weaved belt and headpiece + clothing motifs from late bronze age/early iron age Hallstatt culture [paper]
celtic torques
braided hairstyle based on reconstructions of 800-350BC Hallstatt cemetery burials, wide-brim hat based on early iron age vessels figuration of Welzelach, Certosa and Providence [paper]
middle bronze age (1300-1600BC) geometric motif bracelet
5th century BC north-eastern france "duck head" fibula [paper]
2nd/1st century BC celtic anthropomorphic sword
iron age north macedonian (milci) "spectacle" fibula [paper]
"situlae lyra" based on LBA/EIA Hallstatt culture tomb vessels depictions [paper]
bronze age (circa 1500BC) discs necklace with [source]
bronze age spiral armbands
"peplos type" iron age women's clothing [paper]
fig. 2
as above
upper part of pants (with belt loops) based on the 2nd-4th century Thorsberg trousers
kaolin body paint motifs based on irish neolithic burial sites symbols
veil motifs based on cucuteni-trypillia earthenware
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 Morgoth’s 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 closed—I 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!
Been thinking too much about my world's dragon rider culture and their big sassy pterodactyls pretending to be dragons, called Wyverns or Twintail dragons to distinguish them from the many smaller species of dragon adjacent creatures that inhabit their world. They are largely considered the closest to mythical dragons that many attempted to create at the dawn of magic, as they are large enough to bear riders and can (with the help of those riders) breath something approximating fire.
However, since they're relatively fragile owing to their hollow bones and no real natural armor they are mostly retained and supported by local infrastructure for their message carrying and dignitary transport capabilites over their utility in warfare- though it's not unheard of.
They're also quite sensitive creatures, not quite fully sapient but certainly more intelligent than the average beast, and if they don't feel inclined to commit to a job there is only so much even their riders can do to direct them given the size difference. And the teeth.
I've put way too much thought into designing a saddle that could be used in flight and on the ground, and on the back of a creature so much larger than it's rider. Much less one that's also usable at various angles in between, depending on the individual dragon's preferences for walking. Some dragons are open to their rider's inputs than others, but most have a preferred stance and will not be swayed from it when on the ground and seems to have a lot to do with the dragon's personality and social hierarchy in addition to simple physical variation between individual dragons.
These guys are born from eggs and are about cat sized on hatching, with some rider enclaves raising them in creches but most immediately give over their raising to their future rider. Usually a teen to young adult at the time, since the average lifespan of a dragon is about 40 years, this is a lifetime commitment for both dragon and rider. They grow to about mastiff sized within their first year, and then horse sized by 3 or 4 years old and begin their flight training with the introduction of harness and the permanent holes for a saddle are pierced in the wings behind the shoulders. A difficult to define bond is born between the dragon and their rider as they grow together and cemented by flying together as adults when the dragon is ~5 years old and riderless dragons will typically go mad or feral rather than obey anyone but their original rider.
While their growth plateaus at about 15-20 and the average lifespan is only 40 years, up to 60 years is not uncommon with tales told of oldsters getting up to a legendary 100 years! But since they never truly stop growing after about 50 most cannot fly anymore and slow elderly metabolisms mean they spend their days sunbathing and sleeping through twilight years under the attention of loving elderly keepers.
In the D&D campaign I'm running with my wife's siblings, one of them learned about how trolls regenerate within minutes of any damage not caused by fire or acid, and then asked why people don't just like. Cage them and eat them, forever. Why there aren't troll meat dungeons in the king's castle as a safeguard against sieges or famines.
And you know, I thought it was a fair question, so I said that if you eat enough troll meat, you start getting troll-y. And then I went further and just treated it like troll flesh is a general contaminant - if you eat enough troll, you'll turn into a troll, but if you bury enough dead troll flesh in a forest, the trees will start growing in strange ways, and will scream and heal and bleed when you hit them with axes.
I liked this idea. So as we played further, I just played around with the idea of Troll Origins, and I came up with something sort of like the Odyssey, but instead stealing Helios's cattle, it was Hathor's, and the horrible, awful, unending immortality was her curse of the army that pillaged her lands. A god of healing does not condemn you to die, she condemns you to live.
And then I got this fun idea for maybe the king that led the army is still kind of alive in the troll taint. Like a sort of literal fisher king. The kingdom is sick because he is, literally, the kingdom. The trees that bleed, bleed his blood and their screams are his screams. He is both the faintly green bear running down the mountain and the faintly green deer and there is no way past this without suffering. He is the entire ecosystem, and he eats nothing but himself and he dreams nothing but death and yet still, on and on and on and on, he lives.
Anyway they're traveling next session so I'm throwing this shit at them. I already have some gross ideas for like. Describing everything like it's a body (flowers red as blood, white as bone, pink as meat, grass fine as hair) then finally throwing horrible living things at them. Trees that grow eyeballs that turn and stare at them, or flowers with teeth instead of petals and trolls that speak in long dead tongues about how they wish they'd never tried to rob a god.
Anyway I'm passing this on because this is my new troll lore and I want it to become canonized in the way that all D&D lore becomes canonized: By having eople read it and go "oh, neat" then start doing that too.
I’ve seen this one doing the rounds a few times (and it makes me cry every time I see it), but was curious about the original Latin text, so I did some digging: it’s a shortened version of CIL 10, 00659, a tombstone from Salernum (modern Salerno, Italy). (source; CIL is the Corpus Inscriptionum Latinarum).
Portaui lacrimis madidus te, nostra catella,
Quod feci lustris laetior ante tribus.
Ergo mihi, Patrice, iam non dabis oscula mille
Nec poteris collo grata cubare meo.
Tristis marmorea posui te sede merentem
Et iunxi semper manib(us) ipse meis
Morib(us) argutis hominem simulare paratam,
Perdidimus quales hei mihi delicias.
Tu, dulcis Patrice, nostras attingere mensas
Consueras, gremio poscere blanda cibos,
Lambere tu calicem lingua rapiente solebas,
Quem tibi saepe meae sustinuere manus,
Accipere et lassum cauda gaudente frequenter
And here’s my translation:
Wet with tears I have carried you, our little (female) dog, just as I did in happier times fifteen years earlier (lit. “three periods of five years). For myself, Patrice, now you will not give me a thousand kisses nor will you be able to lie lovingly around/against my neck. I have sorrowfully placed you, merit-worthy, in a marble tomb and I have joined you always to myself in death, as by your cleverness you matched a human. Alas, we lost such pleasures for myself! You, sweet Patrice, were accustomed to join us at our table, to beg charmingly for food (while sitting in our) laps. You were in the habit of greedily licking our cups with your tongue, which my hands often held for you. Frequently and joyfully (you) receive a weary one with your (wagging) tail...
tl;dr: this dog was named Patrice and was very, very loved. (another translation with some glossing of the text.)
It's the fact she's joined to them in death, it's the fact that she sat in her owner's arms and ate their food. That he held the cups down for her to drink from....
Hundreds of years and we still know she was loved. We still know how she liked to sleep. All these years!! Loving dogs is the same!!!!
gonna point out too that 15 years is an INSANELY long lifespan for a dog in ancient Rome. This dog was both well loved and well cared for to have lived so long. Obvs there's going to be some statistical overlap with ancient dogs with loving epitaphs having longer lifespans, but in a world without modern vetrinary science or medicine, no canine vaccines, and no nutritionally formulated dog food, this Roman's beloved pooch exceeded even the average pet dog lifespan today.
anyway here are some medieval discussions of weasels and their necromantic abilities:
gerald of wales: The weasel also, when its young are dying from any hurt, recovers and restores them to life by the use of a yellow flower. We are told by persons who have witnessed the fact, having put the whelp to death to make the experiment, that the weasel brought the flower in its mouth, and first applied it to the wound, and then to the mouth, nostrils, and other orifices of the little animal, that it might inhale the odor, by which, through the efficacious touch of the plant, breath was restored, though life seemed extinct, some slight and imperceptible vestiges of it only having remained.
aberdeen bestiary: it is said, also, that they are skilled in healing, so that if by chance their young are killed, and their parents succeed in finding them, they can bring their offspring back to life.
thomas of cantimpré: Accordingly they are said to be expert in all the arts of medicine, so that, if they find their offspring dead, they make them naturally recuperate by means of a herb
also in marie de france's lai eliduc, guildeluec uses a flower she got from a weasel that was resurrecting its weasel friend to resurrect guilliadon
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