#adventures in fanbinding

[but-my-weekend-is-booked]

I’m currently in the midst of binding the full series of The Mirror of Ecidyrue, and my brain thought I should do a small fanbind for further practice. This is Heal Thyself by astolat, which is something of a comfort fic for me. I’m happy to have a physical copy, even though it isn’t my best work!

[alysvolatile]

Want to fanbind? Need davy boards/book boards and low on funds? I have an excellent hack for you:

Repurpose shitty books

"But!!!" You may say, "no book is shitty! All human experiences are worth putting to paper!"

You're right! But, also, Counterpoint:

I went to my local thrift shop and got these for the low price of $5 for all 10. ("Getting into politics?" The lovely ladies behind the counter asked me. "In a manner of speaking," I replied.)

Once I got home, it was easy to turn them into this, their component parts:

("Please stop saying you're skinning them," my partner begged. Too late!)

[EDIT TO ADD: Here's a guide! Also on my tumblr. Also - when thrifting, bring a piece of paper folded or cut into the minimum size you need for boards: this way you can make sure you're getting big enough material!]

While these are just book boards, diligent deconstruction can even yield headbands, I'm pretty sure - I'll report back on my next trial run. [EDIT TO ADD: yup, you can!]

I cannot overstate the delight I have in giving these covers new life for binding fanfiction, particularly the queer kind.

Happy binding!

[notwhelmedyet]

A Fire Shall Be Woken, by Ealcynn. A pair of bindings using the K118 structure, one as a gift for the author and one to keep.

Chapter page illustrations are by Alphonse Mucha, all other illustrations are hand-drawn.

I hope to make a long post later explaining the process in more depth & another to document all my mistakes, but here's the basics.

New techniques learned: Paper marbling, edge marbling, uncial calligraphy, making paste papers, drawing on bookcloth, making paste-filled cloth, fold-out maps

I began work on this project in early September and am completing the finishing touches this week.

Structures:

Binding: K118 tightback

Endpapers: Simple cloth-joined endpapers

Map fold: Turkish map fold

Materials:

Sewing supports: linen tapes

Thread: 30/3 linen thread

Spine lining: Medium weight kozo tissue bonded to linen fabric

Interior paper: Hammermill Ivory, 11x17, hand-cut to 8.5x11

Endpapers: Blick sulphite paper hand-marbled, with masked stenciled silhouettes created with freezer paper

Adhesives: Jade PVA, wheat starch paste, wheat flour paste

Covers: Davey board, laminated full thickness to half thickness

Cover fabric: Studio E shot cottons in Jungle and Emerald; filled with wheat starch paste

Cover decorations: Speedball india ink and Dr. Ph. Martin's calligraphy ink in Copperplate Gold

Inks for maps and illustrations: Speedball black india ink and a selection of watercolors thickened with gum arabic

Dip pens used for calligraphy: Combination of Brause calligraphy nibs and Leonardt tape nibs

Dip pens used for illustration: Nikko G pointed pen nib

Typesetting:

Typesetting program: Scribus 1.5.5

Body font: Coelacanth in 10 pt caption weight

Headings, titles, chapter titles, drop caps: Hand lettered uncial calligraphy, scanned

Illustrations and References:

Frames on colophon, copyright, author's notes and title page: Hand drawn, with inspiration taken from the vellucent bindings of Cedric Chivers

Frames that illustrate each chapter start: Alphonse Mucha from Cloches de Noël et de Pâques

Cover illustrations: Referenced from a photograph of an European beech tree found on iNaturalist.org

Maps of Imladris: Hand drafted with inspiration from the maps of Barbara Strachey, and Daniel Reeve

Map of Eriador: Traced from a map by Karen Wynn Fonstad, with edits made to coordinate with the geography of the fic

Frames on maps: Referenced from a drawing by Alphonse Mucha that @zhalfirin found for me

Special Thank Yous:

To the tightback council of problem-solvers in the Renegade server: Zhalfirin, Eka, @spockandawe who helped figure out many issues with the structure and technique

To the marbling experts in the Renegade server: Marissa, Aether, AGlance, Jenny, Catz, Badgertide, Rhi, and everyone else who helped me figure out beginnner marbling

To Spock for finding the K118 structure and introducing it to the server!

And to Bruce Levy, who discovered the method and shared his discoveries freely with the bookbinding and conservation world.

[purplephloxpress]

It's August 21, which means: Happy Fanfiction Writers Appreciation Day! If you are a writer of fanfic, please know just how appreciated you are!! Fandom would be such a different space without your creativity and labors of love. 💜

In celebration of this most glorious holiday, @renegadepublishing ran an event where we bind copies of fics to gift to their authors, and I had the joy of binding The Tranquility of Water for @noppoh! It's a truly fantastic post-canon story and I love the exploration into the effects of the main story on its characters after the fact. (This is a story I love so much that I wrote up a page and a half crash course on The Untamed so I can try to force my sibling into reading it as well. Take that as you will)

The walls of the Hanshi creep in on him and so Lan Xichen leaves. He leaves Cloud Recesses and his seclusion, stealing away in the night with no-one the wiser that he even left. His feet bring him to Lotus Pier where a surprisingly kind Jiang Cheng seems determined to help him heal.

With a title like "Tranquility of Water" and the story largely taking place at Lotus Pier, I may have been a little heavy handed with the lotus imagery throughout the book, but it felt very fitting! The lotus on the cover was a last minute addition, but one that turned out so lovely. Just, you know, to tie everything together lotus-wise. (Another one of my favorite design details in the typeset is that both title fonts from the chapter headers and title page get repeated within the text of the story as the main characters handwriting fonts!)

I started the physical binding process of my copy while at the Renegade Retreat in April (and decided the week before that I wanted to change my body font... can you say formatting speedrun?) and up until that point I hadn't actually figured out what the cover and endpages were going to look like. Special thanks to everyone who contributed pieces to this binding (and who moral-supported me along the way -- my copy holds so many fun memories now) because it LITERALLY would not look like this without you all. I really love the way the color transitions worked out, with a predominantly blue/green case, fading into green, into pink, into the title page, and then transitioning back out at the end of the book.

And these endbands!! Friends, that is SILK embroidery floss that a friend brought to the retreat especially so I could experience the decadence of silk endbands. I will never be the same. (They're so smooth... so shiny... so slippery to work with, but SO WORTH IT)

(Binding details under the cut)

The pieces that went into this bind:

Fandom: The Untamed/Mo Dao Zu Shi

Pairing: Jiang Cheng | Jiang Wanyin / Lan Huan | Lan Xichen

Bookcloth: Renegade Retreat Swap Table Special (I have no idea what it is, but it was just enough to make a copy for myself and the author and the color worked PERFECTLY!)

Cover paper: Opal Momi paper

Cover paper: Opal Momi paper

Endpapers: from the Craft Consortium Ink Drops - Dusk paper pack

Titling: foil quill

Endbands: leather cording core, silk embroidery floss for the bands

Body font: EB Garamond

Title fonts: Wintersoul and Bastian

Handwriting fonts: Bastian (Lan Xichen), Richardson Script (Lan Wangji), and Wintersoul (Jiang Cheng)

Tumblr insists on eating and doubling text in this section at its own whim, so if there's something missing that you're curious about, feel free to DM me an ask!

[runawaymarbles]

Handbinding project: The Lay of Looking Glass Land by @entirelytookeen

Again?? Yes. After two years I finally got around to making a personal copy.

This was my first attempt at a flexible leather binding with raised cords. It went... okay. I spent most of the time thinking "this is stupid I'm never doing this again", and then when I finished I thought, "but now I know a bunch of things that could go better." And now I want to try it again. Probably after I forget how much I hate untwining leather.

This was also my first time using leather onlays as a book cover. I cut out the shapes with a cricut, pasted them to the cover leather, then flipped it over and shaved away at the back so that it would lie flat.

Progress pictures under the cut

Release the kraken!!!!

Untwining the twine.

Boards laced on

The spine leather under the Get-Along sock and with strings holding down the leather around the raised cords on my shitty improved tying-down board. I should have moved the screws much farther back to keep the string tight; as it was I had to assist it.

Scraping away the leather underneath the trikru symbol

and the Azgeda handprint. This one was much trickier because of all the little pieces, and because this blue leather is a bitch to pare. Also, at the time I was on an incredibly silly discord call, and kept laughing, which blasted the leather shavings across the room.

look at how fucking flat that cover is though. Look at it!! (this is before i got the dent from something stuck to the foam in the press, RIP.)

[transfagholmes]

Fenario by @sodomitecastiel

My first time binding a fic properly! I really liked the story and wanted it to be physical, so here it is :)

Pictured here is the author's copy, which they now have. I have one for my own shelf with different endpapers, but otherwise it was made the same.

I recommend checking out this and his other work! Not only for Supernatural, but there are multiple stories there that I come back to.

Featuring these headbands! First time doing three colours!

Another first is the way I made the bookcloth, I used wheat paste and stuck it on a window until it dried. It surprised me and turned out really well? So I might do it again! The only thing is it takes longer than ironing on glue, but it is a traditional (and cheaper) method to make bookcloth, so I like it.

More pictures :) I got the title on the spine by printing it onto a type of transfer paper that you can iron onto fabric. It actually turned out better than I expected, significantly better and easier than handprinting, so I will definitely keep up that method.

There are probably more things to say. Typesetting was fun and I tried out so many glyphs before settling on the bees and sunflowers I did. This is the only image I took with both.

:]

[underlined-fires]

This is My Beloved Monster, the first book I made for the 2022 @renegadepublishing exchange, for Bladespark, who's also the author! It's a Hades (the game) Ares/Thanathos fanfic. It's so good, so please check it out!

I had so much fun with the typesetting and the case building! I just love doing cutouts. (layers! textures! it's fun) The title and cover ornaments are painted on, because I don't own a cutting machine and I was afraid foil wouldn't look good on a larger surface. (I usually get little blank spots when using foil)

[starblightbindery]

Editor's Note from The Black Sands of Socorro by Patricia A. Jackson

While researching Patricia A. Jackson’s entire body of Star Wars work for a short story anthology, I came across the West End Games sourcebook Star Wars: The Black Sands of Socorro (1997.) It’s a crucial work of Star Wars ephemera: The first creator of color writing for Star Wars in an official capacity, writing not just about individual characters of color, but centering entire cultures populated by non-white characters. A young Black woman in the 1990s wrote science fiction for Star Wars, worldbuilding with concepts like antislavery, indigeneity, linguistic divergence, and settler colonialism...while Disney-Lucasfilm in the 2020s ineffectually positions Star Wars as a post-racial fantasy.

I non-hyperbolically refer to Patricia A. Jackson as the “Octavia Butler of Star Wars,” not because fans of color need to be officially sanctioned by Lucasfilm to create Star Wars content, but because of how difficult it is to carve out anti-racist space in a transmedia storytelling empire. Challenging even in transformational fandom spaces (e.g. fan works), to broach race in affirmational fandom spaces—or while writing content for the property holder—is to be unflinchingly subversive.

And Jackson did it first. In an interview with Rob Wolf in 2022, Jackson described her experience writing race into Star Wars in the 1990s as an “experiment.” The planet, peoples, and cultures of Socorro were a way for Jackson to obliquely, yet concretely, center Blackness and racial justice into Star Wars, pushing the racial allegory constrained by the original trilogy to its limits.

Since it’s inception, Star Wars has spent much of it’s storytelling on the fringes of the galaxy (whether it’s Tatooine or Jakku, Nevarro or Ajan Kloss.) The Black Sands of Socorro is an extension of that trope, but where the Star Wars films used indigeneity as set dressing (eg. “Sand People”, Ewoks, Gungans, etc.) Jackson creates a vivid world where indigenous culture and settler colonists collide; where characters are coded with dark skin and central to the action. The planet Socorro is distinct as a Star Wars setting. As one of the only places in the galaxy where slavery is eradicated with a vengeance, Socorro refuses to let go of a plot line Star Wars media often leaves behind. Socorro is a haven from Imperial fascism, a space where readers are invited to imagine a story that does not center around occupation.

When I learned that Patricia A. Jackson no longer has a physical copy of The Black Sands of Socorro, I realized that I had the materials and the means to create a fanbound hard copy for her home library (well, and also for my own home library.) While this handmade book is not an exact reproduction of the RPG supplement, I hope my renvisioning of the supplement as an in-universe travel guide lives up to the original work.

As the idea of creating a travel guidebook based on the original material percolated, I reflected on the State of Race in Star Wars in the year since I compiled Designs of Fate, an anthology of my favorite Patricia A. Jackson short stories. In May 2022, actress Moses Ingram debuted as Inquisitor Reva Sevander, the deuteragonist in the Dinsey+ streaming Obi-Wan Kenobi series. As predicted by Lucasfilm—and any fan sick of alt-right Star Wars related “whitelash”—Ingram was promptly subjected to a firehose of racialized harassment and misogynoir.

Yep, fascist self-proclaimed fanboys complained about a Black woman Inquisitor in 2022, having no idea (or deliberately whitewashing) that one of creators of the entire freakin’ concept of Inquisitors was a Black woman writing for the Star Wars Adventure Journal three decades ago.

Then, a public facing Star Wars account (@StarWars on Twitter) broke precedent and slapped back at the trolls. Lead actor Ewan McGregor filmed a video retort, posted on @StarWars, stating “racism has no place in this world” and telling off the racist bullies: “you’re no Star Wars fan in my mind.” A few months later, Disney+ debuted it’s second flagship Star Wars streaming series of the year, starring a Latino actor as the protagonist. In the opening episode of Andor, a police chief describes Diego Luna’s eponymous lead as a “dark-featured human,” perhaps the closest the franchise has ever gotten to acknowledging out-of-universe constructions of race, to date. The series explored aspects of imperialism with more depth than Star Wars had previously done on screen, such as the Empire’s treatment of the native people of Aldhani. And, in November, the The Acolyte, a Disney+ series co-developed by Rayne Roberts, announced Amandla Stenberg and Korean actor Lee Jung-jae as its top-billed leads. Stenberg will be the first Gen Z, mixed race, Black, Inuit, queer, and non-binary actor to lead a major Star Wars series.

On the Patricia A. Jackson Star Wars front, in 2022, Jackson’s character Fable Astin was an easter egg in the Obi-Wan Kenobi series. Jackson will again write for Star Wars in an official capacity in From a Certain Point of View: Return of the Jedi, due for publication in Fall 2023. A series about Lando Calrissian, the galaxy’s most famous Socorran, is still in production, so I have my fingers crossed that we may soon see Socorro on camera.

I wonder if this past year will have been a fulcrum year for BIPOC fandom. Maybe Disney has finally realized it’s bad for business that the alt-right uses social media algorithms and Star Wars fan spaces as a soft recruiting ground to radicalize young white men? Maybe Star Wars as a franchise will continue to loudly disavow fan whitelash and firmly position performers of color in true leading roles? I really hope so. On the other hand, as much as I am in favor of increased representation in Star Wars storytelling, I am also troubled by Disney-Lucasfilm’s framing of the Galaxy Far, Far Away (GFFA) as “colorblind.” Recently, Star Wars fans have been asked to accept that in the (a long time ago) sci-fi futurepast GFFA, humans have always been post-racial, and it’s just a coincidence that racialized people were not caught on camera the way white characters have been for years. The galaxy is post-racial and it’s just acoincidence that the movers and shakers of the galaxy have largely been depicted as white men for the past 40 years of media.

For example, in the decade since Disney rebooted the expanded universe, fans have learned that Star Wars’s biggest galactic war criminal to never be depicted on screen is Admiral Rae Sloane, a bisexual Black woman who was the leader of Imperial remnant forces, one of the architects of the First Order, and personal mentor to General Hux. Under Disney-Lucasfilm’s post-racial retcon of the Star Wars universe, the allegorical fascists are intersectional equal opportunity employers (at least in expanded universe content like animation, video games, and novels.) Along those lines, several of the franchise’s newly introduced, prominent women of color have been part of the Empire: Imperial loyalist Cienna Ree (Lost Stars), Inferno Squad leader Iden Versio (Star Wars: Battlefront II) former stormtrooper Jannah (Episode IX), First Order pilot Tamara Ryvora (Star Wars: Resistance), Inquisitor Trilla Sundari (Jedi: Fallen Order), Captain Terisa Kerrill (Star Wars: Squadron) and, most recently, Inquisitor Reva Sevander. Once the sole purview of stodgy, very white and very British men (demonstrably so even in the sequel trilogy movies,) now anyone can be a stooge of the Empire.

That’s not to say that marginalized people can’t collude with fascism, or that there haven’t been heroic characters of color introduced in recent years. Rather, I posit that in order to sell audiences on the post-racial/colorblind GFFA, fascist-of-color characters like Rae Sloane or Giancarlo Esposito’s Moff Gideon (The Mandalorian) are created by necessity. The franchise wants to at once be racially inclusive and yet never directly address race. In Star Wars, real world oppression is primarily explored through allegory—such as Solo (2018)’s bit on droid rights, the clone army, or the myriad of non-human alien bodies that nonetheless are coded with racial stereotypes. A lot has been said about how allegory in sci-fi allows audiences to grapple with inequality from a comfortable distance, and not enough has been said about which audience is being prioritized for comfort.

What does it mean when race is supposedly a non-issue for humans in the GFFA, but creators and actors with marginalized identities cannot participate in Star Wars in any capacity without experiencing identity-targeted harassment? In the past ten years, this has been true even for white women like Kathleen Kennedy and Daisy Ridley, but the vitriol has been most strongly directed towards Black women like Lucasfilm Story Group lead Kiri Hart, author Justina Ireland and The High Republic Show host Krystina Arielle. Can the Galaxy Far, Far Away truly be “colorblind” or “post-racial” (never-racial?) if the narrative continually centers white characters and replicates all the common racial inequities seen in commercialized Hollywood storytelling? Upon the release of The Force Awakens in 2015, critic Andre Seewood aptly described Finn’s positioning in the story as “hyper-⁠tokenism,” even presciently predicting that Finn would continue to be hyper-⁠tokenized in Episodes VIII and IX. As the narrative veered away from Finn, it also left unrealized a stormtrooper rebellion plot line where Finn could have been, in effect, a Black abolitionist. Actor John Boyega’s critique of his experience in the sequel trilogy aligns with Seewald’s assessment: “Do not bring out a Black character, market them to be much more important to the franchise than they are and then have them pushed to the side.”

Published in 1997, The Black Sands of Socorro came before Finn, before Mace Windu, back when all the melanin of Star Wars could be found in Billy Dee Williams’s singular swagger and James Earl Jones’s distinctive voice. Back then, the most prominent Black actress in the original trilogy was dancer Femi Taylor, who played Oola, the hypersexualized green twi’lek fed to the rancor in Return of the Jedi. Bantam Spectra, the publisher that held the license for Star Wars from 1991 to 1999, had no leading characters of color in its’ Expanded Universe. The first full length Star Wars novel by a writer of color, Steven Barnes’s The Cestus Deception15, would not be published until 2004. Even though the book featured two protagonists of color, they would not be depicted on the cover. At Comic-Con in 2010, I spoke with Tom Taylor, a white Australian comic book writer who tried to make the lead family in Star Wars: Invasion (2009) a Black one, but was shut down during the creative process. The comic instead depicts a family of blondes, because the publishers did not think fans would embrace leads of color. All this to say, the inclusion of melanated characters in Star Wars has been so, so hard fought. It’s incredible The Black Sands of Socorro exists at all. It’s more than worthy of celebration, and I’m floored that more attention has not been brought to it.

Patricia A. Jackson is a smuggler.

This sourcebook was explicitly written to assist fans in telling their own Star Wars stories, and in it Patricia A. Jackson smuggled in emphatic allusions to the Black Panther movement and the trans-Atlantic slave trade, smuggled in commentary on indigeneity and settler colonialism, and smuggled in multiple ways for fans to envision characters of color. Her writing has consistently added richness to the GFFA, and in The Black Sands of Socorro she envisions multiple histories for multiple cultures coded as non-white. She ensured the existence of not mere tokens, but flourishing societies of people of color in Star Wars.

The coda for The Last Jedi again shows how perilously close to tokenization characters of color, particularly Black characters, are in modern day Star Wars. In this film, the franchise returns to itsprevious exploration of slavery with the depiction of enslaved children on Canto Bight. The last speaking lines of the film are from Oniho Zaya (played by Josiah Oniha, a young Black British actor) who recounts Luke Skywalker’s heroic exploits to the other children. The film then closes out by showing that one of the downtrodden children is Force-sensitive—a future hero in the Star Wars mythos. In a film where every single Force-user depicted is white, the next generation kid with the potential is, again, a young white boy. Once again, the Black character can only serve the narrative in a supporting role. A franchise depicting a colorblind fantasy continually reifies racial and gender hierarchies in America. With The Acolyte, scheduled for release in 2024, it’s possible the franchise may finally be shifting past hyper-tokenism. In the meantime, fans of color and our erstwhile allies will continue doodling in the margins.

In the end, the sequel trilogy left the Canto Bight plot line (and the overarching slavery plot line started in Episode I) unresolved. I’d like to think the Black Bha’lir strafed Canto Bight and grabbed those kids. It seems like something they would do. Out among the stars, Oniho Zaya is adventuring with Drake Paulsen, and his story does not bracket another characters’; he is central. The Black Sands of Socorro is a launching pad for stories like that. It represents how fans of color have always carved out pieces of Star Wars for ourselves.

[exhausted-eternally]

Scrolls 'n' Sketchbooks

Hello everyone!

As I have had an influx of new followers lately (likely due to the advertisement of Talviel's Kitchen, along with some of my other books), I would like to share that I have

✨ My Website~ ✨

where I share photos of many of the books (amongst other things) I have made! Here you can find news on things like shop updates, sales, or new projects, my Portfolio containing some of my favorite books & others that proved to be popular, my Commissions sheet, and contact information. Members can receive email updates to notify them of new posts, and starting next year, paid subscribers will be able to receive discounts for my Etsy shop (and possibly commissions as well)!

[theworldwalkerswols]

Working on laying out a booklet/prepping a text block for my first attempt at a hand-bound hardcover book WITH A SPINE

(it’s gonna be my first ever fanbinding òvó)

[but-my-weekend-is-booked]

TFW you’ve successfully completed a grand total of ONE fanbind and your brain decides the next sensible thing is to do a whole series clocking in at over a million words…

[alysvolatile]

The Fine Art of Book Butchery Deconstruction

What you need: bad book, a utility knife/box cutter. That's it!

A full guide below!

Strip the book!

Once it's naked, take a look! I've marked where the bookboard is attached to the spine. This is where you cut!

Do both sides and voila! Boards!

You can trim these to fit whatever size you need later - for now, set them aside! We're gonna get the headbands!

Delectable...hidden...Not for long!

You can very easily peel the spine back as seen here - and then you can peel the headband off.

Sometimes the glue makes it a bit tricky (as seen here) - just use your utiliknife!

Do both sides... and that's it!

With the remaining text block, it varies on if your city can recycle it. However, it's also good for paper mache! Pulp! Blackout poetry! Discard paper! Compost! Anything you'd like to do - have fun!

[wolfsbanesparks]

Just finished another bind!

This one took forever and I had a lot of trouble getting the colors on the cover to match my bookcloth, but I think it still looks cute! And at 105k words and 334 pages, it's my longest bind to date!

I had several different ideas for this one, but I liked the pastels, it made it feel different you know? I mean i can't have all my books be bound in the sames colors.

I'm gonna do a few practice things first and then I think I'll try to add lettering on the spine. I'll post pics if I do!

This is based on my fic Baby Blues!

It's the story of the unlikely friendship between Harley Quinn and Billy Batson as she tries to lay low in Fawcett City to hide her pregnancy from the Joker (and everyone else).

[purplephloxpress]

总有一天 a place to hide (can't find one near) - yiqie

That’s just the thing, isn’t it? Wei Ying feels nothing. He doesn’t feel anything, and this emptiness should scare him. He knows he should be scared. He wants to be scared. He isn’t. Fear itself is never scary; fear is just a response. It means that your body wants you alive. It’s the absence of terror that scares him.

I had SO MUCH FUN with this bind! This one had a lot of firsts for me, and is one that I really poured my heart into due to its particular emotional impact on me (tl;dr - I was a piano major in college, burned out, this fic helped me fall in love with music again). It's an Untamed WangXian Pianists AU (TW for anyone interested that it deals with attempted suicide and life following that) and I tried to tie that into the design details literally everywhere I could think of. Black and white cover paper, music note scene breaks, and my absolute favorite part to create: sheet music title pages. The particular song used for that is a recurring motif in the fic and one that means a lot to me personally, and I knew I wanted to include it somehow. Unfortunately I couldn't find an existing image of the sheet music that was high enough quality to use how I wanted, so I used a sheet music program to input it myself!

This book was my first time doing any sort of edge decoration, and I had fun figuring out how to splatter paint with a toothbrush (Spouse: is that supposed to be blood? Me: no but also... kind of?) and it was also my first time doing endbands! (Shout out to the friends who walked me through it over voice chat one evening, and then rolled their eyes when I announced that I'd torn them out and done them over again. Twice.) I went with red and black for both of those parts to match the main characters canonical color scheme, and also because I liked the dramatic pop of color against the black and white cover.

Spine titling was done once again with a foil quill, and I decided to paint the Chinese title of the fic on the cover. I couldn't find a paintbrush that let me get as fine tipped and detailed as I wanted so I may or may not have used a toothpick to paint it on.

I prevailed over: somehow deleted half of my page numbers and had to reprint the WHOLE THING! Forgot to measure the boards as part of my spine width and had to do surgery with 2mm strips of paper! (Thankfully had allowed plenty of hinge because I didn't realize until I'd finished ALL of the titling and I would have cried if I couldn't salvage it) Truly this is my child and I adore how it turned out. Is it perfect? No. Are there things I would change? Sure. But I learned and I did and I'm so goddamn proud of it!

(See below the cut if you want specific details on the binding)

What pieces went into making it:

Fandom: The Untamed

Pairing: Wei Wuxian/Lan Wangji

Pairing: Wei Wuxian/Lan Wangji

Bookcloth: black Brillianta

Cover paper: black and silver marbled lokta

Endpapers: red cardstock

Titling: foil quill, acrylic paint, acrylic paint pen

Endbands: leather cording for the core, DMC embroidery thread for the bands

Body font: Adobe Garamond Pro

Title fonts: Long Cang and Canva Holiday

Text message font: Nirmala UI

Scene breaks created in Canva

Title page sheet music created using MuseScore

[athymelyreply]

Hi! I really want to finally embark on my journey of fanbinding @moorishflower ‘s beautiful fic Maybe Sprout Wings, however im struggling with how i might be able to convert and format the text and things like that and i would be forever grateful if anyone had any advice? please please please let me know if you have any information and don’t hesitate to reach out because i’m so excited about this project (and if you’d be willing to walk me through it or anything like that i will literally fall in love with you)

[thine-cosmos-king]

Finally living up to the book binding part of my descriptor, we have a binding of brushstrokesApocalyptic's An Umbrella Term (please go read it it's heartwarming - and on Ao3). This is both the first book I ever bound and the first fan fic I ever read, so I'm glad I got to rebind it.

I wanted to get across the whole memory deal the voidfish likes to fish up, hence the translucent film over the front.

Now featuring all seven birds along the edges (though you can't see them all here).