Design of Layout in InDesign

Week 10-11

Using InDesign, design a 4-page brochure for a fictitious travel agent.

  • The size of the brochure should be A5 (when it is folded).
  • Design the brochure in full colour.
  • Use fake body copy, but create sensible headings.
  • Use titles, headings and images of your choice.
  • Be sure to pay attention to:
    • Choice of type
    • Choice of imagery
    • Use of layout and grid to communicate the content

Back and front of the brochure

Left and right inside pages

Saga Travels is a fictitious travel agent that offers trips to Iceland. This is the first brochure I design in InDesign, and there are things to improve, but in general, I’m satisfied with the result.


Pace and contrast

Week 10-11

Compare the design (in terms of pace and contrast) of an online magazine, blog or website to that of a printed magazine, book or journal. What differences can you see between the kinds of design strategies used in the two formats?

For this Learning activity, I’m going to compare the Spanish edition of Elle magazine, March 2020, both their printed and online versions.

Cover of the printed magazine

Home page of the online version

The cover of the printed version uses one big photo that can also be seen on the homepage header of the online magazine. The logo is present in both versions as well.
On the printed cover, the designer has used a combination of typefaces -serif and sans-serif- to catch the attention of the reader. The online magazine also uses a mix of serif and sans-serif typefaces and similar colors as the printed one. The difference is, of course, that the web version is interactive, and the information can be presented differently. There is a menu just below the header with some fixed categories that the reader can click to get to the desired information. If we scroll down the main page, we see the same categories with some of their content, showed in a grid design with pictures and the title of the article they link to.

Printed spreads

Online article

The design for the printed magazine has a lot of pictures to make the read easier and more dynamic, and so does the online one. The difference lies in the way the text and photos are distributed in the article. In the images above, I show the same story in both paper and online. In the printed one, the designer uses a 3-column grid where they add large pictures, some even taking a whole page. The web article, on the other hand, has a unique column, and the photos are inserted in between the lines, more like a blog post, since the reader will scroll down to read the piece rather than turn the pages on a more traditional magazine.

The way a reader navigates a magazine is very different for printed and web, and it is essential, as a designer, to consider that aspect when designing the layout and the way the information will be presented.


Basic Principles of Layout

Week 10-11

Take a magazine, newspaper or book that includes images and text. Lay tracing paper over the top of three spreads (both left-hand and right-hand pages). Using a pencil and ruler, carefully trace the grid underlying the page layouts. Remember to remove specific text elements or images, and to only draw the grid lines. Note column widths and margin sizes at the top, bottom, and to the left and right of the main body of text. Is your document based on a two-column, three-column, or another type of grid? Which elements stay the same on each page, and which change?

I decided to use the magazine Hus & Bolig. The three spreads I chose are based on a three-column grid, like most of the pages in the magazine. All the pages selected have a mid-range amount of text, which works well with this type of grid. All three spreads have large images/graphics; the first and the last one have an asymmetric distribution between picture and text, while the second one is symmetrically divided.

Column width: 5,7 cm
Column hight: 25,4 cm
Top margin: 2,2 cm
Bottom margin: 2 cm
Left margin: 1,5 cm
Right margin: 1,5 cm
Gutter: 0,4 cm


Week 10-11

On five A4 landscape pages, I had to draw four equal squares in each. Then, I draw one or two squares or rectangles in each of the empty squares to achieve the following visual effects:

  • Entering left
  • Movement to the right
  • Movement to the left
  • Movement downwards
  • Movement upwards
  • Balance
  • Tension
  • Symmetry/asymmetry

Entering left
The rectangles placed close to the left end of the square gives the impression that they are entering the page on the left side. The fact that the rectangle closest to the edge is only partially shown helps enforce that effect.

Movement to the right
Placing both pieces on the right side of the square gives the impression that they are moving to the right. It doesn’t affect if I use squares or rectangles.

Movement to the left
In the same way, placing the squares or rectangles on the left side of the page suggests movement to the left.

Movement downwards
In order to show the effect of movement downwards, I decided to place the squares and/or rectangles close to the bottom of the big square.

Movement upwards
Placing two rectangles on the top of the square gives the illusion that they are moving upwards. It works if the blocks are in line or in parallel paths.

Two squares with the same size placed in opposite corners of the page suggest balance. The same happens with two equally sized rectangles on each side of the square.

In the first drawing, the small rectangle is place in such a manner that seems as it was about to fall, creating tension. In the second example, the contrast of shape, color and orientation, as well as the fact that one is place on top of the other also creates tension.

Two equally large shapes mirrored to each other create symmetry.

The different sizes and shapes in the first example create asymmetry. In the second drawing, even though the squares are the same size, they are not mirrored to each other, which makes them asymmetric.

Form and Space

Week 10-11

For this Learning Activity, I had to cut several shapes from black paper in a variety of sizes and place them into a square piece of white paper, one at a time, and move them around to try and find the point where the distinction between figure and ground becomes unclear.

As shown in the pictures above, it doesn’t matter whether the dominant space is black or white. In all of them, it’s easy to differentiate between figure and ground.

The placement of the shape within the space doesn’t seem to have an important role when it comes to separate the figure from the ground.

In the first of these two series, I decided to place the black shapes in an ordered manner. This way, I think the eye can always see what the figure is and what the ground. In the second one, however, I randomly placed the paper cuts. The look of the composition is disorganized and strange. At some point, around picture number six, the piece is too cluttered to distinguish a figure.

In conclusion, I don’t think the distinction between figure and ground is highly affected by the position of the shape, or if the white or black is the dominant part of the space. The most important is the way we place the different elements on the composition and their position respect to each other. We must include enough negative spaces between the positives for the eye to be able to differentiate the shapes and interpret the whole piece.

Exposure basics

Week 9

Functions / buttons on the camera

Camera: Nikon D5200

A – Infrared Receiver
B – Shutter Release
C – Exposure Compensation/Aperture Adjustment
D – Info Button
E – Movie Record Button
F – AF-Assist Illuminator
G – Live View Switch
H – Mode Dial
I – Flash Mode Button
J – Function Button
K – Lens Release Button

L – Infrared Receiver
M – Menu
N – Information Edit
O – AutoExposure/AutoFocus Lock Button
P – Command Dial
Q – Playback Button
R – Multi-Selector
S – OK Button
T – Playback Zoom In
U – Delete Button
V – Thumbnail/Playback Zoom Out

How to set the correct ISO

To adjust the ISO on my camera, I press the Information edit button, with the Multi-Selector I navigate to the ISO sensitivity settings and press OK. Once I have chosen the desired value, I press OK again to select it.

It is also possible to change the ISO on the fly by pressing and holding the Function button while turning the Command dial. The ISO value change will show on the viewfinder display.

The higher the ISO, the greater the amount of noise in the image. For that reason, it is advisable to use the lowest ISO possible in each situation.

How to change the aperture

When the camera is set to “Aperture Priority Mode”, I can change the aperture by turning the Command dial. If the camera is on “Manual Mode”, I need to press and hold the Aperture adjustment button while turning said dial.

How to change the shutter speed

Both in “Shutter Priority Mode” and “Manual Mode”, I can change the shutter speed on my camera by rotating the Command dial.


Part of the Learning activity was to take several photos a day applying manual settings and experimenting with different lighting, subjects or landscapes. These are the six pictures I chose from all the ones I took during the week.

ISO 200
Aperture 4.5
Shutter speed 1/1250
ISO 200
Aperture 4.5
Shutter speed 1/2000
ISO 100
Aperture 4.8
Shutter speed 1/125
ISO 200
Aperture 5.6
Shutter speed 1/80
ISO 800
Aperture 5.3
Shutter speed 1/2.5
ISO 400
Aperture 5.6
Shutter speed 1/1600

I learned a lot with this assignment, and I also realised how much more I still need to practice and experiment with the different setting of my camera to become a better photographer and take advantage of all the possibilities a DSLR offers.

Delving Deeper Into the History of Photography

Week 8

Question 1

Pick three events in the timeline from this week’s lesson History of Photography: An Introduction, and find photographs of the event on the Internet or in the library and write a paragraph explaining the event in more detail. Include your photographs in the description.

The oldest surviving camera photograph

View from the Window at Le Gras is a heliographic image and the oldest surviving camera photograph. It was created by French inventor Nicéphore Niépce in 1826 or 1827 at Saint-Loup-de-Varennes, France, and shows parts of the buildings and surrounding countryside of his estate, Le Gras, as seen from a high window.
Niépce captured the scene with a camera obscura focused onto a pewter plate thinly coated with Bitumen of Judea, a naturally occurring asphalt. The bitumen hardened in the brightly lit areas, but in the dimly lit areas it remained soluble and could be washed away with a mixture of oil of lavender and white petroleum. A very long exposure in the camera was required, traditionally said to be eight hours, but now believed to be several days.

Introduction of Daguerreotype

In 1839Louis Jacques Mandé Daguerre publicly introduces his daguerreotype process, which produces highly detailed permanent photographs on silver-plated sheets of copper. At first, it requires several minutes of exposure in the camera, but later improvements reduce the exposure time to a few seconds. The daguerreotype was the first commercially successful photographic process in the history of photography. A great number of daguerreotypes, especially portraits, were made in the mid-19th century; the technique was supplanted by the wet collodion process.

First photographically illustrated book to be commercially published

The Pencil of Nature (1844–46), written by William Henry Fox, was the first book with photographic illustrations. The book detailed Talbot’s development of the calotype process and included 24 calotype prints, each one pasted in by hand, illustrating some of the possible applications of the new technology. They include a variety of architectural studies, scenes, still-lifes, and closeups, as well as facsimiles of prints, sketches, and text. Due to the long exposure times involved, however, Talbot included only one portrait, The Ladder. Though he was no artist, Talbot also attempted to illustrate how photography could become a new form of art with images like The Open Door.

Question 2

Throughout this lesson you’ve learnt about the various techniques used and inventors that contributed to the art form that is Photography. Choose only one, do some additional research and in your own words write a report on why you think the chosen technique contributed to what we are able to do today through photography.

I grew up using a Kodak roll film camera. I remember the excitement of taking the roll to the shop to be developed and, a few days later, open the envelop and see all those pictures I took weeks (or months) prior. I was surprised to learn in this week’s lesson that this was already possible a century before, thanks to George Eastman’s invention of the roll film and the first Kodak camera.

George Eastman takes pictures with his Kodak camera

Before that, photography was only available for the few who could afford it. The cameras and gear at the time were large, heavy and cumbersome, and the wet place processes used back then required the photographer to do the development. This added to the time, expense, and skill level needed to make a photograph. It was 1888 when the American entrepreneur invented a game-changing dry and flexible photographic film that came in a roll. Besides, the film was designed for use in Eastman’s newly designed, user-friendly Kodak cameras. This innovative camera and film combination represents a turning point in photography, when the industry began shifting from expensive, time-consuming processes enjoyed by the few, to cheaper and easier snapshots that can be done by the many.

The Kodak camera was a box-style camera requiring no adjustments or prior photographic knowledge. To use the camera, the photographer simply armed the shutter by pulling up on the string (located on the front right of the camera), pointed the camera at the subject, and then pressed the shutter release. After taking a photograph, a key on top of the camera was used to wind the film onto the next frame. There is no viewfinder on the camera; instead, two V-shaped lines on the top of the camera leather are intended to aid aiming the camera at the subject. These steps were clearly explained in the camera’s instruction manual and were used to promote the ease of the camera along with the slogan, “You press the button, we do the rest”.

For $25 at the time (around $625 in today’s money), anyone could purchase the device, preloaded with enough film for 100 pictures. After finishing the roll, the camera could be sent to the Kodak factory for developing and printing at a cost of $10. The camera, loaded with a fresh roll of film, was returned with the negatives and mounted prints. Although the price was still high, the Kodak camera was accessible for far more people than before. Amateur photography grew significantly, which lead to an enormous demand for new rollable film.

Two rolls of film with a 1888 Kodak Camera, leather case and wooden box

It is difficult to imagine how photography would be today without the invention of the roll film or the Kodak camera at the end of the 19th century. Even though digital photography is the most popular choice nowadays, it is obvious the essential role film photography played in the development of modern photography. Besides that, and thanks to portable cameras such as the one created by George Eastman, we were able to document important events in history in a much easier and cheaper way than ever before.

– Question 1

– Question 2

Colour Theory

Week 7


RGB stands for red, green and blue. It’s the colour system used by monitors, digital cameras and scanners. In these devices, the colour is created by the effect of light moving directly into the eye, i.e, the more light is added, the lighter the result gets. The brightness of an RGB image is messured from 0-255.

CMYK stands for cyan, magenta, yellow and key (black). It’s the colour system used by printers. In a printer, the colour is created by mixing ink; the more colour (ink) is added, the darker the result gets. The brightness of an CMYK images is messured in ink percentage on a scale from 0-100.


I created four colour schemes making use of the tool Adobe Color. Here are my results.



For this part I had to use a colour photo and create different colour effects using Photoshop.

Fluorescent duotone
Monochrome look
Split toning
Sepia (colour effect of my choice)


For this last part of the assignment I had to design a book cover for one of the following titles:
– “Rosemary’s Baby” by Ira Levin
– “Animal Farm” by George Orwell
– “The Secret Garden” by Frances Hodgson Burnett

I must make use of colour to express the desired meaning, and the cover should show the title and the author’s name.

My choice was “The Secret Garden” and I used secondary colours to express naivety, honesty and harmony.


Logo Design – Sketches

As we learned in week 3, sketching is the starting point of the idea development process. It’s crucial to put your ideas on paper before trying to use a computer drawing program.
For me it’s been easier to draw than I thought it would be, I enjoy the process, and I come up with more ideas while sketching them because I can “see” them, not only on my mind.
It is a good practice to sketch often to get better at it, so the process becomes more natural with time.

For the Mandatory Assignment 2, the brief was to design a logo for a company named “Food & Malt”. They will serve homemade good quality food with a great selection of beers to complement each meal. The target audience is young urban individuals, 18 to 35-year-old, interested in culture, food, design, trends and the night scene.

After doing some research and a brainstorming session where I wrote down all the ideas I could think of, I started to draw the ones that I thought made more sense for the briefing.