I realized I never posted my first bind and cover I made back in September-October so. Here is my bind for
Wasps in Winter by @otrtbs
this fic made mw cry so much it is so so beautiful and so so devastating . It left me thinking about it for so long rethinking everything and justβ¦ under shock. i canβt stop recommending it and before I even finished it i knew i want to learn and bind it and did the minute I had time
Its not perfect, but itβs a labor of love.
The dustcover (tbh my favorite partt)
Most of all the deigns inspired by the aesthetic posted otrtbs about this fic. :)
some more of the inside
i couldn't fit it all in the post, but I also did an βother worksβ section in the back, added all the chapter notes orgenized at the back as well, and all the official art is there too
This doc by ArmoredSuperHeavy was a lot of help too and i recommend it as a starting point.
it was a learning process, i deffo made a bunch of mistakes but I learned a lot.
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Interim is an amazing post BotW fanfic where the cycle starts immediately over but Link and Zelda don't realised it and it is racist to accuse the hot Gerudo man they are both nursing a crush on of being the next evil king. I love this story it is so so good. This is one of the few loz fics I adore that is not purely zelink. The writing! The story!! They are all so doomed by the narrative and they are all so so hot.
The aim was to get this finished in BinderaryΒ 2026 but I ended up too busy to finish anything but a pamphlet in the end.
The typeset is spectacular and was created by @besidekick for the 2024 Renegade Exchange. I really adored design choices of the interior illustrations from c. 1640 by Bartholomeus Breenbergh, they fit the post-apocalypse theme so well. And the blue drop caps!
I love the cover I came up with in homage to the gorgeous typeset and the illustrations scattered throughout the typeset. The cover illustration is an etching entitled Classical Ruins created in 1673 by the Bohemian artist Wenceslaus Hollar in 1673.Β The cover was designed in Canva, printed on matte photo paper, then covered in soft touch laminate before being adhered to the book board. If I was to redo it I would forgo the blurb on the back, as I added it last minute, and I feel like it could have looked better without upon reflection.
This book went so so wrong at the end (issues with the front endpapers Iβm pretending are not real until I can face trying to fix my mistake), but Iβm so happy to have this story on my physical shelf.
Maedhros wakes up again, on the first morning of the Nirnaeth Arnoediad.
Of course, nobody calls it that. For them, it hasn't happened yet.
Approximately one million years later, here is my project from the yearly Renegade Exchange! Truly, this fic was such a pleasure to work on. I bound this one fandom blind-ish, which is to say that I had the passing familiarity with LOTR that any D&D player / child who read any fantasy she could get her hands on has. I did very much come out of this bind with a new found love for a bunch of dysfunctional elves. Love those guys, and love this incredible fic.
About the Bind
Text Block: 20/50 lb cream short grain
Endpapers: Indian Marbles in Gold/Silver on Black (~125 gsm), prepared as made endpapers
Case Style: three piece in-boards bradel binding, covered with Verona bookcloth in coal
Cover and Titling: foiled using the WRMK foil quill attachment with a Silhouette Portrait 3 and only a medium amount of swearing and threatening the vinyl cutter with bodily harm
Additional typeset pictures, as well as progress pictures and construction / design notes below the cut.
This is, far and away, the most involved bind I've done so far. That means that I have way more to say about it than I usually do, and I also have a few progress pictures (which is rare for me). So, if y'all will indulge me a little:
Typeset
The typeset was pretty standard fair, complete with my ongoing love affair with running footers. I also had a little bit of fun with footnotes on the copyright page.
Finding a good titling font was... involved. I didn't want to just use The Lord Of The Rings Font (TM), and only a few of the LOTR-inspired fonts I found did anything for me. And then, as an additional complicating factor, I had chosen to set the parenthetical portions of the chapter titles as subtitles, and let me tell you: LOTR-inspired fonts have got descenders for days. They are about 60% descenders by volume, which simply doesn't play nicely with subtitles. Got a very lucky break when a fellow binder suggested checking out uncial fonts, and eventually landed on one I really liked. I also broke my own personal rule about not using a different cap for titling vs drop caps, but I wanted something more decorative, and I found a nice uncial style illustrated drop cap that still matched pretty well.
The other design complication for title page and, more importantly, the cover, was the damn Tengwar. Now, I would absolutely describe myself as a nerd. I simply play too many table top games for that to not be true. But what I've never been is a language nerd. The first step (getting the Tengwar transcription) wasn't so hard. I used Tecendil for all of it (and if there are any transcription errors, well... I did my best). But trying to 1) find a Tengwar font that plays nicely with Affinity Publisher and 2) learn how to type correctly in that Tengwar font was.... God. That was a week long endeavor. As it turns out, there is one (1) Tengwar font that Affinity Publisher can render correctly, and that font is Alcarin Tengwar. I'm not going explain why because this post is already going to be long enough as is, but I will at least save the rest of you the trouble of the trial and error that took me.
Covers
For the cover design, I had a pretty strong idea of what I wanted to do from the beginning, although I did try one alternate version. As usual, all the design work was done in Affinity Designer. (This one also definitely tested my ability to work with my own vectors vs just using other people's vectors.) Regardless, I knew that I wanted to incorporate the idea of "unspooling" or "unraveling." This is a timeloop fix it fic, and I wanted to get that feeling of the new story overwriting the tragedy of the old.
With the importance of Maedhros being able to save Fingon within the story, I keyed in on the moment in The Silmarillion where he dies and foiled those lines in silver:
At last Fingon stood alone with his guard dead about him; and he fought with Gothmog, until another Balrog came behind and cast a thong of fire about him. Thus fell the High King of the Noldor, and his banner, blue and silver, they trod into the mire of his blood.
Now, the moment I pulled from A Thread Unraveled isn't exactly the same moment, but it is the moment in the fic where I think Fingon is saved for good within the loops:
He deserves to live. He is valiant, and good, and I know that he deserves more than death as his reward. He deserves everything I can give him and more, and he doesn't end here. He cannot end here. Please. See us. See what we have become. I know I have done wrong. I know there is so much I can never make right. I know it. But I am trying. I love him, and I am trying. He loves me, and so I am trying. Is it enough? If you are listening, if you can hear me, please. Have mercy for the Eldar and their love. In the darkness of his mind he sees silver, and blue. The stars as they first emerge in the dusk sky. As Grond reaches the highest point of the swing, Fingon so small on the ground beneath him, Thorondor appears out of the breaking clouds and dives for Morgothβs face.
And besides, "Have mercy for the Eldar and their love" is a line that really stuck with me after reading the fic. This section is what I foiled onto the cover in gold. High concept design? A bit. But I gotta have fun somehow.
The actual covers were foiled using my Silhouette and a fine tip WRMK foil pen. I messed up two transfers over the course of making three books, but I didn't run out of foil OR bookcloth, so [through gritted teeth] that's fine.
The Text Block
Ah, the text block. Now this is where we started to get a bit fancy with it. After the usual round of glue, rounding, and backing, I started experimenting with some edge decoration techniques. One of my guiding design principles for this bind was the idea of light: this is a story that's preoccupied with finding the light in the darkness in both a philosophical sense and in the very physical "finding a Silmaril" sense. So I had in my head this image of sort of iridescent blue edges. The problem was getting there.
I settled on acrylic inks for my color, mostly because I was scared of accidentally gluing a text block closed with acrylic paint. In general, I have actually really liked working with inks. My method still needs some refinement to eliminate the tendency for inks feather a little into the pages, but they produce incredibly vibrant colors. That said, at least at my local craft store, there weren't any blue metallic inks. And even if there were, that's glittery, not necessarily iridescent. To get myself the rest of the way there, I started playing around with a colorshift acrylic glaze.
IF YOU'D LIKE TO SEE PROGRESS PICTURES FOR THE COLORSHIFT GLAZE, PLEASE CLICK ON THIS IMGUR LINK. TUMBLR KEEPS FLAGGING THESE IMAGES AS EXPLICIT FOR REASONS THAT ARE ABSOLUTELY BEYOND ME.
Now this is a really interesting material that I'm looking forward to experimenting with more. The pictures above are from my test block with the glaze layered over black ink. With all of the edges, I watered the glaze down with some distilled water (mostly due to the aforementioned terror of gluing my text block closedβI still took the block out of the press and fanned it immediately after application). I was reasonably happy with the results, but the problem I consistently ran into is that if you just look at the edges dead on, you don't really get the effect. The light has to hit them just right. (It also makes these edges a pain to try to photograph.) Additionally, this glaze sheds glitter like a motherfucker. I contained the glitter with a coat of watered down acrylic medium, but my success rate with that was variable. Some of the edges turned out great, some of them got a bit cloudy. That might be my stupid glossy acrylic medium at play again, or maybe something else entirely. More experimentation needed.
At any rate, some of them turned out better than others. This is one of the actual text blocks, with the glaze layered over a prussian blue acrylic ink. On the whole, I'm happy with the results, they just aren't quite as eyecatching as I was hoping.
The last new technique I tried out on this bind was handsewn endbands. I've had the materials for a while, but actually figuring out the process intimdiated me for a while, so I'd been putting it off. Turns out that they're actually not too hard to do!
These are faux double core endbands sewn with two strands of embroidery floss held together over a leather core. Lots of little mistakes, especially on my personal copy (which I did first... so that I could make all of my mistakes on it), but very happy with the results.
And that's all I've got to say! I worked on these pretty much non stop for three months, and I'm very proud of them and also very glad they're done. On to the next project!
Maedhros wakes up again, on the first morning of the Nirnaeth Arnoediad.
Of course, nobody calls it that. For them, it hasn't happened yet.
Approximately one million years later, here is my project from the yearly Renegade Exchange! Truly, this fic was such a pleasure to work on. I bound this one fandom blind-ish, which is to say that I had the passing familiarity with LOTR that any D&D player / child who read any fantasy she could get her hands on has. I did very much come out of this bind with a new found love for a bunch of dysfunctional elves. Love those guys, and love this incredible fic.
About the Bind
Text Block: 20/50 lb cream short grain
Endpapers: Indian Marbles in Gold/Silver on Black (~125 gsm), prepared as made endpapers
Case Style: three piece in-boards bradel binding, covered with Verona bookcloth in coal
Cover and Titling: foiled using the WRMK foil quill attachment with a Silhouette Portrait 3 and only a medium amount of swearing and threatening the vinyl cutter with bodily harm
Additional typeset pictures, as well as progress pictures and construction / design notes below the cut.
This is, far and away, the most involved bind I've done so far. That means that I have way more to say about it than I usually do, and I also have a few progress pictures (which is rare for me). So, if y'all will indulge me a little:
Typeset
The typeset was pretty standard fair, complete with my ongoing love affair with running footers. I also had a little bit of fun with footnotes on the copyright page.
Finding a good titling font was... involved. I didn't want to just use The Lord Of The Rings Font (TM), and only a few of the LOTR-inspired fonts I found did anything for me. And then, as an additional complicating factor, I had chosen to set the parenthetical portions of the chapter titles as subtitles, and let me tell you: LOTR-inspired fonts have got descenders for days. They are about 60% descenders by volume, which simply doesn't play nicely with subtitles. Got a very lucky break when a fellow binder suggested checking out uncial fonts, and eventually landed on one I really liked. I also broke my own personal rule about not using a different cap for titling vs drop caps, but I wanted something more decorative, and I found a nice uncial style illustrated drop cap that still matched pretty well.
The other design complication for title page and, more importantly, the cover, was the damn Tengwar. Now, I would absolutely describe myself as a nerd. I simply play too many table top games for that to not be true. But what I've never been is a language nerd. The first step (getting the Tengwar transcription) wasn't so hard. I used Tecendil for all of it (and if there are any transcription errors, well... I did my best). But trying to 1) find a Tengwar font that plays nicely with Affinity Publisher and 2) learn how to type correctly in that Tengwar font was.... God. That was a week long endeavor. As it turns out, there is one (1) Tengwar font that Affinity Publisher can render correctly, and that font is Alcarin Tengwar. I'm not going explain why because this post is already going to be long enough as is, but I will at least save the rest of you the trouble of the trial and error that took me.
Covers
For the cover design, I had a pretty strong idea of what I wanted to do from the beginning, although I did try one alternate version. As usual, all the design work was done in Affinity Designer. (This one also definitely tested my ability to work with my own vectors vs just using other people's vectors.) Regardless, I knew that I wanted to incorporate the idea of "unspooling" or "unraveling." This is a timeloop fix it fic, and I wanted to get that feeling of the new story overwriting the tragedy of the old.
With the importance of Maedhros being able to save Fingon within the story, I keyed in on the moment in The Silmarillion where he dies and foiled those lines in silver:
At last Fingon stood alone with his guard dead about him; and he fought with Gothmog, until another Balrog came behind and cast a thong of fire about him. Thus fell the High King of the Noldor, and his banner, blue and silver, they trod into the mire of his blood.
Now, the moment I pulled from A Thread Unraveled isn't exactly the same moment, but it is the moment in the fic where I think Fingon is saved for good within the loops:
He deserves to live. He is valiant, and good, and I know that he deserves more than death as his reward. He deserves everything I can give him and more, and he doesn't end here. He cannot end here. Please. See us. See what we have become. I know I have done wrong. I know there is so much I can never make right. I know it. But I am trying. I love him, and I am trying. He loves me, and so I am trying. Is it enough? If you are listening, if you can hear me, please. Have mercy for the Eldar and their love. In the darkness of his mind he sees silver, and blue. The stars as they first emerge in the dusk sky. As Grond reaches the highest point of the swing, Fingon so small on the ground beneath him, Thorondor appears out of the breaking clouds and dives for Morgothβs face.
And besides, "Have mercy for the Eldar and their love" is a line that really stuck with me after reading the fic. This section is what I foiled onto the cover in gold. High concept design? A bit. But I gotta have fun somehow.
The actual covers were foiled using my Silhouette and a fine tip WRMK foil pen. I messed up two transfers over the course of making three books, but I didn't run out of foil OR bookcloth, so [through gritted teeth] that's fine.
The Text Block
Ah, the text block. Now this is where we started to get a bit fancy with it. After the usual round of glue, rounding, and backing, I started experimenting with some edge decoration techniques. One of my guiding design principles for this bind was the idea of light: this is a story that's preoccupied with finding the light in the darkness in both a philosophical sense and in the very physical "finding a Silmaril" sense. So I had in my head this image of sort of iridescent blue edges. The problem was getting there.
I settled on acrylic inks for my color, mostly because I was scared of accidentally gluing a text block closed with acrylic paint. In general, I have actually really liked working with inks. My method still needs some refinement to eliminate the tendency for inks feather a little into the pages, but they produce incredibly vibrant colors. That said, at least at my local craft store, there weren't any blue metallic inks. And even if there were, that's glittery, not necessarily iridescent. To get myself the rest of the way there, I started playing around with a colorshift acrylic glaze.
IF YOU'D LIKE TO SEE PROGRESS PICTURES FOR THE COLORSHIFT GLAZE, PLEASE CLICK ON THIS IMGUR LINK. TUMBLR KEEPS FLAGGING THESE IMAGES AS EXPLICIT FOR REASONS THAT ARE ABSOLUTELY BEYOND ME.
Now this is a really interesting material that I'm looking forward to experimenting with more. The pictures above are from my test block with the glaze layered over black ink. With all of the edges, I watered the glaze down with some distilled water (mostly due to the aforementioned terror of gluing my text block closedβI still took the block out of the press and fanned it immediately after application). I was reasonably happy with the results, but the problem I consistently ran into is that if you just look at the edges dead on, you don't really get the effect. The light has to hit them just right. (It also makes these edges a pain to try to photograph.) Additionally, this glaze sheds glitter like a motherfucker. I contained the glitter with a coat of watered down acrylic medium, but my success rate with that was variable. Some of the edges turned out great, some of them got a bit cloudy. That might be my stupid glossy acrylic medium at play again, or maybe something else entirely. More experimentation needed.
At any rate, some of them turned out better than others. This is one of the actual text blocks, with the glaze layered over a prussian blue acrylic ink. On the whole, I'm happy with the results, they just aren't quite as eyecatching as I was hoping.
The last new technique I tried out on this bind was handsewn endbands. I've had the materials for a while, but actually figuring out the process intimdiated me for a while, so I'd been putting it off. Turns out that they're actually not too hard to do!
These are faux double core endbands sewn with two strands of embroidery floss held together over a leather core. Lots of little mistakes, especially on my personal copy (which I did first... so that I could make all of my mistakes on it), but very happy with the results.
And that's all I've got to say! I worked on these pretty much non stop for three months, and I'm very proud of them and also very glad they're done. On to the next project!
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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if anyone is wondering how things are going over here, i just tired to post the exchange bind that i've been meaning to post for months, and as soon as i hit post, it got insta flagged for explicit content. it's books?? it's literally books. the fic isn't even rated E. what is going on.
if anyone is wondering how things are going over here, i just tired to post the exchange bind that i've been meaning to post for months, and as soon as i hit post, it got insta flagged for explicit content. it's books?? it's literally books. the fic isn't even rated E. what is going on.
if anyone is wondering how things are going over here, i just tired to post the exchange bind that i've been meaning to post for months, and as soon as i hit post, it got insta flagged for explicit content. it's books?? it's literally books. the fic isn't even rated E. what is going on.
I made a book out of the 1938 War of the Worlds radio drama!
(which you can listen to here on archive.org)
This is my first time doing a buttonhole stitch binding. Most examples I saw were blank notebooks, and had decorative sheets wrapped fully around the outside of each section of paper, but I didn't want to interrupt the flow of the text, so I just pasted a thin strip of the marbled paper down to the outer fold edge of each section.
I recently completed my very first clamshell box! I referenced DAS YouTube video and also some notes from friends. I bound the book Anne of Green Gables (typeset by Canon in D) and created a design to match the vintage design in the typeset. I was able to save enough scraps of materials to make this clamshell! I love how this turned out.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Free to watch β’ No registration required β’ HD streaming
A fun fan binding project. This is An Ever-Fixed Mark by ninepiecesofcrait. It is very much rooted in nature, so I wanted to honor that vibe. Recently I have been really inspired by vintage covers! I found this gorgeous cover and wanted to replicate it.
I wanted to be very technical with this bind and so I worked closely with my friend @copticcowgirl , who is training with master book binder Mark Kirchner. She taught me how to make a hollow and build the case on the textblock. I did round and back this bind and used silk thread for true double core end bands (using a tutorial from @duran-binding). I splattered ink on my edges.
To create the design, I traced a vintage cover I loved in procreate and then cut the design in cricut.
The book cloth is duo Herb Garden and the over marbled paper is from Minnesota Center for Book Arts. The nature of duo cloth and metallic HTV made this difficult to photograph!
I also made the chapter notes into a little companion quarto because they were full of wonderful images and fun facts.
This project was a labor of love and one of my favorite projects to date!
A Mandalorian Guide on How To Save the Jedi in Just Three Easy Steps
by miyaji_08
link to the fic
It's an A4 octavo and 416 pages, so small but chunky! I decided to attempt backing on this one because there was quite a bit of swell on the spine.
Endpapers are printed lokta from shepherds in London, and the cover is dubletta mustard. The design is printed using my inkjet printer. The endbands are hand sewn faux double core, using embroidery floss.
(I realised whilst taking pictures that I miss spelled the author name on the cover, oops π )
I've been reading a lot of star wars fics with a focus on Mandalorians that include a lot of Mando'a. So I thought I'd make myself a little dictionary to help me translate :)
I started typesetting the dictionary at the start of September and due to procrastination finished it at the end of October, and then managed to complete the actual book in 2 days lol
The cover is blue goat leather decorated with a foil quill and white holographic foil. Endpapers are by papiersprina that I bought at a bookbinding fair in the Netherlands last October. Headbands are hand-sewn with cotton embroidery thread.
This book was my first attempt at a full leather book, which was made easier by the fact that it is an octavo, and therefore tiny :)
The map inside the book was from this star wars fandom page, and then edited to be black lines. The stars on the title page are also edited from that image. The words in the dictionary are taken from here.
Transmigrating into the stallion novel he hates most is bad enough, but why did it have to be into the body of one of the protagonist's wives? Shen Yuan spends exactly two months dealing with harem intrigues, sullen maids and his husband utterly ignoring him before he decides to go on an extended holiday. Very extended. Surely no one will care if he just forgets about being married and becomes a cultivator, right?
I made this book for @waterloggedowl for the @renegadeguild annual exchange! It was very fun getting to return to Scum Villain fandom for this! When I started fanbinding I was deep in danmei fandoms, but I've been off in Star Wars for the last few years.
I was blessed to be able to use the chapter art by @sunshine-dies . Their work is on the dust jacket, and I got to do a couple of fun spreads like these.
Beneath the dust jacket the book is bound in colibri bookcloth, with crepaldi marble paper inset for the fan and foiled with silver.
The same marbled paper is also the endpapers! I diverged from the standard SY color scheme here for two reasons: 1) sunshine-dies' art is in a lovely blue hue, and 2) Shen Yuan is never Shen Qingqiu in this fic, so a color change in the theme feels appropriate. The endbands are done in my asymmetrical style to match, and I painted the edge a polarized blue on black.
Back to the inside - since LBH is the emperor in this fic and inner court drama plays a large role, I created a vector pattern based on one of the wood lattice screen designs in the Forbidden City. More traditionally speaking this would be within a rectangular frame, but I kinda like the rough edges.
[ID: A collage of five pictures of a set of three small hand-bound books, along with a box to hold them. The first photo shows the books stacked atop one another with the spines facing the viewer, sitting next to the empty box. The box is covered in purple cloth and has the series title on the side in white. The inside of the box has blue and purple marbled paper. Each book spine is covered in rainbow iridescent cloth and has the title of each book, along with the volume number and author name, in white on the cloth. The second photo shows the books fanned on top of one another, showing off the cover material, which is green marbled paper for one book, blue marbled paper for another book, and white and gold marbled paper for another book. The third photo shows one book open to its title page, which has the title and author name atop a graphic that looks like a connection map. The fourth photo shows the same book open to the chapter title page for chapter two, which features a dropcap with the same connection map style as the title page graphic. The fifth photo shows the three books stacked vertically beside one another, displaying their endbands, which are gold and black for the green book, light blue and black for the blue book, and gray and black for the white and gold book. All photos are taken with a sparkling purple backdrop. /End ID]
.
Thrilled to finally show off my latest bookbinding project, done for the @renegadeguild bookbinding exchange as a gift for @rainbownomja! This year, I bound @dragonmuse's series The Great Working of the Rest of Your Life, which is a post-canon exploration of the characters from the Misfits and Magic Dimension 20 campaign. I wasn't familiar with the campaign before starting this project, but reading through the fics compelled me to watch the series, and I really enjoyed both the series and returning to the fics again after watching it with a new appreciation for the story being told. It's a really lovely series with some great Evan Kelmp moments, and I can't recommend it highly enough π
More information and progress shots below the cut!
These books are octavo size, meaning that each book is approximately one-eight of a sheet of letter sized paper. It's been a while since I last made a tiny book, and I forgot how much I love working with them (and how comical they can look sometimes, especially when chunky π one of them is about an inch and a half thick)
[ID: Two progress photos of a hand-bound book. In the first, the sewn textblock is stood on its end and fanned out to show how much throwup it has. In the second, the unsewn textblock is held in a hand to show how thick it is proportional to its page size, which is rather thick. /End ID]
This was also my first time making a box! I knew I wanted these books to be a boxed set, so I used DAS's slipcase videos to construct a covered box for them. It ended up being easier than I expected it to be, and I'm really happy with how they turned out! The marbled paper on the inside of the slipcase was done by me, and I was happy to finally have a good project to use some of these papers for.
[ID: A progress photo of two slipcases for a series of three handbound books. Both slipcases are uncovered and only have four sides, missing the tops. One has three books stacked inside it, checking the fit. The other is open to display the blue and purple marbled paper inside it. /End ID]
I'm eminently grateful for the extended timeline this year because these books took a long time. I definitely underestimated how much time it would take to construct six separate books and two boxes, even if those books were smaller than normal folio sized books. (In fact, them being small added extra time, as the printed sheets needed to be cut apart before I could begin assembling the textblocks.) I did most of the physical construction after coming back from the holidays, which also coincided with my headlong tumble into Heated Rivalry π it became my background noise while binding, as well as my grasp on the passage of time. Turns out, six books plus two boxes takes about fifteen Heated Rivalries to complete π
[ID: A progress shot of six hand-bound books, which are in the middle of being chisel trimmed. In the background, a laptop shows the end credits of Heated Rivalry. /End ID]
I definitely learned some things while doing this bind, and while I won't go into my mistakes, I overall think the books turned out really well! A lovely way to start my bookbinding year, and yet another great experience with the Renegade exchange β¨
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All our workshops are run by members of our fanbinding community, and some of them are even on Tumblr!
Hereβs the list of whoβs running the week 1 workshops:
Beginner's Primer: Bookbinding Vocabulary and Parts of the Book: @silentsunpress
Workshop Safety: catz
Makin' the VIP Work for You!: @simply-sithel
Endbands (French Double Core): @celestial-sphere-press
Designing a Book in Affinity 3 (Beginner): @kate2kat
Typesetting in Microsoft Powerpoint: mahoganydoodles
First workshop of Binderary is in ONE HOUR, and it's a great one for anyone who's curious about binding but has been intimidated by the prospect of getting started! This one's a breakdown of vocabulary and tools for beginners.
All our workshops are run by members of our fanbinding community, and some of them are even on Tumblr!
Hereβs the list of whoβs running the week 1 workshops:
Beginner's Primer: Bookbinding Vocabulary and Parts of the Book: @silentsunpress
Workshop Safety: catz
Makin' the VIP Work for You!: @simply-sithel
Endbands (French Double Core): @celestial-sphere-press
Designing a Book in Affinity 3 (Beginner): @kate2kat
Typesetting in Microsoft Powerpoint: mahoganydoodles
Infinite Diversity, Infinite Combinations @kolutshanpress - Tumblr Blog | Tumlook