When working on my final design, I began with fixing the problem of the type being too illegible and not printing well. I made the type in coloured boxes bolder, removed boxes from the background of captions and made them light:
^ Comparing boldness. I was able to get away with removing a lot of the blocky areas because I no longer needed to include (fig 1, fig 2) captions, because apparently we didn’t need to cite each, individual illustration.
^ Simplified my ‘tetris’-like blocks of illustrations. Whereever I could I simplified to make the manual more concise and less cluttered with unnecessary details. For example, apart from simplifying the shapes and compositions here I also lightened the lines, because when printed they conflicted too much with the text, making readability very poor.
^ I’m still unsure about the positioning of the paragraphs in the illustration for widows and orphans. I later on put a thin outlined boxes around the top illustration (for hyphens) to make a distinction. But even then, deciding how to show that that illustration went with both the middle definitions was hard. At first, I put all the columns aligned horizontally in the centre of the two. I ended up going with the second (staggered) positioning of the columns. It showed the idea of a description of widows to orphans better.
^ While working, even though I found out that we didn’t have to redefine our definitions, I still went back in some areas and adjusted the amount of lines in some of the paragraphs. Mainly because it evened out the number of definitions per page.
^ I had fun illustrating broadside. In fact, despite having an example, it took me a while to understand exactly what a broadside was and how to illustrate it. In the end, I looked at more images of vintage broadsides for reference and searched through the fonts in InDesign for the most similar, overly intricate and olds style looking ones.
^ Last minute adjustments such as moving the text on top of the blue lines.
I wanted to print on slightly thicker paper for my manual. I visited 5 stores for slightly thicker paper in A3 size. No success whatsoever. Some tried to sell me glossy paper, or paper that was for binding covers, saying that this was what I needed, but I figured that they were selling me something different:
I ended up buying a stack of paper anyway. It was of the same thickness as the paper we have in university but it was slightly off-white. At least that’s what it looked like when I bought it:
^ It was actually very poor quality. It literally looked gross. So gross. My friends later went to Jarir as well, where they also got no success. I ended up needed to be fine with the fact that I’d be printing on regular paper.
Printing provided many ‘challenges’. I couldn’t figure out how to print double sided…
^ this is one of my many failed attempts at printing double sided. Upside down pages. Other times I was able to print booklet spreads, but the printer didn’t print them double-sided, instead printing them on separate sheets. I ended up using the booklet template I got from Peter last semester (in the Theory and Philosophy of Visual Communication class) and adjusted the A4 template to A3 for my manual. Once I did that, I needed to copy and paste the spreads onto my ‘template’. I found out after printing that doing this made the text jump around, ruining my alignments, consistencies and everything.
A solution that worked was turning everything into outlines. I tried to group everything into a shape, but that didn’t solve the problems. Outlines did:
Last minute panics included noticing that I had completely forgotten about 3 major definitions. I don’t know how, but I did:
I had to figure out how to place them in. I considered adding an extra page, but soon realised that I couldn’t do that because I was at the limit of the page count. And this wasn’t even a ‘breaking the rules thing’. After countless failed attempts at printing I understood the importance of the ‘signature’ and page count when it came to printing the booklet:
I ended up forcing the 3 definitions into one, since the explanation for each of them was very simple, one line each and illustrated them minimally as well:
A last minute addition was also including the words that were in the chapter in the table of contents page. I got reminded of this idea when a friend kept asking me how I had illustrated things and I couldn’t remember which sections they were in:
^ The difference between printers is amazing. Printer 6 (left) messed up my colours, despite the type being bold whereas printer 1 (right) printed the colours perfectly.
^Printer 1 however messed up the registration. For me, I had some objects that went across spreads so I needed the registration to be very close. I used the crop marks I created to see the difference and manually adjust the pages to make up for the shifting the printer did. So if the printer was shifting all the odd spreads to the left by 1 mm. I shifted all the odd spreads to the right by 1 mm on the file.
^ Some of the prints were perfectly aligned with this method.
Another last minute ‘challenge’. Realising that the bullets in my example for bullets have disappeared. Ironic? What was even more ironic was that I noticed this a few seconds after saying, “I’m trimming my final now, I really hope I don’t find any mistakes or mess ups.”….
^ I went back to my file and found that the culprit was outlines. Turning my textbox into an outline made the bullets disappear for some very odd reason. I fixed it and reprinted that specific page. This made me appreciate the perks of printing the booklet manually. It’s very simple to reprint a double-sided spread, because I can control everything manually.
Last minute ideas:
^ I thought that Instead of trimming my creep straight down, I could trim it at an angle. So that the last page stuck out the most and the cover page was the actual, original size of the page and stuck out the least. I wanted to do this because I thought it would help to show my tabs easily. As soon as I had trimmed the first 2 pages I noticed the problem. Because of my chapter openings being chunks of colour near the top of the pages, the consistency of the tabs was broken immediately by the first chapter. In fact, because my book is so small and the chapters are 2 pages long, it didn’t even make sense, because the tab only lasted for one page. I ended up trimming straight down from the second page. This way I had the sections page sticking out by 1mm. This works in showing the tabs as well. Probably better than the angular cut I had originally planned.
Practised binding before working on the final one. Another last minute addition was the naming of the chapters in tabs on the left page and the numbering of them in the tabs on the right hand side. I remembered that this was conventional in books, and it would make navigating easier.
I’d originally bought this greyish blue colour for binding, but when I looked at it next to my colours, it looked very dull, it would probably match my folio. I went for the bluer string in the end. I went with my overall colour scheme.