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#typesetting
lady-inkyrius · 2 months
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[Source]
God this is a gorgeous way to start a book. I wish more authors and publishers had at least a little bit of fun with their typesetting like this.
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lifeonmarls · 1 year
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Crimson Rivers typeset: books and their covers
fic by @mayzarbewithyou on ao3
art by @/likeafunerall on ig
typeset by me 😁
volume one is finished i'm still working on the other two since i want to make sure it's perfect i added everything in THIS drive doc 🫶🏼🫶🏼
This typeset is just for the first 25 chapters since i'm splitting up the fic in 3 books so 25 chapters for each volume !
feel free to use these at your own leisure , please send me a picture! i would love to see how they turn out 💘
some pictures to show how some of my favourite pages look like✨
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runawaymarbles · 6 months
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trying to decide if I should fix or leave the best typography joke i've ever stumbled into
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sometiktoksarevalid · 5 months
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rexwrendraws · 8 months
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Sandcastles: Year One, A Sandman Fan-Fic Anthology ⏳
To celebrate The Sandman's one year anniversary this past weekend (how has it been a year already!?), I started a self-indulgent project and decided I wanted to take a crack at typesetting for the very first time.
So, I'm very proud to present: Sandcastles, an 180-page digital anthology that celebrates some of my favorite Sandman fics from the past year! Sandcastle collects shorter fics ranging from gen to mature, and is print-ready and available to be downloaded for free. Through this anthology, I hope others can get the same joy from these fics the same way I did over the past year (think of it as a glorified fic rec list)! (And, if anyone's interested, the print-ready files are available for download as well, if anyone wanted to print their own copy of Sandcastles!)
✨ Download Sandcastles here!
Thank you to all the authors for giving me permission to include their work in this anthology! This is my love letter to all of your work! Please check them out and leave a kind word or two!
The fics included in Sandcastles, in order of the Table of Contents, are the following:
Companions - Picture_Yourself (@anthrossandman)
Fridays - hardly_an_escape (@hardly-an-escape)
Warning Sign - issylra (@issylra)
Snacktime - fishydwarrows (@fishfingersandscarves)
Stray - softestpunk (@softest-punk)
Aulon Raid - moorishflower (@moorishflower)
Unbidden Miracles - mostlybuddingthoughts (@mostlybuddingthoughts)
Available - softestpunk (@softest-punk)
Points of View - cuubism (@cuubism)
Fern-Fevered - notallsandmen (notallmaenads) (@notallsandmen)
The Last - secondjulia (@secondjulia)
Scratch a Little Itch - sanyumi (@valeriianz)
Simple Dreams of Comfort - softestpunk (@softest-punk)
The Apocalypse is Nigh! - cuubism (@cuubism)
To Those Who Dare Wonder - Astrophel_Hireath (@mentallyinvernation)
The Perils of Inebriation - Lilibet (@the-slow-arrow)
Touch - softestpunk (@softest-punk)
Passing the Time - Anonymous
I'm Stuck on You (I'm Mighty Glad You Stayed) - hardly_an_escape (@hardly-an-escape)
Hob Gadling vs. The British Museum (Unknown Artist, c. 2022, Oil on Canvas) - TheAllKnowingOwl (@theallknowingowl)
This also counts as my submission for Day 1 of @mr-sadman 's Sandmanniversary 2023 prompts (Collection) :)
_ _ _ _ _ (Post & files updated — 29.08.2023)
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othmeralia · 1 month
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Uh oh! What happened here? Seems to be that there was a printing error that caused the typeset or page to slip/move while going through the printing press. What a cool find!⁠ ⁠ Found in our copy of Manuel du parfumeur (1825).⁠
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mushroomyhouse · 9 months
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The seasonal illustration typesetter series by the one and only @snowlattes
Intricately designed and illustrated by Snow with plants growing and blooming in typewriters from every season. Available in 5 different variations — Spring, Summer in Sunny and Rainy, Autumn and Winter.
🌻 mush.house/snowlattes ❄️
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510-key keyboard Polset 04
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getfuckedblr · 3 months
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here’s my guide to making typesets! I use Word to make my typesets, Canva for designs, and Adobe to insert the majority of my designs.
this is a ton of info and I tried to make it as readable as possible, but plz let me know if u need any clarification!
Word: always use the app, the online program doesn't have all of the options needed
paper size: US Letter Borderless
then i flip it landscape, do custom borders, and select book fold. I do 1 inch on top and bottom, .75 in inside, and .5 in outside. i leave the gutter option alone and leave it set to 0. You can choose how large you want your signatures to be (sheets in booklet option on the margins page): I normally do 40 page signatures, but if it's a smaller text you'll want to go smaller for stability. after that, you should have a half page to start your typeset!
Inserting your fic:
the next thing you’ll do is insert your fic; on ao3 click entire story, CTRL A to select all, CTRL C to copy it all. Paste it into your document. word automatically detects the headings, and you should be able to see all your chapters on the left side bar (if you can’t see it, click the page numbers on the bottom left to open the tab).
Formatting:
you can do the next few steps in any order, but we’re going to fix the formatting now. you’ll want to CTRL A everything, pick a font and a font size. I normally use georgia and size 10, going smaller or larger depending on the file size.
To have an indent on every line: CTRL A your work to select all, right click the “normal” style, on the home tab. go to the bottom left, open the drop-down menu, and select “paragraph”. next to special, hit first line. i like to do .3, you can do whatever you want. i then like to make sure the space after is set to 0, the line spacing to single, and then hit save. it should automatically adjust your lines to start at whatever indent you picked.
To fix the spacing: go into the layout tab, and go to spacing. There'll be a before and after option: write in 0, then click enter for both of them. Word is a little bit bitchy so you have to force it do things sometimes. after this you can choose if you want single spacing, or 1.5, or whatever you want.
*sometimes, the way the fic was formatted when posted to ao3 means that even after setting the line spacing to zero, there will still be a space in between each line. this is where you have to troubleshoot. you can either go line by line to delete the excess space (yes, for real. and yes, it's just as awful as it sounds) or, sometimes, not every-time but sometimes, you can highlight the chapter text, go into the home tab on top, click the A with the purple eraser to erase all formatting, and then do all the beginning steps again, and it will get rid of the extra space.*
Now that your format is mostly fixed, delete the archive of our own beta, and anything else you don't want. I normally delete everything up to the title of the work, and leave that for creating my copyright page. Remember to do the same for the end of the work!
Page Breaks and Section Breaks:
the next part is the most crucial. it's how we format both the chapters, but also how we format the headings and footer. this was the part that took me the longest to figure out: it's the page breaks and section breaks. page breaks mark the place where one page ends, and another begins. section breaks will create a new section in your document, so you can break the beginning few pages from the rest of your textblock. This will allow you to insert page numbers that start on page one, instead of at the first page of the document.
I like to go the end of the description, and then click on the first chapter. then I'll add a section break. you can find this in the layout tab, click breaks, and then click section break. so now our section 2 starts with chapter one. After this, add a blank page after the description and before your new section, and then click on the first chapter. (adding a blank page allows for smoother formatting later with headers and footers)
I then go to each chapter, delete the authors notes at the start and end of each chapter, and add a page break at the start of each chapter. i like to use the heading tab on the left to click each chapter, so I know I'm actually starting the new page right where I need to, and other formatting won't delete the page break.
when I create a compilation fic, where I have muitlple fics in one typeset, I use section breaks at the starts of each new fic. this will allow the page numbers to continue, but I can then edit each sectio to change the fic title and the authors name. if you're really fancy, you can do this for each chapter title as well, you would just hve to use a section break for each chapter instead of page break. *Remember to click link to previous to turn it off, so you are only editing that section, and not all the other sections. this can be found in the heading and footer tab on the top, which will automatically open when you click on the heading or footer.*
Adding page numbers, authors name, text name:
To add a page number, I click the footer, which automatically opens the header/footer tab on top. Then, I click page numbers, add page numbers. I turn on different odd and even pages, which is also found in the header/footer tab. you'll have to insert page numbers on both an even and odd age to get them to show up once you click that option. Page one should be an odd page, page two should be an even page. I like to put the page numbers on the outside of the page. Then you'll click format page numbers, click "start at" instead of "continue from previous section", and write in 1. now your typeset starts at 1 on chapter one instead of the start of your document! you'll need to go back and delete the numbers that showed up on the first section, but remember to deselect link to previous before you do that! or you'll end up deleting your page numbers again.
to add text on page numbers:
click into the header/footer again. double click directly on the page number, then start typing. You ca highlight the whole thing to change the font, font seize, etc. I normally do the same size as my text, and I'll either do georgia font or garamond font. I google "copy paste line for text" to get that line dividing the page number from whatever text I have next to it.
to add graphics on an entire work:
you can go into the header or footer, go to the insert tab, and insert a picture. Doing it in the header or footer will ensure it's on every single page that shares that header or footer. I have done this in the past, and find it's cute, but it's also tricky because it needs to be small enough to fit inside the header or footer, and won't really be able to interact with the text because it's different on each page, while the graphic will stay in the same position regardless.
Blank Pages:
you want blank pages at the start and end of your textblock: this is what you'll be glueing your end papers to. even more, you'll want to ensure your total page number is both divisible by 4 (each page of paper will have four pages of your text on it, two to each side) and fits into your signature count. If you're working with a 40 page signature, and you have 420 pages, that's fine. You'll end up having the last signature only be 5 regular pages instead of 10, which is plenty enough to sew. you really just want to try and avoid only having one of two pages in that last signature, as that won't be very strong in holding up your end page, or be very stable in sewing on to your book block.
to make sure they're blank, with no page numbers, you'll want to insert a section break on the last page of text. Deselect link to previous, delete the page numbers and you should be all good!
Printing/Saving:
I'm on a mac. I don't know how you would do this on anything but a mac. let that be a warning lmao. but I will CTRL A everything, ensure it's US Letter Borderless, and then hit print. if you don't tell the document it's the right size, it'll be funky when you go to print because of the margins. to insert images, i click save as pdf. it'll save it in the correct order to print for your signatures, and then I upload it into adobe to edit further. that'll have to be a different post bc this is entirely too long already.
If you want to print directly from here, ensure it's printing the right size, flip on short edge, double sided. and you're all done!
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remusdocx · 3 months
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The Book of Merthur (Book One) by @cbk1000 typeset is available on my Google Classroom (code: inqub5c). Another typeset that took me quite a bit of time to finish (21 hours). Here we are, finally finished with it.
More information about the typeset under the cut.
All of my typesets are for personal use only.
BINDING INFORMATION
Print Double-Sided with Flip on Short Edge
Pages per Signature: 19
Typeset Sheet Count: 108
Total Page Count: 432
FONTS USED
Chapter Headers: Garamond
Body Text: Times New Roman
Drop Cap: Floral Capitals
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moonycigs · 1 year
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Here are my covers for Crimson Rivers by Zeppazariel ! I wanted them to be similar to the og hunger games covers where each book has its own color. Divided into 3 parts bc I didn’t know we were splitting it into 5 until I was pretty much already done sooo…
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Renegade Publishing 2023 Typeset Exchange: this world is gonna break your heart by lise
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So I'd picked up a pinch hit in the @renegadepublishing typeset exchange, and was in the process of typesetting Regardless of the Hardships. One of the other potential fic @admiraltypress had on their list was a shorter fic, that I'd already read. And the gremlin part of my brain started to ask... but what if? What if we typeset another one? It's just little! It will make a great quarto (half-sized) book! It won't take long...
And then I apparently entered into a fugue state, and typeset this in about eighteen hours. Fortunately, @veliseraptor got back to me quickly with permission to include this fic! (The event requires author permission, since the finished files are shared with everyone who participated.)
This Word Is Gonna Break Your Heart is a canon-divergent MDZS fic where Jiang Yanli survived instead of Jiang Cheng, and is the incredibly unlikely pairing of Jiang Yanli/Xue Yang. But... it works. In a tragic, heartbreaking way, it works.
I went with a font called Monument for the title, reminiscent of gravestones, and a lotus motif for Jiang clan reasons. Stark negative images and black and white match the tone of the fic.
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I hope I've done the mood of the fic justice!
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touchlikethesun · 2 months
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so i completed my first ever fan binding, everything from start to finish - barring writing the fic myself - and i wanted to share the results!!
the fic is the certain things we lack by @deanpendragon on ao3 (it’s an incredible fic, if you haven’t read it already, you really really really should!!)
if anyone wants to bind their own copy using the typeset i made, i’ve put a fully formatted and print-ready pdf along with some instructions for how to go about fan binding (and links to people who can explain the process better than i can) on my google drive!
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ifyoucandaniel · 5 months
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just some details for my recent binds of @whyiskisehere ‘s iwaoi fics :)
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shalottpress · 2 months
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Typesetting will be the end of me.
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Lettering sound effects in Shiori Experience
Hi! I’m Toast, the letterer on #dropout’s English translation of Shiori Experience. This series was my first time doing typesetting, and I’ve learned a lot over the two years I’ve been involved in the project. Each new chapter brings new challenges, and as our team has matured we’ve gotten more ambitious. We recently began translating the comic’s sound effects along with the dialogue, a decision which instantly doubled the size of our workload. 
Our most recent release, Chapter 64, was probably the most technically complex chapter we’ve done so far. The sound effects in this chapter were varied and complicated, presenting a number of interesting challenges. Today I thought it would be fun to give y’all a peek behind the curtain, and show the thought process and effort that goes into the adaptation of sound effects in Shiori Experience.
Shiori Experience is a music manga [citation needed], so it isn’t surprising that the sound effects can get pretty complicated. Music manga need to convey not just the sound, but more importantly the impact of a performance, conveying an auditory experience in a totally silent medium. Shiori Experience’s approach to this problem is to make the sound effects semi-diegetic objects. They hang in the air, burst out of crowds, get obscured by foreground objects, and cast shadows on their environment. This is a really cool effect, but also makes converting them from Japanese to English a fucking nightmare.
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(Look at the shadows)
Shiori Experience is kind of a nightmare
In some ways, lettering for Shiori Experience isn’t actually that difficult. Sound effects in this series are goddamn everywhere and they’re fucking gigantic, but they’re always straightforward. Much like the art of the series, the sound effects are clean and angular, strong dynamic shapes which are easy to parse even if you can’t read the katakana. For a great example of this, look at this sequence from Chapter 64.
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This sequence demonstrates what you can achieve with good lettering. The sound of the band is conveyed perfectly with these visuals. The clear and regular beat of the drums, the dark and energetic bass line, the screaming uncontrollable energy of the electric guitar. We didn’t even bother translating it. We didn’t need to.
But look at the sequence again. In spite of its apparent complexity, there’s only two fonts here, a dynamic block text and an angular brush. Those two fonts represent the vast majority of SFX in Shiori Experience. The rest is just text effects and perspective tricks.
So to convert these sound effects into English, we just have to find equivalent fonts. It took me a while to pin down a set of fonts I was happy with. For the pointy brush font I eventually settled on Jolly Lodger, a brush font with a sort of piratey vibe. I’m still not 100% satisfied with this conversion, it isn’t as pointy as the original, but it’s good enough for now.
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And for the big block font I chose Boogaloo. It looks a little thin when it’s on its own like this, but it really bulks up with the right text effects.
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Great! We’ve got our fonts! Doing the sound effects should be as simple as erasing the old text and replacing it with the new text, right? Wrong. The nightmare begins.
Different approaches
There are several schools of thought when it comes to lettering manga SFX. One is the "keikkaku means plan" approach. In a translator's note outside the panel, or in plain text near the SFX, describe what the sound is. This is incredibly easy. This is also lame.
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(This is from the official release of Dungeon Meshi. I wouldn’t want to redraw this one either, but like, come on guys.)
Another school of thought is style matching. Similar to the translator’s note approach, but rather than plain text, the translation uses similar text effects to the original SFX. This works fine, but it can create a lot of visual clutter if implemented poorly.
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(This is from Drifting Dragons. Please read Drifting Dragons.)
The last approach is full replacement. In this approach, the original SFX is (are you ready for this?) fully replaced by the new SFX.
SFX Redrawing
Replacing a sound effect isn’t as simple as just erasing it. We work with tankoban pages, scans of the Japanese volume release. These files are flattened, with the art and text all on one layer as a single image. We can’t just disable the text. In order to remove the original SFX, we have to redraw them.
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(for context this is from when I had covid)
Redrawing means recreating the art hidden by the original SFX. This is a complex process, requiring a steady hand, sharp eyes, and  a lot of guesswork. Since we don’t know what precisely is underneath the original SFX, we have to use context to reconstruct it. The goal of any localization is to make the translation invisible to the reader. The same principle holds true in redrawing. The art we add needs to be invisible, meshing seamlessly with the original artwork.
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(I made this dude up out of whole cloth. I’m honestly really proud of how he came out.)
#Dropout uses a mix of style matching and full replacement, with the choice between the two being determined by a number of factors. To illustrate that decision-making process, let’s break down the process of redrawing a page of Shiori Experience, specifically the spread across pages 172 and 173 from Chapter 64.
Deciding between Style Match and Full Replacement
This is the original untranslated page, and there’s a lot going on.
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In the background of the first panel is the sound of the band, バアアアン, phonetically translated as "BA-A-A-A-N", localized as “BWAAAM”. In the foreground is the cheering of the crowd, ボオワアアア, "BO-O-WA-A-A-A" phonetically, “ROOAAR” localized. Lastly, along the side of panels 3 through 6 is applause, パチ, "PA-CHI", “CLAP”.
At a glance, this page is overwhelming. The cheering sound effect is huge, with custom text effects conveying the energy of the crowd. Worse is the clapping, which overlays multiple panels with dozens of unique partially obscured faces. This looks like a pain in the ass to redraw, but in the end I decided to do a full replacement instead of a simpler style match. With the number and size of the SFX combined with the visual density of the panels, doing a style match would result in a cluttered unreadable mess. Too much of the original artwork would be covered, and there just isn’t enough space. So, full replacement.
The redrawing process
As I’ve gained more experience, it’s been surprising to learn what constitutes a difficult redraw. You’d expect crowd shots to be the hardest, with lots of unique faces and little details, but they actually aren’t that bad IMO. More detail means more context means less guessing. Definitely a lot of work, but not difficult. Meanwhile, something like a gradient or screentone pattern which looks simple is actually a goddamn nightmare to recreate, as we'll see later.
That’s why I started my redraw for this page with the clapping. Again, this looks like it would be really hard, but looks can be deceiving. There’s a lot of clapping, yes, but the text is thin and spaced out. Whiting out the text reveals just how little artwork is actually hidden by the sound effects.
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After whiting out the original text, the next step is connecting as many existing lines as I can. I do the panel and bubble borders on a separate layer since they’re simple structural elements. The artwork itself requires a bit more thought. I need to examine the original artwork carefully to avoid connecting lines that shouldn’t be connected. Context can also provide guidance where there are no lines to connect, such as the cheering guy’s hat in the first panel, or the clapping hand in the second panel. Also, when there’s lots of little SFX like this it’s easy to miss a few lines, like the box thing near the bottom of the last panel (don’t worry I catch it later).
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The last step is adding in all the inking and screentones, the pattern templates which fill in the “color” to the line work. I have to go through with the clone stamp tool, collect samples from the image, and extend the pattern to fill the blank areas. This is the most annoying step in the process for me, because it requires a level of precision even beyond what’s required for the line work. Humans are pattern-recognition machines. Our brains are really good at catching tiny discrepancies, like when a section of a pattern doesn’t quite line up with the rest of it. My patch job on this panel wasn’t perfect, and you can see where I couldn’t quite line things up in areas like the guy’s checkered shirt in the first panel.
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And with that, this redraw is complete! Now it’s time to insert the English translation of the sound effect.
SFX Lettering
The clapping SFX is in that same brush font I pointed out earlier, which we use JollyLodger for. There’s no real perspective things or text effects here, so mimicking the original isn’t difficult. Here’s the before and after.
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This approach of fully redrawing the old SFX before inserting the new SFX only works in situations like this, where the text is small and there’s enough detail to reconstruct the image with a high level of confidence. As an SFX gets larger, like the roar of a crowd, the harder it gets to fully replace. This calls for a different approach.
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Because of the size and complexity of this sound effect, I decided to do the lettering first. This is the block font I identified earlier, which is replaced by Boogaloo. I do some basic manipulation right away, applying a black outline and distorting the text to create the same perspective effect as the original. The SFX in this series are subtly three-dimensional, and the replacement text needs to be in the same orientation to sell the effect.
I’m also being careful with my placement here, doing my best to align the new text with the old. This will be important later.
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Next we need to recreate the distortion effect. Photoshop has functionality to mimic this kind of effect, but I opted to do it manually. Osada (the mangaka) does all these layouts, SFX and all, on paper. The original effect was hand drawn, so the replacement effect is hand drawn.
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The lettering for this effect is now complete, and we can begin the redraw process. Since we already have the letters in place, we have the advantage of knowing exactly where a redraw is needed, turning what would otherwise have been an enormous replacement into a minor patch job. From here, it’s the same process as the clapping SFX: Raw, Blank, Line, Fill.
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Minor sidebar: translating Japanese sound effects presents an interesting and incredibly niche problem. The katakana symbol オ is translated phonetically as “o”. The problem with that is that when you’re replacing a オ with an O in a sound effect, the hole of the O is positions right on the center of the オ. This makes オ really annoying to redraw. Every O turns into a little window of totally new art, with barely any reference points to draw from. It violates the principle of invisibility, but there’s really no way around it. You can see I got a little lazy here, and clonestamped a different section of the crowd into the hole. As long as I don’t draw attention to it nobody will notice. I hope.
Sidebar over. Just for fun, here’s the before and after for the whole page.
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Closing thoughts
So that’s what it takes to do the sound effects for one page of Shiori Experience. This page alone took me multiple days to complete, and it wasn’t even the most complicated page in this chapter. It isn’t why our releases take so long (that can be laid at the feet of staffing and scheduling issues), but hopefully I’ve given you a sense of how much work goes into each new chapter.
This chapter would have taken even longer without the help of Adi and Bangistus, who pitched in on a lot of the smaller SFX. Up until now the lettering of this series has been a solo show, Toast all the way down. Now that Adi and Bang are on the team I’m still keeping most of the big pages for myself, but being able to toss to the others when I get overwhelmed is going to be invaluable. Hopefully I can rely on them in the future as well, there’s some big things coming down the pipe
This series is a labor of love. Sometimes frustrating, often exhausting, but always worth it. I owe this series a lot, and I hope it shows in the work I put into it. I think it would be fun to do more behind the scenes process content like this, so maybe keep an eye out for that in the future.
Lastly, just as a status update, #dropout is not dropping Shiori Experience.  We have a temporary translator who’s helping us put together Chapter 65, which will be coming out Eventually™. Not as long as last time, but like always don’t hold your breath. We’re not sure what will happen after 65 drops. We’re still desperately hiring for a main translator, seriously if you know anybody please hit me up.
That’s all from me. Take care y’all.
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