MY FIRST JEGULILY!!!! ❤️🔥❤️🔥❤️🔥 I loved it, and I made this bind especially for my friend @storiestoldbytime ❤️❤️❤️ I had the best time putting this one together!
Thank you again @thessynyx for letting me bind your amazing fic ❤️❤️❤️❤️
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Hi! I have some new followers, and it’s been a little bit since I was actively involved in The Drama™️
So, here’s a small reminder of a few things:
1. I am not just an active member of the Facebook and discord group Amateur Fanfic Binding, I am a moderator of the facebook and admin of the discord. So, obviously, I’m protective and fully in support of the groups ideals.
2. I am, as should be obvious by the groups ideals and rules, 100% in favor of file-sharing. This means that if you post fanfiction to the internet, I’m all for it being shared freely in various forms, so long as it remains free. I don’t ask for permission to typeset a fic or use fanart in a typeset. I don’t need it.
3. The disclaimer that I put in all of my typesets (when I remember, oops) about altering the text is, primarily, because I have to alter it in order to typeset it. It’s about formatting, first and foremost. And I’ll run the doc through a spell-check so that people aren’t printing “Hermoine” and “Darco” or other mis-spellings that don’t alter the intention of the story in any way. I don’t edit the words themselves. I even leave the British spelling despite my computer yelling at me that it’s Wrong™️ because I know that it’s not actually.
4. I am not the ao3 account “jbake7” despite what some people may be posting. Their reasoning for being “98% sure” it was me was bookmarks from that account. A: I don’t read dramione. Never have, probably never will. It’s not my cup of tea. B: I don’t even use the ao3 bookmark feature. I have my spreadsheets. C: No, I will not be sharing my ao3 handle. It’s not your business.
5. Sharing legal names of people who do something you disagree with is not only doxxing, but also inherently reprehensible. Anyone who does this is a dick, in my opinion.
The original author who got all upset about me fulfilling a 2 year old request has blocked me, but I would still be surprised if she doesn’t see this anyway. To any author who is not okay with people typesetting their work, I don’t understand your reasoning. Did you ask the original author of the book/movie/tv show if you could write a fanfiction based on their intellectual property? No? Then why would I need your permission to make your words pretty so someone can print it out and put it on their bookshelf? All of my typesets include a warning that my work is for personal use only. I do not keep my typesets behind a paywall, I do not profit off typesetting or ficbinding, and I think anyone who does is gross. I don’t sell ficbinding commissions and I never will. If you have an issue with what I do, that’s a you problem. Block me and move on, but don’t publicly post my name to the internet for some sort of gotcha points. It’s gross, you’re gross, and I hope karma finds you.
The Flowers We Pick & The Fruit We Choose by Canon_in_D
This lovely typeset was made for Renegade Tiny Books Bang 2024 by canon-in-too-deep
This bind is in so far unusual that traditionally in a cloth and paper binding, the cloth, as the more sturdy and durable material, would go on the spine. Since this book is small and light I let design overrule tradition.
Materials used
book case
boards - 1mm book board
covering materials - bookcloth (black), Fancy Majestic paper (iridescent blue), Chiyogami paper
evening out material - paper the same thickness as the cloth
title - hot tooled with foil
inner book
textblock paper - Munken pure 100gsm
endpapers - Chiyogami paper
endbands - Chiyogami paper wrapped around a 10/3 linnen thread core
I wondered if you've seen this inspired by your bind.....: https://archiveofourown.org/works/55886725
hi there! not sure this was directly related to my bind, but I'm glad to see it's been translated! I love when works are translated into other languages so more people can enjoy them!
I was so excited to see a copy of this in real life bc it's something I studied in art history. this is a book that was typeset and printed by hand using wooden blocks but every one of the characters was invented for the sake of the piece and does not correspond to any word in the Chinese language
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This is actually a gift, but I'm taking a risk that my pal Lately isn't on Tumblr enough to know about this thing, lol. (Lately, if you see this: surprise? Merry Christmas?)
This is, of course, a bind of GallaPlacidia's fic The Bucket List. Galla's fic is no longer on AO3 but is available if you make a very small effort to locate it, which you should if you haven't already done so.
First off: huge thanks to @sits-bound who spotted me their typeset of the fic when mine was not behaving at all. I owe them thanks for this, for their choice for Draco's handwriting (which became quite a Theme for me as I went), and their help in figuring out toner-activated foil, which I used on the endpapers.
Secondly: the UK folks among you will, I hope, recognize this binding as an homage to the Oxford Black n' Red notebook. I wanted to create this binding to look as though it might be Draco's actual bucket list notebook, so I went with this theme in the colour choices and cover design, down to the name tag label (made from HTV) that I imagine Galla's Draco slapping on haphazardly as he frantically began his list.
I made Draco's version of the notebook just slightly different, of course -- with Galla's name in place of the text "black n' red", the name tag, and the little Aelfgifu crest in place of the Oxford one on the original.
(Aside: Aelfgifu is a bit of an inside joke with me and Lately, as we have spent a lot of time imagining a magical college within Cambridge called Aelfgifu College, as well as Draco and Harry's different academic journeys, their collegiate romance, etc., without ever writing more than a few hundred words of same, whoops. But! The college has a crest now! Maybe it'll get a story to go with it!)
This is a favorite, tip-top fic for Lately, and it's up there for me too. I don't think I need to dwell on Galla's brilliance as it's well-known in the fandom. But it was a treat to create my own typeset and bind for this fic. (I kept my first attempt as a personal copy, warts and all.)
More process under the cut.
Materials: Nothing extraordinary here except (as noted) the foiled endpapers. I used 1 mm board to create proper Bradel boards with a notch for the spine piece.
Process: A three-piece Bradel! My first!
I could have done a quarter bind (as the actual commercial notebook uses) but I wanted to learn a true Bradel three-piece bind for a non-fandom bind and this was my chance to try it out. Verdict: kinda neat, and handy when foiling directly to bookcloth (which I did not do here, but did for the non-fannish bind.) Endbands are machine-made and boring. (The actual commercial notebook has no endbands but I couldn't go that far.)
The typeset was fun. Galla's writing is very dialogue-driven, which means a lot of paragraph breaks, which leads to some interesting page break challenges, but in the end it came out nicely. I enjoyed setting Draco's letters, the Prophet article, and the Witch Weekly gossip column. And I had too much fun dropping random shit into the half-title page.
Re the endpapers: yes, I did comb through the fic and pull out all the numbered bucket list items, then all the non-numbered ones referred to in passing, which I then numbered and slotted into the list for the endpapers. I regret nothing. (Not pictured: for the back endpaper, the list is identical except I went through and struck out all the items Draco knocked off his list in the course of the story.)
I still don't own a colour printer! But I do own a little tiny photo printer (Canon Selphy) which is what I used to print the Aelfgifu crest, which I then just cut out and glued on. I like the shiny quality, even if it probably should be more like printed HTV in texture.
I'm quite delighted with the cover design. This one was so fun!
Long time no see! I haven’t made a book since July!
I’ve had this textblock printed and ready since July and I wanted to get it bound before my imminent international move. I had scraps of two different chiyogami papers lying about plus an offcut of (probably) fake leather backed with paper - very thin, very flexible, suitable, I thought, for a tiny book. And all three bits I thought worked well together - the fireworks on the red have some dark blue dots in there.
A8, Yuri!!! on ICE fanfic: The Night is Young and the Music’s High by Opalish - a delightful fun little romp of a fic.
publishing companies will be like ~ooh this is a hardcover oooh it's so durable that will be $35~ and then you see the actual book and it's like. "perfect"-bound with endbands glued on crooked and a completely plain paper cover under the dust jacket. my dudes this shit is a mass market paperback with delusions of grandeur
i can explain in more detail with pictures when i get home from work, but executive summary:
both trade paperbacks and mass market paperbacks are usually constructed via perfect binding, where you take a stack of loose-leaf sheets and dunk the spine edge in, basically, hot-melt glue (low-temp thermoplastic with a little flexibility to it). stick a cover on the outside of that bad bitch and you're done. very easy and cheap to manufacture, but not durable; not only does the soft cover provide no protection, pages can fall out individually if the glue fails for whatever reason. (i don't have a picture handy but just grab any mass market paperback off your bookshelf and look at the spine)
typically, or perhaps traditionally, when binding a hardcover ("case-bound") book you assemble the sheets into signatures, which are sewn to each other to form a text block, like so:
(well, admittedly, using both linen tape and french link stitch is sort of the belt-and-suspenders of textblock construction. in my defense though look at the fucking size of this tome) but the point is that even before you've gotten around to gluing anything, the textblock hangs together and functions as a book, albeit an unusually wobbly one -- so if the cover completely falls off or something, the rest of the book still hangs together.
the other method of construction i see on many mass-manufacture hardcovers and some trade paperbacks is that they've folded the signatures and sewn them individually (one at a time, not to each other) -- this is easy to do on a specialized sewing machine -- and *then* potted the spine in glue, like you do for perfect binding. this is less liable to lose pages if you fuck up the spine, because instead of each page being glued in individually, they're sewn together into signatures which provide more glue surface area apiece. (i can post a picture when i get home...)
uhh oh yeah endbands. endbands are the little decorative bits that get glued onto the textblock before it gets cased in -- this is in itself sort of a cheapo mass-manufacture imitation of more traditional sewn endbands, which actually provide some structural stability; modern glued-on endbands are really just decorative. here's a picture of a sewn endband on an example book from the bookbinding museum in sf (left), and a different textblock with endbands glued on (right). (the latter also has mull glued onto it, which is like... starched cheesecloth, kind of? you can use kozo paper here too; it also helps stabilize the spine for extra durability)
anyway on mass-manufacture hardcovers i often see really half-assed endbands that are glued on crooked or slightly undersized or something and i'm like "are you even TRYING" (they are not)
and also usually on recently manufactured books the entire case (the "hard cover" of a case-bound hardcover) is covered in paper, including the hinges, which is a terrible decision because the hinges are the part of the book that MOST needs the durability, being The Primary Moving Part. at least fucking cover the spine and hinges in bookcloth i beg. please. for me
@just-evo-now i am back home! where my books live!! so i can take pictures of the bindings :D
a couple of perfect-bound paperbacks:
the benefit of perfect binding, such as it is, is that all the pages can be aligned with each other and the spine is nice and square. (the other benefit is that it is cheap.) but if you're folding pages into signatures you're always gonna get some creep where the inner pages of the signature extend a little bit further towards the fore-edge [edge opposite the spine] than the outer pages do; you can either leave it like that for a deckled edge or trim it off for a neater finished look. (personally i am not a huge fan of deckled edges but Madame La Guillotine can only handle so much book, you know)
a paperback and a hardcover with the signatures-potted-in-glue style (i wish i knew what it was called):
i quite like the green endband on this hardcover! matches the cover nicely, is an appropriate size, aligned well, etc. (in addition to gluing them on crooked, the other common Endband Sin is to make them too damn short and it looks ridiculous)
the cloth-bound hardcover from the first image in this post, pub date 1978:
as you can see, it has much more flexibility than the potted-in-glue style (which can bend a little bit, but cracks if you open it too far), because the signatures are sewn to each other, with some kind of mystery green paper glued over them for stability (and, deeper in the spine, brown... something. fabric?? some of my other vintage books seem to use thin brown canvas...). no endband, but honestly it doesn't really need one.
and! here is a 1945 pocket handbook for engineers (you know, with useful integrals and trig tables and unit conversions and stuff in it) in norwegian, which was falling apart when i got it (i picked it up on the cheap with the intention of hopefully fixing it someday):
the cover is nonfunctional and the stabilizing paper on the spine has gotten so crumbly as to be useless (i got about halfway through peeling it off), but the textblock itself is in pretty good condition, because the signatures are sewn securely to each other -- if you squint you can kinda tell they used kettle stitches on the ends and chain stitches in the middle and i thiiink the chain stitches are where the loose loops on the top came from. anyway, i can pretty much finish peeling off the old crumbly paper stuff and glue on some new kozo paper (and ensure the loose loops are tucked safely away/glued down) and this bad bitch will be ready for a new cover!
About the bind:
✦ Inspired by sardine chocolates I saw, where the paper packaging was a can with a cutout window and you could see the sardne chocy inside
✦ Illustrated the endpaper to make it look like cut up fish
✦ the silver rolled up foil is scrap Vinyfrog silver foil HTV, it's sturdy enough to stay rolled up with some super glue but not get squashed. It's not attached to the case in case Octo wishes to slide the book into the shelf
✦ The case is supposed to look the can, with a cut open window to peek inside.
✦ ain't a book featuring fish if I don't give the fish legs to run away (I call them reverse mermaid)
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Typeset, bound, and designed by me, @phoenixortheflame.
A process is recursive when it defines or contains itself; e.g., the Fibonacci sequence, which determines the next number as the sum of the previous two.
But not all recursive processes are mathematical. Recursion can happen in a temporal context when, for instance, the powerful magical force that is true love drags you back in time so it can create itself, endangering the fate of the Wizarding World—not to mention the very fabric of space and time—along the way.
One of the first Drarry fics I ever read was Recursion. It set the bar high — and not just for fanfic. This time-travel, Snape-redemption, I’ll-love-you-in-every-timeline fic holds such a special place in my demented, perverted little heart. I cannot think of a better way to honour this piece of art than by binding it. (Sorry, Tessa, but this is me perceiving the hell out of you! 👀)
Cover is Allure book cloth in Wisteria with blue transparent HTV. (I’ve heard applying HTV on this particular book cloth is tricky, so I should mention I had access to a heat press and pressed both before and after applying the HTV.)
If you like the typeset, I’ve made it available on AO3 for personal use only.
About the bind:
✦ Hermione illustration is done digitall on Clip Studio Pain, I do not have a color printer at home so I printed it at a copy shop on 140gm cardstock and glues it to the cover
✦ coated acrylic bookcloth and my trusty gold HTV vinyl frog
Thank you very much @novaviis for allowing me to bind your GerIta fic. It’s literally in my top 3 fics from the fandom. I read it, reread it, and then drew fanart for it in the span of a week the 1st time I read it. It’s only right it gets a spot in my bookshelf 📖♥️
The next fic I bound was And so Beguile Thy Sorry (a quite from Titus Andronicus) by Hapax (@wordsthativelost). I have been a Shakespeare fan since my Granny and mum read me the plays and took me to the theatre. This fic was very fun to read, bit of intrigue/mystery and the development of the relationship between the two main characters.
I used https://acestronautical.github.io/bookcover-js/ to create the spine. I can highly recommend it if you want to make Penguin book style covers.
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If Not Now, When ‘Verse for @ineffablefool. One of my favorite comfort reads, human au featuring ace and trans ineffables. Absolutely phenomenal, soft and tender and sweet. Teen and up, 102,719.