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Statement
Compendium
noun, plural compendiums, compendia [kuh m-pen-dee-uh] 1. A brief treatment or account of a subject, especially an extensive subject; concise treatise.
Latin: that which is weighed together.
‘Compendium’ is designed to be a labyrinth of brief information concerning the instrumental involvement of Kew’s Herbarium and Fungarium in building the British empire, the lasting influence of geopolitics, and significance of taxonomy.
Final product / evaluation
I began this project by looking at seed banks which led me to Kew’s Herbarium and Fungarium. At first I struggled with getting access as they were very hesitant to let me come but once I had shot I felt much more comfortable, unfortunately I wasn’t able to shoot again but I was extremely happy with the images I produced from visiting the two buildings. If I were to continue this project however I would try to shoot more, although in this case I this more shoot only would have made a larger edit as i felt all of the images in my current edit are strong. After doing a lot of research and visiting the facilities I decided to make the project very text based, focusing on the idea of empire behind kew and the importance of the Herbarium and Fungarium, This was pretty similar to what I wanted to show with the seed banks, just much more structured and better informed. I spend a lot fo time trying to create a puzzle type sequence since the subject itself is elusive, and I’m really proud of the final edit of images. Being able to be read in a grid pattern but also a linear sequence, and sets of 5 images was challenging to make work as i wanted all of the edits to remain strong and the text to make sense, however i’m really pleased with the outcome. I put a lot of effort into coming up with the right text and was researching every small detail i found out that could be relevant, I think it really worked and the idea to only put a small, intriguing piece of text on each image and have an extended version in the booklet worked really well for this project. Figuring out what kind of presentation I wanted for this project was tough as I had originally thought of it as a book, and then was flooded with new ideas but i’m really happy about the one I went with, I think presenting it like an archive box was really effective and well suited. I struggled a lot with finding a printers as i was adamant that I would print on cotton rag to best showcase the prints and text together, and I ended up buying my own roll of cotton rag paper and printing myself at the park campus. This in itself required a lot of planning as i wanted to make sure nothing would go wrong with the paper, printer, transportation the prints, and with the digital files. As well as this I also had to plan how I would make the presentation box as I’ve never made on before and did not know the best way to approach it, however I was able to use my skills i learn in a project last year where i hand made a book. After buying the materials and figuring out a plan for how I wanted to make the box I began in the print studio. The process of making the box, dividers, tissue paper, information booklet, and trimming the prints took me 4 days. The trimming of the prints could have gone better as I had to end up cutting the borders off and some of the text is very close to the edge of the prints, however when in the presentation box it still looks good and the quality of the prints is very good. Making the box was a long process and I had to pay very close attention to detail, however it went more or less off without a hitch, the only thing I would change is leaving a bit more space for the lid so that it’s not such a tight fit. I am extremely happy with this final presentation and this project turned out far better than i had expected, I’m so glad I decided to hand make everything because I feel like putting the extra effort in rather than using store bought boxes or sending to the printers or binder really makes this project look how I wanted it to.
Making the box
After speaking to Andrew Morrison from illustration I ordered the materials for my box and began to make it. First, i measured my prints and drew out on greyboard the measurements for the box, leaving room for the dividers and 1mm each side. Anybody who’s ever hand made a box before will know how relentlessly annoying getting precise measurements to add up and getting perfect 90 degree angles whilst trying not to waste any materials can be. After checking the size against my stack of prints I cut out the box using a craft knife and scored the folds.
Since the box is going to be collapsible, there was not need to make tabs. For the lid I repeated the process but added an extra 2mm to each side and taped the sides, ready for covering.
I checked that the box fit together with enough room for the coverving materials,
I then cut out the covering material after readjusting the measurements, making sure there was enough to fold under. This had to include the corners as these would be vital to the box being collapsible.
To stick the covering material onto the box i first glued down the base, then folded the longest side into place. I then glued only the folded over bits as to not crease the material when it collapses. I held these folds down with clips whilst the glue dried and repeated on the other side.
Once I had all 4 sided glued I folded in the corners which will help the box collapse. These sides have not been glued but were held in place by the clips to strengthen the folds/
For covering the inside of the lid I had to make flaps which would glue behind each other, and used a bone folder to crease the lining paper. To apply the lining paper to the base of the box I cut out a sheet of the paper which would leave a 1cm gap around all of the edges and glues to to each side whilst the base lay flat, I then folded the bottom using the bone folder and glues the creases in the corners together.
This is the finished box after the covering paper and lining paper has been applied and the glue has dried. As you can see the box collapses slightly when the lid is off, and can be pushed down or pushed in.
The lid is a very tight fit and I should have left more room for the covering paper, I one corner of the lid I actually had to bow the corner a little to make it fit. Despite having already considered the fit, apparently I didn’t leave enough room and will be careful of this next time.
To make the dividers I got 5 sheets of card and cut them to the size of the tissue paper, then marked every 7.1cm which would make 5 equal sections. I then cut from each the amount of sections needed and erases the pencil marks. These then line up to make 5 descending dividers of equal lengths.
I decided the information booklet would look better if it were covered in the same material as the box, since this would be too thick I decided just to cover the front and back. I think this was very effective and looks good, I just cut a piece of material the size of the cover and glued it, and left it to dry. I then decided to make a small slipcase to hold it together out of the reverse of the material.
To present my final prints I first tried cutting the images to the size of the box, however the dimensions weren’t quite right. I decided to cut a smaller border on them which didn’t look right, so I decided not to hae the border. This looked a lot better but it meant that some of the text is very close to the edge of the print, which I should have considered. I did attempt to reprint the images before presenting them as i thought I could try again with the border but i wasn’t able to in time. However, i’m still very happy with the outcome of the prints, it’s just the text which is a little annoying. I layered the prints in tissue paper and inserted the dividers every 5 images, so that they are in their sets. I then pressed the images to reduce the curve, there is still a slight curve when stacked but I prefer this to completely flat images. I stacked them all and trimmed the tissue paper ready for the presentation box. I’ve intentionally made the tissue paper and the dividers slightly larger than the prints to allow for when i get the image reprinted in the future, but I also think now that the images hae no border the large tissue paper makes a good substitute. This also makes it look more like an archive box.

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Dividers, tissue paper & slipcase
To make all the extra things that will go in the presentation box with the prints and the information booklet I had to consider the materials I would use. I first thought I should use green for either the dividers or tissue paper, but since I am now using green for the material of the box I have decided to go with an ivory color. I think this stops green being overwhelming, and the ivory is a nice alternative to white. I found some acid free tissue paper online which can protect my prints, and some simple ivory card for the dividers. I will have to cut both to size. For the tissue paper, this will be 10″x14″ which is simple to cut using a guillotine, but the card will have to be slightly larger so that I can have tabs on them. This will have to be hand cut an measured. I will also have to make the box to to fit these dividers, rather than the prints. The dividers shouldn’t be more than a cm larger than the prints. For making the slipcase for the map style folded booklet, I will use a strip of the green covering paper and make a simple band. I was considering embossing the title on this, however I don’t think I have time to given the deadline of this project and may have to use different material in order to do so.
Designing the information booklet
Here are some prototypes i made and ideas i came up with before settling on the ‘map’ presentation idea, since I am now making the final product these have been really helpful in figuring out how to make and fold it, and figuring out the exact measurements. My first idea didn’t include the section of text on the left, but i’m really glad I decided to fit it in as it looks so much better than just a grid of images and gives my project more context. Before this I also considered making a concertina book as the instruction book which i made a prototype for but decided quickly it wasn't right for the project.
This is a small prototype of what the ‘map’ style booklet would look like with a small slipcase.
This was my first idea for the booklet, just a simple grid each with the space for a small copy of the image and text.
I then decided it may look better if i added a section for text and divided it with a line, this also then means more folds in the map but I think it will still be effective.
I first used this prototype to figure out the measurements I would need, which later became the actual final measurements of the booklet.
This is a larger prototype of what the folded version would look like, i’m slightly worried that with thicker paper it will not sold as well but hopefully it will still look good.
I first mocked up the design on in-design by simply adding 6 columns and dividing the length of the paper by 5 and putting guidelines to mark the rows.
I then added in the actual pictures once i had the template, and added in the text boxes using more guidelines.
I then just added in placeholder text to see if the size and placement is right. I made a small prototype to check, and pit different amounts of text in 3 of the grid spaces to see which looked best printed.
I then made a document and printed it using placeholder text with the size and placement i chose.
I then inserted the actual text and reference numbers, chose a font and added a copyright notice.
Extended text
The following is the extended text which will appear in the information booklet/map grid index at the back of the box of prints. Coming up with this text was fairly simple, as most of it is just a reference, a definition, or a quick explanation. All of it refers to the short text which is on the print, which corresponding reference number.
Intro:
Compendium
noun, plural compendiums, compendia [kuh m-pen-dee-uh] 1. A brief treatment or account of a subject, especially an extensive subject; concise treatise.
Latin: that which is weighed together.
‘Compendium’ is designed to be a labyrinth of brief information concerning the instrumental involvement of Kew’s Herbarium and Fungarium in building the British empire, the lasting influence of geopolitics, and significance of taxonomy. ‘Compendium’ can be read as a photo-narrative series in three directions. Firstly, as presented to you in numerical or vertical order [1]-[25]. Secondly, in horizontal order. For example; [1], [6], [11], [16] & [21]. The series comprises of five interchangeable sets of five images, which in turn can be read individually or as part of the sequence. Thus meaning the grid of images can be read in either rows, columns, or as sets of five images. Of course, each images with it’s accompanying captions may stand alone.
Image 1 - A story of passion, politics, and bloody battles.
Cruickshank, D. Cruickshank on Kew: The Garden That Changed the World. 2009.
Image 2 - Geopolitical.
1. the study or the application of the influence of political and economic geography on the politics, national power, foreign policy, etc., of a state.
2. the combination of geographic and political factors influencing or delineating a country or region.
3. a national policy based on the interrelation of politics and geography.
4. a Nazi doctrine that a combination of political, geographic, historical,racial, and economic factors substantiated Germany's right to expand its borders and control various strategic land masses and natural resources.
Country of origin: Germany
Image 3 - Economic Botany and Mycology.
The interaction of people with plants & the study of fungi; a division of botany that deals with the utilization of plants.
Image 4 - Taxonomy
noun [Biology]
The branch of science concerned with classification, especially of organisms; systematics.
Image 5 - Empire
noun
An extensive group of states or countries ruled over by a single monarch, an oligarchy, or a sovereign state.
Image 6 - Science, innovation, rubber and malaria.
Kew’s Herbarium was once saved from an extreme cut in funding having gained merit for importing and researching the plant which was to aid in curing Malaria. It was once again saved from a budget cut when the rubber tree was discovered and after great effort imported, thus spearheading the Victorian era mass production and utilization of rubber. Ironically, researchers at the Herbarium play a vital role in controlling the effects of global warming, yet again face budget cuts.
Image 7 - Poisons and medicines alike, the dark continent carries no weight.
The organizational system of storing plants and fungi specimens is not deterred nor influenced by marketing.
Image 8 - Systematic biology has little power.
‘There is strong evidence that malaria was once indigenous to the UK, that global warming is occurring, and that human activity is contributing to global warming. Global warming will have a variety of effects, one of which will probably be the return of indigenous malaria.’
Welsby, P. Malaria in the UK: past, present, and future. 2004.
Image 9 - Red
Red demands attention, red is used fro classification, red is used for marketing.
Image 10 - Botanical nationalism belongs to the British.
Sir Joseph Banks, the unofficial director of Kew appointed by King George III, was said to have been responsible for the British sense of botanical nationalism after leaving a note post death proclaiming his pride regarding Kew gardens.
Image 11 - We at Kew feel the weight of empire more than they do in downing street.
William Thistleton Dyer, former director of Kew.
Image 12 - Glory of the king, profit of the empire, species of extinction.
The Herbaria collections first began to please King George III, and after his death the collections proved instrumental in serving the financial needs of the empire, however since the urgency of collecting has lessened the focus of the Herbarium at present day is on watching vegetation and preventing the extinction of species.
Image 13 - Money is power.
The Victorian age in regards to the botanic empire existed primarily to give power to the empire. How so? Through their wealth of live specimen collections.
Such wealth in the 21′st century means very little.
Image 14 - A mycologist’s mail
‘Kew’s preserved plant and fungal collection is still growing by tens of thousands of specimens each year, which means that every 40 years or so we need more space’ -Hopper, S. Current director of Kew.
Image 15 - The staunchest imperialist of the day could not dream of this.
Joseph Banks as described by Robert Hay, the permanent under-secretary at the colonial office. As the Herbarium stands today it depicts a reality beyond the ambitions of Banks.
Image 16 - The empire is weighed in plants and glass.
The British empire nearing the end of the 19th century was reliant on Kew’s discoveries and the importation and cultivation of plants of economic value. Having not yet invented the wardian case, the transportation of such plants was of equal value to the plants themselves. As was the strategical building of Kew’s famous glasshouses, which ranked them above other botanical gardens of a the time and gave them the benefit of the housing the largest collections.
Image 17 - Plantes d'Afrique occidentale. 1996.
Plants of West Africa, 1996. Of French origin.
These specimens are dated over a century after Bank’s day, and the Berlin-Congo Conference, yet speak truths about the unforeseen realization of his futile efforts at creating a botanical network.
Image 18 - 15°C: Herbarium beetle.
The newest wing of the Herbarium is kept at a constant temperature of 15°C to keep away the Herbarium’s current biggest threat, the Herbarium beetle. Not quite the enemy’s of the 1800′s.
Image 19 - 89. 22
The largest, most widespread, and most taxonomically complex genus in the Zingiberaceae, ginger family of plants. Also known as 89. 22.
Image 20 - The day is 1772, colonial Britain.
Imperialism noun a policy of extending a country's power and influence through colonization, use of military force, or other means.
Image 21 - Seeds of steam and wardian cases.
Rubber - the seeds of steam. Prior to the invention of the wardian case rubber seeds were to be transported in mass as the were to be a pinnacle of the empire, however the methods of transportation of the time were inferior and thus creating the need for the speed over quality. Unbelievable quantities of rubber seeds were rushed to Kew using steam boats, steam engines and horse and carriage.
Wardian case - a glass-sided airtight case used for growing ferns or other plants indoors or for transporting living plants over long distances.
Image 22 - King of the dyes. King of the Jungle. Circa 1884, Germany.
Congo Red, often referred to as king of the dyes. A quick domination was in part due to it’s marketing which was to promote images of the ‘Dark Continent’, Africa. It’s ingredients however are found to be 100% or German origin, as well as the company who produces it. This marketing decision was to follow the Berlin-Congo conference in 1884.
image 23 - String-tied parcels.
Now more than ever there is an influx of specimens, which are vital to the economy and well being of the planet, however the funding for the Herbarium is not as it used to be due to ‘discoveries of the new world’ not being of priority, regardless of all the other research conducted at the Herbarium.
Image 24 - SEND TO: Africa & Madagascar Team.
The realization of Bank’s vision some 200 years later. Not quite the network of dreams.
Image 25 - A compliment to the king, yet Victoria’s bounty.
The network of botanists, which never amounted to much in Bank’s day, was intended as a compliment to King George III to procure vast and rare collections in his honor, however the network did not launch. Yet, during the Victorian era due to Bank;s prior efforts correspondence between botanical gardens globalized and such formed a version of his visions, only it was to Queen Victoria’s benefit. ‘The Bounty’ is also the name of the ship Bank’s first sent with Captain Bligh on a voyage to deliver breadfruit to feed slaves after a wheat shortage, however the ship was taken as a result of mutiny, due to Bank’s inability to transport the breadfruit properly.
The Whale’s Eyelash
“The great technological leap forward that took place in the 19th century in optical lens systems such as the microscope meant that by the latter half of the century the exploration of the microcosm was a common pursuit amongst the scientifically minded. Individuals often became interested in a particular area or theme and were able to add significantly to the existing body of knowledge in their subject. More than this, another universe and another dimension were opened up in which to dream and travel.
In The Whale’s Eyelash, Timothy Prus has edited together some of these historical explorations and recast them as a play – a play that unfolds through a series of 19th century microscope slides. Each slide contains a specific dramatic moment, and together they tell a story about what happens between the appearance of humankind and its passing away.”
http://www.amcbooks.com/the-whales-eyelash
“A mediation on nineteenth century science and anthropology, presented in a Shakespearean drama.It’s not particularly easy to locate the Archive of Modern Conflict. It lies behind a side-door, down an unmarked path, tucked back from one of the more modest streets of Kensington. Holland Park lies just to the north, with its open-air opera nights, Japanese gardens and lining of grand mansions. To the east is High Street Kensington and then Sloane Square, the most affluent of playgrounds. It’s likely many of Timothy Prus’ neighbours won’t know him from Adam, or have a clue that one of the most eclectic photography collections in the world nestles in their midst.You can understand the aura of hushed discretion and hearsay when you stand inside the archive. But for the standard issue Apple computers, the building and its decor could be from any year after World War II. Photographs are crammed into every available space of this homely office; performing, posing or caught unawares, the stories of countless people, the world over, lie in rest here.I’m here to discuss the archive’s latest creation; perhaps its most strange and compelling yet. The Whale’s Eyelash is a ‘five-part play’ Prus has constructed from 19th century microscopic images found in slide cabinets, sourced from art dealerships and, on a couple of occasions, eBay. While I wait for Prus to appear, his daughter Milli shows me some of slides. They sit in beautiful hardwood cabinets on the windowsill of a carpeted, ornately furnished room, evidently her adopted office space.On each slide sits a separate sample from a very different era of scientific discovery; monkey’s testicles, the fibers of a man’s eye, the tongue of a tortoiseshell butterfly, an ovary of a kitten, the magnified hair of an albino girl. “I took one out and was holding it in my hands before realising it was anthrax,” Milli laughs. “I’m hoping there won’t be an outbreak in West London.”
This certainly has had a long genesis,” he (Prus) says when we’re finally seated at the dinner table, The Whale’s Eyelash laid out in front of us, showing the detailed intimacies of a snake’s small intestine. “I’ve been thinking about the microcosm as a way of exploring narrative for about 20 years,” he says. “It’s taken me a long time to work out how to use morphologies in natural history as a form of storytelling.”
His answer is to publish the slides to the very best standards of modern book publishing, but in a sequence, indeed a classical Shakespearean five-act structure, with which he aims to say something about our modern condition – namely the paradoxical, and often overlapping struggle between the forces of science and faith, reason and heritage. Prus asks us to observe tiny fragments of the natural world, their shape and colour and texture presented dispassionately. But these fragments are also significant to us; in folklore, mythology and symbolism. They inhabit both worlds.
The opening act to Prus’ play includes the horn of a rhinoceros, the diatoms from the stomach of a Japanese oyster, the leg of a Spanish fly and a monkey’s testicle. They all have scientific value, but what is their anthropological significance? Each is an historic aphrodisiac. Rhinoceros horn is still worth more than diamonds on the black market, as large tracts of the world continue to believe it magically enhances virility, machismo and libido. An oyster shell features in The Birth of Venus, as depicted by Botticelli, while Casanova was reputed to eat five dozen a day. The Spanish fly was Marquis de Sade’s chosen sexual aid, while a monkey’s testicle formed the basis of Serge Voronoff’s fortune; the French-Russian surgeon became a household name in 1920s France for his ability to graft a monkey’s testicular tissue on to the testicles of men in need of therapy.
The three witches, from the opening of Shakespeare’s MacBeth, acted as inspiration for the book, he says. “How does it go Milli?” he calls. “Double, double toil and trouble; Fire burn, and cauldron bubble,” she shouts back, as she’s stirring the risotto. This is the way in to The Whale’s Eyelash. It follows the format of MacBeth’s tragic demise, a story of hubris and ambition for all of mankind, made up of all the things our eye is incapable of seeing: “The eye wink at the hand; yet let that be, Which the eye fears, when it is done, to see.””
http://www.bjp-online.com/2015/05/timothy-prus-the-whales-eyelash/
The Whale’s Eyelash is an extremely intriguing and carefully constructed narrative, this style of book making was hugely influential to the way i’ve designed and sequenced my prints. The simple titles of the microscopic images which come across as purely informational such as ‘Onion Skin’, paired with the artistic and well thought out sequence which bears resemble to Shakespeare’s Macbeth, makes for a very interesting and elegant piece of art, presented with a scientific context. Even It’s titles provokes intrigue, as Prus describes it :
“A cautionary warning, perhaps, of our inability to be at peace, or find a balance, with the world around around us: “It is about what happens between the appearance of humankind and its passing away,” he says.
Of course, a whale does not have an eyelash. It’s an old folk tale, a scientific misnomer. “It’s that idea of the jarring of the macrocosm and the microcosm, little and large,” he says. The book’s prologue features the titular eyelash, along with a skin of an onion, which needs to be peeled back, a human tongue, on which we are so reliant, an achilles heel, and an image of a Chinese theatre taken during the first opium war. It’s not difficult to read a sense of human vulnerability”
Prus’ ability to use text to amplify the significance of the images is inspirational and I have used this idea a lot when considering my text.
All images The Whale’s Eyelash © Timothy Prus, courtesy of Archive of Modern Conflict 2014.

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Buying paper/printing
When deciding on whether to print the images myself or go with a printers I first looked at The Print Space. they qouted £15.47 per print, of whcih I would need 25 minimum, as well as the grid map which would be larger than one print. I’m sure I could do this cheaper but to the same quality so I kept looking.
I then after searching some other printers which were far more expensive found Spectrum, which was the cheapest I could find. Yet, it would still be around £180 minimum.
After finding this out i wanted to know if there would be a way to get discounts or print on a specific size paper, and since i’d be able to pick up from store i decided to email The Darkroom. They were able to help me but the cost owuld still work out far more expensive.
I then decided to email Matt Frederick, the technician at Hardwick campus. Although the cost was better, I was worried about the quality of the prints as the printer wasn't as equipped for the paper I wanted.
Then finally I contacted John Lovett, who is the technician at Park campus and has access to a much better printer. He was incredibly helpful and would only cost £5 per print, of which I can fit 7 (final sizes) and the grid map on the page, meaning i only need 4. This along with the cost of paper (£110) still works out the cheapest option, I also like the idea of printing them myself.
Through talking the John I finally decided to go with this paper.
Ultra Smooth Fine Art Paper (Cotton Rag)
Artists and professional photographers require true archival print media in a variety of weights and surface textures for their digital fine art and photography. Now Epson brings you an acid free, 100% cotton hot press paper that is coated on both sides for extra versatility. This cylinder mould-made product, features an ultra smooth finish on two sides (sheets) that is optimised for our photographic dye, Epson UltraChrome and Archival Inks. Offered in a variety of sizes and formats, this fine art paper is not only acid, lignin and chlorine free, it is also buffered with calcium carbonate for a true archival sheet. Like all Epson's innovative media, this paper is engineered to give you the highest resolution and colour saturation possible.
Media Weight 250 g/m2 Thickness 15.0 mil (0.38 mm) ISO Brightness 90% Opacity 98% Material 100% cotton rag Finish Ultra-smooth hot press Core Size 3.0" (7.62 cm) Spindle 3.0" (7.62 cm) high-tension Dimensions 17.0" x 50.0' (43.18 cm x 15.24 m)
http://www.bhphotovideo.com/c/product/306489-REG/Epson_S041856_Ultra_Smooth_Fine_Art_Paper.html
https://www.epson.co.uk/gb/en/viewcon/corporatesite/products/consumables/overview/paper/gfap/ufapr
After ordering the paper I then had to prep my images for print. I was able to create 4 documents at 16″x72″, which on each fit 7 images sized 14″x10″, and on the last the grid map too. I used these measurements so that there would be trim. To check the text size I was able to view the image in actual size. i also lightened and sharpened each image slightly for print. I purposely didn’t put crop marks on the print as they intruded on my borders, but I marked with a pencil in the trim area where to cut after printing. I then just had to trim the images after they had printed.
http://www.vandoros.com.au/index.cfm/page/ribbon-products/type/4/cat/287
http://www.letpack.com/2014/BOX_FD_0605/348.html
I’ve found some examples online of the type of box I want to make, and the prototype i’ve made of it. In these diagrams you can see how the box folds to become collapsible, which I want so that the prints can be viewed without taking them out of the box fully. I’ve decided that I will make the lid separately.
To make the box I will need some kind of thick card, greyboard or foamboard. I’ve been looking at ratchford.co.uk at their products and have decided to go with greyboard as it can be scored and bent and will not need to be made in sections. Because this will not look great I will need a covering material, which is perfect because it allows the box to look more similar to the green archival boxes. After looking at samples, i’ve decided to go with an Atlantic cotton bookcloth as it is rigid enough to do the folded corners and stay in place yet not too hard that it won’t bend well.
I’ve also got some ingres paper which will cover the inside of the box so that it wont look rough and will cover the scored marks.
Samples
Atlantic cotton book cloth
http://ratchford.co.uk/product/atlantic-cotton-bookcloth-haze/
Compendium
noun, plural compendiums, compendia [kuh m-pen-dee-uh] (Show IPA) 1. a brief treatment or account of a subject, especially an extensive subject; concise treatise:
https://www.dropbox.com/home/Compendium
images 21-25 sequence
images 16-20 sequence

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images 11-15 sequence
images 6-10 sequence