effective.

No longer human: This is a masterpiece of a story, but the typeface and

design do not do it justice. Looking at the cover, it appears that the
designer chose a font for the title lazily. It has little to do with the book and
isn't really interesting. Overall, the design was ineffective.

Type as Programme
Programme typefaces have been difficult for me to expand. But this is the
best I can do.
These fonts are those that are extremely fast to create and render. They are
cost-effective and almost always used to convey information. I noticed that
these typefaces are sans serif fonts due to their on-screen legibility.

Fig 1.1 (A) Examples of Type as Programme.

From left to right.

Platform: A good example of a programming typeface is this LCD reader. It is

built in a geometric grid. Bitmap fonts are programming fonts, and I interpret
led lights to be pixels. Each letter has a thickness of pair of points and is in
its most basic form. This makes it very easy to read and understand, which is
the display's primary purpose. The capital letters make it easier to recognize
the sign. The typeface is effective.

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LaSalle Library Notice: I was in the library wrapping up my CPJ for the week
when I realised I was missing one example of a program type. Fortunately for
me, examples of them can be seen all over the place. The notice uses a
simple sans serif font to ensure that the language is legible and that the
information is given without confusion. The primary note is in a red box that
is somewhat larger than the rest of the text; this emphasises what is
important while keeping the typeface consistent to avoid ambiguity. There is
a lot of white space, which provides the reader time to process the content.
The notice was effective.

Lip Pure: This category also includes product information on packaging. For
this one, they used a serif font for the ingredients, which is typically used for
vast amounts of text but does not make sense here due to how cramped
the letters appear. I initially assumed the text was in French. They decided to
capitalise on the initial letter of each ingredient, which is superfluous and
adds to the crampiness given that they have already highlighted what they
wanted to on the left. In my opinion, the entire design is not balanced. The
design was ineffective.

In my opinion, this is a well-done layout. It's

simple to read, with no needless symbols. Every
detail has been carefully considered.
(It could also be that I'm just partial towards the use of sans serif)

Fig 1.1 (B) Effective product information

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Class Workshop

We had a class planned for us to learn how each typeface has a personality
and how to choose the best ones for the context.
Typefaces, typefaces, and typography were never my friends. I've never liked
letters, but that's mainly because I'm not particularly good at them.

It's difficult for me to understand

why can't use this Typeface

for my job application?

And that's why I dreaded this exercise.

However, after all, that I have learned and all the reading, I have done, I have
come to realise how important typography really is.

While researching how typefaces can have different personalities, I came

across font psychology, which discusses how different typefaces can elicit
different emotions. People will interpret something extremely different if you
use Times New Roman than if you use Comic Sans. Font psychology is
essential to learn and understand because it can give you complete
influence over your design. Using an inappropriate typeface will damage
your design.

Wake up & smell the fonts | Sarah Hyndman | TEDxBedford

In this Ted talk, Sarah discusses how typography may influence not just your
mood but also your sense of taste and smell. Using rounder typefaces might
generate a placebo effect, making us believe the item is sweeter, but using
a sharp-edged typeface would make us believe something is sourer.

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What Netflix’s Top 50 Shows Can Teach Us About Font Psychology is a very
very interesting article that discusses and demonstrates how Netflix uses
designs and typography to influence the way we perceive the show and
helps them in marketing.

Fig 1.2. Mind map of emotions evoked by the five main font types.

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Exercise

Sports: Should have listened

to Sherylene when she
advised us to choose a
typeface with a large family.
I used two typefaces,
neither of which had any
additional fonts. However, I
believe the heading fits the
sporty vibe. However, the
body text just does not
work for the same.

Fig 1.3 (A)

Heading: Good Times, Bold, 15pts
Body: Berthold Akzidenz Grotesk, Condensed, 8pts

Fashion: For this page, I

went with a pretty
conventional aesthetic, but I
don't think I succeeded. I
attempted to combine a
serif with a sans serif font. I
feel like the headline isn't
editorial. To me, it appears
to be an architectural
article.
If I had to redo this, I'd
probably use a Domaine
display typeface.
Fig 1.3 (B)
Heading: Didot, Regular, 17pts
Body: Seravek, Extra light, 8pts

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 Romantic: Saving the best
for last, I believe this was
the only layout I correctly
executed. Choosing a
domain display font helps
with the romantic concept
by adding an elegant
touch while still keeping it
legible, as opposed to
using a script font, which
most people would say
matches romantic. I still
kept cursive for the
author’s name to emphasise the romance aspect.
Fig 1.3 (C)
Heading: Adobe Myungjo Std, 18 pts
Body: Adobe Myungjo Std, 7 pts
Author name: Mina, 13 pts

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Reflection
1. In order to look for examples of type as narrative and programme, I
had to look at all the text around me mindfully. As a result, I became
more aware of the lettering and typefaces around me in general.
2. The workshop we did really helped me so much to learn about
typefaces and how powerful they can be. Typography was never my
strong suit but now I'm kind of excited to learn more about how I can
use this element.
3. I want to take what I've learnt about font psychology into my future
work.

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WEEK 2

Golden Ratio
This ratio is applied in compositions to create harmony, beauty, and balance.
The ratio is roughly equivalent to 1.618 and may be seen practically
everywhere in everyday life; I'd say it's almost as commonplace as lines and
dots.
The Golden Ratio - What it is and How to Use it in Design describes the
golden ratio's application in typography, logo design, and layouts.

Fig 2.1 Calculation of the golden ratio.

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Architecture
Since ancient times, phi has really been utilised in architecture. The ratio has
been used in the design of Notre Dame, the Great Pyramid of Giza, and the
Taj Mahal. Although each building appears to be distinct, they are all built
from a basic common structure, of which the golden ratio is a part.

Đàm Vũ
Kienature O was commissioned to redesign a house in an alley in Ho Chi
Minh City, Viet Nam. “The architecture represents itself as an in-between
buffer zone, that is for nature and the resident to live in harmony, to free the
mind from the hectic reality in a developing society, where fear and worries
always creep around the corner.”- T House by Kientruc O | Restaurants

( ↑My attempt at using the golden ratio for the layout of the photographs)
Fig 2.2 Photography of T-House by Hiroyuki Oki

The windows were clearly designed using the golden mean by the
architects. This helps the room appear more inviting and genuine. The
extensive use of the ratio gives the space a balanced appearance while also
giving it an organic feel, which ties in with the cozy vibe of plants.

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While researching this architecture, I came across a new term: modular scale.
Modular scale refers to numbers that are meaningfully related to one
another. A modular scale is a golden ratio.
T House makes extensive use of this scale to achieve a sense of harmony
inside the room.

Design
The goal of every good design is to be balanced, transparent, and
organised while being natural to the eye. The divine proportion contributes
to this.

Sid Neigum
Since we have discussed one graphic designer that employed the golden
ratio in their work last semester, I opted to explore a new discipline of
design to better grasp how ubiquitous the ratio truly is.
Sid Neigum is a fashion designer who creates his outfits using math. He relies
on the golden ratio to develop designs that are coherent, gratifying, and
symmetrical. The human body follows the ratio rather completely, thus it's
surprising how much the ratio proportions are overlooked.

Fig 2.3 Designs from different collections by Sid Neigum.

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What I liked about his approach was that no matter how complicated or
crazy the design is, it never appears overwhelming. His choice of long
sleeves or asymmetry in design does not appear haphazard or part of a
trend, but rather demonstrates attention to detail and a purposeful reason,
which is making use of the golden ratio.

Joseph Müller-Brockman
One of the most influential graphic designers is Joseph Muller. His grid
system-aided other designers in bringing coherence and organisation to
their work.

“I would advise young

people to look at
everything they
encounter in a
critical light.
Then I would urge
them at all times
to be self-critical.”
Analysing and understanding Joseph's work provides a solid foundation for
aspiring designers like myself. While some may argue that Joseph's system
results in design rigidity, it also provides a clear answer, which may stimulate
creativity and give flexibility.

Understanding grids and understanding Muller's layouts are tough for me, so
I wanted to choose the simplest posters possible because they'd be easier
to explain. However, I decided against that easy way out and instead chose
layouts that I genuinely was interested in in the hopes of actually
understanding what it was about them that I liked.

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 Fig 2.4(B) Poster with some
grids i drew to understand
structure

Fig 2.4(A) Musica Viva poster, Josef Müller-Brockmann, Fig 2.4(C) Step looking grid
January 1969

Musica Viva:
My first poster study already had me perplexed as to why the columns were
diagonal. But it wasn't until I opened Grid System that I realised how it was
made. The poster is built on simple vertical and horizontal columns and rows
grids and then it makes a diagonal grid, but the placement of the text in the
grids gives it the appearance it does. For this poster, Joseph relied on the
hierarchy and emphasis of the principals, and as always used as little colour
as possible.
The poster appears structured and organised, but it is not monotonous to
look at. The design has a directional flow that naturally directs your eye to
what's next.

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 Fig 2.5 (B) Gestalt’s
principles taught in Sem 1

Fig 2.5 (A )Plakat Afiche Poster, Josef Müller-Brockmann, January 1971

Geschichte Des Plakates:
For this poster, Joseph used a 15-column grid with 5 groups that appeared
three-column. He made superb use of gutters by employing them as
negative space. The poster's use of colour is what jumps out the most.
Red+green=yellow explains how these colours are related to one another.
I believe that this poster is an example of gestalts principles of continuity,
closure and similarity.
Continuity- Because the letters are lined or curved, our eyes naturally follow
them and connect the parts.
Closure- Our brain, similar to continuity, attempts to fill in the gaps and make
meaning of missing components.
Similarity- Letters with the same colours are grouped to form a word.

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Fig 2.6 (A) Concert Poster Series of Fig 2.6 (B) Grids and ratio
Josef Müller-Brockmann, 1980 taught in Sem 1

The Concert Poster Series:

When I initially glanced at the poster, I thought everything was clear and
straightforward, but when I tried to describe it, I couldn't. Things became a
lot simpler to me after I discovered Grid Systems — Bibliografik. I'm struck by
how clearly the rule of thirds was applied to the composition. The layout has
been mathematically worked out. The text is pleasing to the eye since it is
aligned to the edge of the boxes. I'd never considered arranging text
diagonally; I'd seen designers do it but had no idea how to do it myself.
However, when looking into grid systems, the maths and method become
much more straightforward.

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1 Publication design:

I went to a bookstore in Bugis to get a

sense of what a book is supposed to be
like. I came across this magazine
(VULTURE) that I really liked, not only
because of the layouts but also because
of the way the thing felt in my hand in
general. In any of the books I viewed, I
found myself like matte paper more than
glossy. I also enjoy negative space and
emphasising space.
Fig 2.7 VULTURE magazine

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I intended to employ
negative space as much
as possible in the
majority of the layouts I
created this week.

I felt the manner I placed

the title was unique, but
Sher said it didn't make
sense because it
disrupted the flow of
reading.

I really like the idea of

pull quotes in general,
and I'll probably try to use
them in a more creative
way in the future.

Fig 2.7 layout spreads

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Reflections:
1. Refreshing the golden ratio was quite helpful to me. I feel like I did
more in-depth research on it this semester, especially since I tried to
pull inspiration from a different source than the previous semester,
which is why the concept is pounded into my head.
2. To take a new approach to my design, I learned that I can use an
angular grid system instead of a horizontal or vertical grid system. I
might go for a different angle that is diagonal, to try and make a fresh
and intriguing layout.
3. Like Sid Neigum, I want to try and create designs that no matter how
chaotic, still look organised.
4. I realised how much I like the matte look in books. The glossy aesthetic
is repelling to me.

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WEEK 3

Emphasis and Hierarchy

Hierarchy is used when there is information of varying importance in a text.

Hierarchy is important because it emphasises what matters most and
subsequently deemphasizes things that are supplementary.
Visual Hierarchy in Design: Key Principles & Examples | Adobe XD Ideas

There are different techniques you can use for hierarchy, namely-

Size Case Weight

Colour Position Space

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Magazines

This is a page from the magazine

FEMALE.
For hierarchy, the page mixes
typography, size, weight, and
alignment. We read 'making
space' first, then the rest.

Fig 3.1 (A) Page from FEMALE mag

Fig 3.1 (B) Some other

layouts I found that use
hierarchy in mags

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Book

I'm only now noticing how similar this layout

is to the one in the magazine. I probably
should have gone with a different option.
This layout does, however, have a visual
hierarchy.
To emphasise the title, they chose a mix of
serif and sans serif typefaces, as well as
changes in size and weight.

Fig 3.2 (A) page from the book how to win friends and influence people

Fig 3.2 (B) Some other

layouts I found that
use hierarchy in books

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2 Publication design:

These are the first layout sketches I've

ever done. I realize it's quite
rudimentary.
However, I want to employ different
colours and weights in my publication
to emphasise certain points.

Perhaps I'll try using indents as well.

Fig 3.3

Fig 3.4
I wanted to record this one layout from the lesson because I felt the fact
that the entire book was written in two languages was fascinating. I'd like to
create something similar in the future combining Hindi and English.

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Fig 3.4 layout spreads
We've been learning about
hierarchy this week, so that's what
I've concentrated on here. I used
font and space in the first layout
to emphasise the headings. I used
indentation to indicate distinct
places in the third one. However,
the overall placement of the texts
does not appeal to me.

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Reflections:
1. I am thrilled to have learned the concept of emphasis. This principle, in
my opinion, may make or break a design.
2. Despite the fact that I am learning so much about how to create a
publication, it is quite difficult. The most difficult aspect for me is
making all of the articles feel consistent.
3. If all layouts were its own book, I could create some engaging designs.
But now that they're all a part of one, I'm not sure how to make them
look like they're in sync.

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WEEK 5

Kerning, tracking and leading - what's the difference?

This video explains what the three terms signify and what the differences
are.
The Difference Between Kerning, Leading, and Tracking in Typography

Kerning
Kerning is the method of altering the spacing between individual letters.
Changes can be made to make something more legible, more visually
appealing, or both. She explains how to use kerning in the video I linked to
above. She suggests visualizing sand being poured between each letter. The
poured sand must be uniform. Another thing I learned from my research was
to unfocus my eyes in order to detect the negative space between each
letter. In my opinion, this is excellent advice.
10 Important Kerning Tips for Better Typography Design

Fig 5.1 Images that show examples of kerning.

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Tracking
Tracking was always one of those ideas that I never expected to have to
learn. Tracking is frequently confused with kerning. But, tracking adjusts the
spacing between groupings of letters or paragraphs as a whole. It's typically
used for longer blocks of text.

Leading

This was perhaps the simplest concept for me to grasp. Leading is the

the distance between type baselines. Increasing the leading

excessively can make it difficult to read, so don't overdo it.

I believe I discovered a gold mine about leading with ​

What Is Leading Definition in Typography Design?

A TIP I OVERHEARD SHER GIVE

SOMEONE ELSE–
Leading must always be more
than the typeface size.

Fig 5.2 The Design Tip, Leading.

Negative leading is tightly packed,
Normal leading keeps the text easy
to read, positive leading is loose.

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Alignment
Alignments are mainly classified into three types: left, centre, and right. Left
alignment is most typically used for languages that read from left to right,
such as English.
Languages such as Arabic use left alignment. For languages like English,
right and centre alignment could be applied, however, it is not advised for
large copies of the text. Left alignment is appropriate for short texts such as
footnotes, whereas centre alignment is appropriate for typographic elements
such as quotes.

“This is an
inspirational
quote

about
typographic
alignment.”

Fig 5.3 examples of text left-aligned, right-aligned, centre aligned and justified.

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Fig 5.4 Layouts that use kerning, tracking, leading and alignment to create
interesting and graphical spreads.

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Exercise

For this week’s exercise, we had to use this content from text 4 and create
three spreads that showed a dense spread, a comfortable spread and a
spacious spread.

A Dense Spread:
I attempted to make my text appear cramped and packed while being
intelligible. I seem to have used negative tracking excessively, but that’s what
gives it the dense appearance. Also, the negative space around the text
boxes makes it appear even denser.

Fig 5.5 (A) My attempt at a dense spread.

Font- Rustica, Semi Light, 9 pts

Leading- 10 pts
Kerning- (11)
Tracking- -80
Alignment- Justify with the last line aligned centre

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A Comfortable Spread:
This spread is exactly what it’s supposed to represent— comfortable. It is
legible and doesn’t trouble your eyes. Every graphical element is where it
belongs. I increased the tracking slightly just to keep it easy to read. I kept
the default settings for the most part.

Fig 5.5 (B) My attempt at a comfortable spread.

Font- Rustica, Light, 8 pts

Leading- 0
Kerning- (-3)
Tracking- 10
Alignment- Align Left

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A Spacious Spread:
I'm glad I did this exercise since now I know how to replicate this style in my
layouts. I really like how this spread turned out. It's quite spacious and open,
which I appreciate. I had two photos on the left side, but sher asked me to
take one of them off. That decision, in my opinion, improved the layout. For
this, I enhanced the size, tracking, and leading..

Fig 5.5 (C) My attempt at a comfortable spread.

Font- Rustica, regular

Leading- 15 pts
Kerning- (0)
Tracking- 40
Alignment- Align left

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3 Publication design:
This week I got a lot more serious with the actual publication since we’re
hardly a couple of weeks away from formative.

Fig 5.6 Inspiration from books

like the ‘layout book’,
‘design: type’ and ‘making
and breaking the grid.’

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A short description of the pictures above:

Sher seems to be becoming annoyed with all of us for not making proper
use of the grid. So, for the same reason, I went to the library and checked
out a number of layout books in order to fully comprehend how grids
function. I looked at how the grid structure was used in the books
themselves. While it was a little difficult to grasp how the grids may be
created or broken, I believe I now have a firm grasp on how to use the grid
now.
While researching different grid systems created by designers like David
Quay, I was inspired to use this system as a foundation for my work.

Fig.5.7 A spread from ‘Grid Systems.’

I decided to create an 8 column grid after seeing all of the sketches. This is
because I expected it to give me more flexibility in how I could organize my
elements.

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Fig.5.8 A few sketches I made to understand what I really wanted to do.

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 Although I liked the look of this
layout, the three columns make
the sentences very short,
leaving just 2 to 3 words per
line, which is inefficient.

Fig. 5.9

I made 8 columns in InDesign and just started to make

boxes to understand all the possibilities

Fig 5.10

Fig.5.11 Making use of what I learnt about emphasis and hierarchy in week 3
I really like leaving negative space and using the principle of tension.

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Reflections:
1. Kerning, leading and tracking were concepts that seemed like they'd
be the most boring. But they really surprised me.
2. Researching different grid system books opened up so many new
possibilities. I feel like I know how the grid is used, even if I'm not a
pro at it yet.
3. I also realised I made a stupid mistake. I keep forgetting to document
all my drafts and sketches, so I can’t record them in my cpj.
4. Another difficulty I faced was making compelling designs with just text.
I feel like the first article has to be given extra attention since it
doesn't have any photographs to make it interesting.

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WEEK 6

Books as objects
Although e-books are becoming more affordable and widely available as a
result of technology improvements, no one can deny that the smell of books
is one of the most alluring things in the world.
A book is more than just reading content; it has a physical presence in the
world.

Books as art objects

Trees of codes by Jon Foyer, Sixtine M., David Loy

Fig 6.1 Examples of books as art objects.

I came across this question that I'm still pondering upon-

Are there any particularly beautiful books you’ve come across, that
you think deserve to be celebrated as objects? Or do you think
that the corporeal being, the earthly form, of a book, is completely
irrelevant-- that what we call a “book” is really comprised of the
words inside, regardless of form?

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I'm referring to the week 6 class presentation for explanations of the
differences between books as things, specifically binding, paper, and print
because I think it was really nicely put together.

Paper: Paper comes in a variety of weights and textures. Paperweights can

range from 35 to 450 gsm. While we may refer to white as paperwhite, there
are several SHADES of white. Papers come in a variety of textures and
surfaces. The coated paper does not always absorb ink well, while uncoated
paper can absorb too much ink, resulting in desaturated spreads.

Printing: They discussed the two sorts of printers to us: inkjet printers and
laser printers. Inkjet printing is less expensive and produces microscopic
droplets.

Binding: There are many types of binding. We learnt kettle stitch and
Japanese stitch by hand in the craft workshop and I really enjoyed that!

Fig 6.2 Japanese

binding and
bookbinding we did
in the craft workshop

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Basheer Bookstore Visit

I was unwell the day I went to the bookstore, so I couldn't do the store
justice or go over all of the books it had to offer. However, this was the book
that drew me in.

Fig 6.3 Fashion illustration: outfit of the day.

I found a video that does a flip through of the book.

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Fashion illustration: Outfit of the Day

Paper:

Fig 6.4 Different pages and paper in the book.

This book had a variety of textures, weights, and finishes.

Some of the book's pages were matte, which I preferred. It improved the
overall feel and look of the content.

Other pages have a two-sided glossy coating. I'm not a fan of magazine-look
coated paper, but the differences and changes in textures made the book
more dynamic and enjoyable to read. The glossy paper enhances the
illustration's depth and colour contrast.

Except for the little index, which was roughly a thin 80 gsm, the paper was
around 120 gsm. The variation in paperweight also adds to the overall weight
of the book.

Binding:

This book has soft binding because it was

a plain paperback. The cover is made to
be flush with the rest of the pages. The
cover was made of strong stock card
stock.

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 Fig 6.5 Binding of the
book

4 Publication design:
I redid practically my whole publishing this week. I had become frustrated
and felt like I wanted a fresh start.

I read numerous publications both

in person and on the internet.
That's how I came across Major
project proposals on Behance.

I was heavily influenced by Cleber

Rafael de Campos's publishing
design.
I was drawn to the book's vibe. I
attempted to recreate this in my
own unique style.

The way the text was rotated 90

degrees and cropped off at the
edges is extremely interesting to
me.

The titles are written in all

lowercase letters, which is unusual,
but it balances off all capitals on
the edge and rotated texts.

I liked the narrow margins, but I was

surprised by how much negative
space there still was to process the
information.

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The entire work has a nostalgic tone to it.

Fig 6.5 Publication by Cleber Rafael de Campos

Fig 6.6 (A) My attempt at the layout

The layout I designed can be seen above. For the text, I chose a display font
paired with a sans serif. Each article's introduction(?) is placed on the left,
with the author in all caps. The page numbers are also rotated and clipped
at the edge to match the page on the left.

However, once I printed it

out for consultation, Sher
pointed out that the
numbers and grids still
didn't look correct, and it
appeared haphazard. I
fully agree. While the
arrangement appeared
OK on a computer
screen, it looked very
different when printed.
Sher also advised

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designing the entire publication with a single font family, which I picked to
be the serif font.

Fig 6.6 (B)

My pull quotes were most likely my favourite component of the design. The
larger font size and black colour, in my opinion, serve to break up the
monotony. These kinds of components, in my view, give the design charm
and character.

The layout at the top is from

one of the early drafts. In
retrospect, it does not appear
to be balanced.

The layout I used is shown in

the screenshot at the bottom.
Every pull-quote in my book has
a little quirk or originality about

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it. This was a really fun process for me.
Fig 6.6 (C )

Fig 6.7 Draft mock-ups of the cover.

I debated doing a coloured cover page but ultimately decided against it.
This is because I felt the coloured theme clashed with the rest of the book,
and I wanted everything to seem coherent.

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My Book as an Object.

Fig 6.8 Final Booklet, Graphic design Reader

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Paper:
I went with uncoated paper because it has
always appealed to me the most. That was
a good decision. It has a nice vibe about it.

Printing:
Printing was probably the most stressful
Steps from everything yet. I just couldn't
wrap my head around how the printing
works. This was probably because I was
unclear about how I wanted to bind the
book. My desktop is usually very empty
with only two folders, but all of a sudden
there were more files than the desktop
could accommodate. I spent over two hours
at the printing shop.

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Binding:
I chose to make a saddle stitch by hand. I
also resolved to crop the paper sheets
myself so that I could get a sense of how a
publication is put together.
Chris came by my class and offered me
some wonderful advice like how I should
score each sheet independently and
encouraged me to complete everything by
hand because it would teach me more
than having the shop do it for me.
This made me feel a little less foolish.

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Reflections:
1) So my publication is finally done. I can't believe it. And I would like to
just say, I'm happy with it.
2) I feel like I've come a long way since my first week. And, while I find
many flaws in it, which I will discuss, I am extremely proud of myself
and my work since no one knows what I have been through and how
much I have learned better than I do.
3) What I truly want to remember for the next time is the following:
a.) Keep track of all drafts from the start.
b.) I'm really disappointed in myself for forgetting that the cover page
has to be substantially larger than the rest of the booklet in order to
cover everything.
c.) I do feel like I played it a little safe, next time I want to experiment
more.

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