I may have forgotten to write a wrap-up of my Binderary projects... Oops. Well, it's not too late to post about one of my most ambitious projects so far.
A friend of mine is a collector, and he has all the volumes of the Forgotten Realms series (and D&D novels in general, which is pretty impressive.) Unfortunately, some of these novels only had a digital release, and one was even only available in an online publication back in the 00s.
We can't have this when we're looking for an actual, complete collection to keep on a bookshelf now, can we?
So my friend approached me, asking whether I'd feel like taking on the project of turning the ebooks he bought into physical book: seven in total. It required a bit of self-evaluation on my side: the project was fun and interesting, but did I have the necessary skills to make it and where did it land with my personal ethics?
This is the perfect example of me refusing to take commissions, but accepting to work on projects for friends. I took it as a personal challenge, as well as the opportunity to hone my skills for the specific type of binding my friend wanted (something rather simple, actually: cased, round spine, half-cloth/half -paper.) He agreed to provide the material, and acknowledged that the bound books would likely be very flawed, since I am by no way a professional.
And this is how I found myself working on seven fantasy books at once.
Overall, everything went surprisingly smoothly, but I'm adding details after the cut.
A little typesetting was required but not much: adding page numbers, since ebooks don't have them; turning the 4 novellas of Cold Steel and Secrets into only one volume; and, since The Falcon and the Wolf had only been published on a website, I took 2 hours to make a decent typeset of it.
The printing was a little tedious (so many pages, and my printer is slow), folding went well BUT I made a terrible mistake when pressing the signature a first time. I split the signatures into different piles, to balance them well in the press. I just forgot that, since the title of the book was not written at the top of the text blocks, I had no way to ensure which signature went to which book.
OOPS.
A bit of reading was required to ensure I was not frankensteining these poor books, but things got sorted without too much pain.
Is there anything more satisfying to look at than nicely sewn, freshly-trimmed, ready-to-round text blocks? I think not.
My friend was incredibly nice with the material he provided and I got to work with beautiful, beautiful marbled paper from Shepherds London.
My photo sucks, but I swear these papers were amazing to work with.
Printing the covers was not as smooth as I would have liked. I had to design the back cover (using either the description of the ebook on the official website, or an abstract chosen arbitrarily) and printed everything with a laser printer. It's deemed to age poorly, as laser-printed covers tend to fade, but... Well, that was part of the deal.
As usual, the pain came with the glueing part, and it's only a me-problem (and possibly an ADHD problem), since I found myself having to VERY QUICKLY unglue-reglue 3 books that I had just cased upside down.
Three out of seven is not so bad, honestly. And there was barely any damage (I just had to repair one spine with colorado bookcloth tape. Just one!) My friend didn't even notice.
One day I'll learn to PAY ATTENTION when casing and I'll NEVER case upside down again.
The last ordeal left was to take somewhat-not-awful photos of the end result (which are the photos at the top of this post, so. I still have a long way to go.)
Then came the nice and fun and satisfying of the books, to be shipped to my friend.
Overall, I'd say it was a great learning experience and a good opportunity to work on something a little different. I will likely never work on seven books AT THE SAME TIME, though. It was a little too much for my poor heart.
(And I will never stop resenting publishing houses who go digital-only except their files are so, so, so badly generated. Why are fanmade typesets better than the official ones, so many times?)
Now that my giftee received it, I can share the photos of the book I bound for the 2025 Renegade Bound Fic Exchange: Confidential, A Supergirl 1950s Hollywood AU by Roadie.
I used the cover of Confidential magazine that's on the Wikipedia page, as well as an actual volume of Confidential on the Internet Archive to get an idea of what the magazine looked like.
It immediately put me on track: red, black, sensationalist. I did my best to find a font that looked like the actual font used in the magazine: OPTIGaucho.
Parts of the typeset:
The endpages are scanned pages from the Confidential printing of July 1954. Nothing like good old-fashioned ads to give the old-style Hollywood mood.
The design of the cover is the first thing that came to me after reading the story. Confidential magazine was a little TOO flashy for the more muted tone of the story (sweet, sweet story, just the perfect amount of hurt and comfort for me), so I went with something simpler.
Red bookcloth, black paper, red adhesive vinyle for the title and author's name, and I glued an authentic film reel that—okay, this is very bad for me actually—I've had since 2007. I grabbed it when the cinema of my city closed and they were giving away things, and I've been keeping it because "it could be useful". And it's followed me in my 7 moves since then, because "I'm not going to throw it away; I'll find a use for it at some point."
This project proved me that, indeed, I should never throw things away because I do end up using them, even if it takes 20 years to do so.
This is terrible enablement for my Hoarding Problem. But that's a problem for future me, because present me is actually really happy with the result.
This is one of my favourite projects so far. I had so much fun, and everything came together so smoothly and easily, it was like this story was made to be bound.
Thanks a lot Cleme for the discovery and for your unbridled enthusiasm (you have no idea how anxious I was), and thanks SO MUCH @roadien60 for writing and sharing this story... and for giving me permission to bind it!
It's still Binderary! Time to share a new project, and this one was SO fun, both in typesetting and design.
I had absolutely not planned it in my Binderary projects, but it was love at first sight. If you follow my main, you probably noticed that I am enamored with @scorp2510's HSR/VLD crossover, in which Keith is declared Killed In Action. His dying body was actually found by the crew of the Astral Express, who brought him to Herta Space Station so he could be regenerated.
File Code: HSS-CR-Δ-07 is the story of this treatment (...and mistreatment), told through medical reports written by researchers of Herta's Space Station.
The design of the cover is directly inspired by the icon for readables from the game. I went for a three-piece binding, with a rather absurdly round spine to try and create the "clipboard" effect, on which I added glued pieces of perlescent paper for the "copper-like" part of it.
The inside is where the fun is, OF COURSE.
Questionnaire, handwritten notes, report headers?
This fic has it all and it allowed me to go ALL OUT with my typesetting fancies. I could go full pseudo-scrapbooking fashion.
Font-wise, I picked:
- a classic Courier New for the body, which seemed to fit the stern appearance of medical reports
- DIN for internal notes, since it's the font used in the game
- the HSR Universal Script for the titles. I made myself a font from the characters on the Honkai Star Rail wiki, so it was easier to type full words.
- Blossoming Constellation by Letterhanna Studio for Ruan Mei.
- Biro Script by ingoFont for the nameless researcher as well as the checked boxes in the questionnaire (they're V and L that I just toyed with to try and make look more natural. It only came to me afterwards that I might as well have printed the sheet and ticked things by hand. Ah well.)
- Evening Wind by Khurasan for Asta's handwriting
- the incredibly fun Redacted Script by Christian Naths for signatures
The handwritten fonts were chosen to try and match the vibe of the handwritten notes on some of the in-game readables:
For the endpages, I reused the Galra font I made for another scrapbook-like Voltron Legendary Defender project from a few months ago, in which I wrote the Credo of the Trailblaze from the lyrics of the song Interstellar Journey. It felt an appropriate way to convey the crossover: Keith is a half-Galra who becomes a Nameless. I just plastered another HSS logo on it for good measure. Since I re-drew this to have a vectorised version, I might as well make it count, right?
Overall, as usual, quite a lot of FAAFO. I can't get enough :)
Thank you so much, Scorp, for letting me have fun with your precious AU and for continuously bearing with my overwhelming enthusiasm! I'm in so deep and I love it.
For the 2025 Renegade Typeset Exchange, I typeset the Voltron: Legendary Defender fic Call Me, Beep Me, for @starstreampress, and bound a copy for myself as a prototype to proof it.
(Cover art by Potatical and Thefrieslord, endpages from the Amino VLD community.)
Don't let this book's relatively classic outside appearance fool you; this is in truth the weirdest project I've done, by far.
It was a love project: not so much for the fandom in itself (which I knew nothing about when I went into the exchange), but for absolute nerdism, fandom preservation and archiving, and, most of all, silly complexity in typesetting. It's not fun if it's easy, right?
My usual typesets take me between half a day and a week, depending on their length, complexity, and the level of nitpicking I have the energy to put into them.
This typeset took me a month and a half, a lot of braincells, and more patience than I have.
Also, it took 9372 Excel lines with a hint of macros on top.
Because, you know. Which software better than Excel of all things to typeset a 85k word fanfiction, right?
Have some photos of the typeset:
And beneath the cut, here's a full rundown of my slow descent into madness, along with more photos and details. Buckle up; we're in for a long long ride.
Step 1: Researching
When I signed up for the exchange, I agreed that I was happy to bind fandom-blind. I'm always up for new discoveries!
Since I love Wrong Number AUs, Call Me Beep Me seemed right up my alley, even without knowing the source material. It was a fun read, and it would probably have stayed as such if not for two things:
1. These characters send a lot of photos to each other
2. A lot of art was drawn for this story.
Behold: a rabbit hole!
It may be orphaned now, but Call Me, Beep Me remains the most kudosed VLD fic on AO3 even today. It is monumental to the fandom enough to even have a Fanlore page! As such, it's no surprise that the story has plenty of fanarts. Neither is it a surprise that, in the almost 10 years since the fanfic was posted, many contributing artists went missing from the net, deleted their works or their accounts.
People grow and change and don't especially want to be associated with some of their past works. Orphaned stories, deleted blogs: these are just your regular fandom heartbreaks.
It was still quite painful to realise that of the almost 50 links listed at the end of the work, more than half were broken or sent to deleted pages/accounts. I don't deal well with things disappearing when they were just there and their trace is still here, and I'm frankly awful at letting go: cue for a day-long research of the lost art! The Wayback machine came handy. The way Tumblr works also allowed to track down some of the deleted art. And, absolute plot twist, Pinterest (!), land of stolen art and dubious sources, actually helped with retracing the steps of some of the pieces. By the end of a somewhat-tiring day, my project folder was richer with almost 50 fanarts.
Except... things couldn't be too easy for this typeset. I knew it would be touchy, but I somehow still hung onto the hope that maybe I could chat with some of the artists.
I couldn't.
Which kind of sucked, because I needed their permission to include their art in the typeset that would be shared with the Renegade Bindery community.
I preciously kept the lost art, and scrapped my plans. Of all the photos the characters sent each other in the story, none would be the fanarts I'd exhumed. I still needed images, though, so I spent hours using my Shutterstock account to find generic photos that would work with the story. (I've never browsed so many cat photos in such a short time. It was nice.)
This was all good and well, but some of the photos in the story included the characters themselves, and, well. You obviously won't find them on Shutterstock.
I had to rely on the next thing I could use without specific permission: screenshots. The great internet is fantastic for screenshots! But it doesn't cover everything. So I looked up for clips of the episodes, in order to make the screenshots by myself, according to the needs of the story.
And obviously... try watching out-of-context scenes for hours, with only the vague idea of the characters that formed in your mind while reading an AU. Guess what? I grew intrigued. Of course I did. So I went back to my beloved Internet Archive, that picked up where Netflix (shamefully) left off, and...
well
Long rabbit short, I watched Voltron: Legendary Defender. All 8 seasons.
I know, we are all very surprised it ended like this
We are still on my bindery blog so I won't go further in-depth about my experience of the show itself: in spite of the length and details I'm walking you through, I'm still describing parts of the whole process of fanbinding. Don't say you weren't warned: I did open this post by saying this was a weird project!
(Note: if you're really invested in what I thought of VLD, you can ask me at @lia404. Let's keep the fanmess where it should be; that is, on my main.)
And with all that, I was done with Step 1: the Researching part of the project. After a few weeks, I knew more about a fandom and its material, about how the AU met with canon, about what the characters look like, how they behave, and what sort of photos they would send.
I had all the knowledge I needed to hopefully make coherent visual choices. I had a folder filled with recovered art that wouldn't end in the typeset, and a folder filled with Shutterstock photos and screenshots that would be part of the typeset.
Time to move to...
Step 2: How To Typeset Your Textfic (worst choices only!)
It goes without saying, I had never typeset textfics before this one. If I had, I don't think I would have picked Call Me, Beep Me for the exchange :')
I already had a template of formatting for text messages, that I'd made for another typeset some time ago, and with it began the experimenting.
My main questions were: does it print well? Are the colours fitting? How busy does it look on the page? Would I read a full book like this?
Easy to answer: colour-wise, it printed rather well, it fitted the characters (since I knew them by then), and I'd probably have needed so much toner to print 85k words of this that I could already begin filing for bankruptcy.
My template was lovely for short, in story-messages. Not for a story almost entirely made of messages.
So I tried again:
Fewer colours seemed more reasonable. I liked the format, too; I had this idea of doing a weirdly sized book, slightly elongated as if it were a smartphone. After some more thinking, I had to accept that while it could work for a 15-to-20k story, 85k was way too long to fit the "fun-sized book" aesthetic.
I still needed to make it more simple, so I removed the phone lines.
I was almost there; actually, that was good enough for me for a start, even if some fine-tuning would be unavoidable.
Having decided of the shape of the typeset, I realised that since it was quite different from the original story, I would have to make other choices—and some that might impact the storytelling a little, so I had to do it intelligently.
On AO3, the author differenciates characters by changing the font between messages. They give the key at the beginning of each chapter:
Sadly, this doesn't translate really well on printed pages, and I already had my format in mind. The differenciation between characters would be through colours, and the formatting added an element: we would read directly from the characters' phones.
This is when I realised the impact it could have on the story. Choosing to show the messages through the phone of a character was basically choosing the point of view the conversation would be read from. This was not merely visual; it was storytelling. I had to ensure the choices were coherent.
A few examples:
When Keith messes up and accidentally sends a message to Shiro instead of Pidge, it felt important to keep the reader confused too. The formatting I'd planned for the typeset ruined the initial effect conveyed by the author's formatting on AO3, but I could still toy around with my own idea.
Instead of having Keith send the messages from his phone (which would immediately display the name of the character receiving the message, and thus ruin the effect of surprise of the recipient), I switched the point of view to Shiro then Pidge. This way, it's obvious that Keith is writing, but the recipient (from whose phone we're reading) is not as obvious just yet.
When Lance decides to give a stupid name to Keith in his contacts, or when he changes his contact photo, his phone needed to display it. And Lance has the occasion to do it a lot throughout the story.
These are obviously additions that were not part of the initial way the story was written, but that I couldn't avoid with the formatting I wanted to do. Might as well make them fun!
Receiving calls. While in Call Me, Beep Me, calls may be the only hint we have at whose point of view we're reading from, I still needed to find a way to display them in believable phone-way, and make them as impactful.
(I can't believe these screenshots just made me realise that there still are typesetting errors on page 292. I will never be free.)
Playing with timestamps. One of the things I really admire with Call Me, Beep Me is the author's consistency when it comes to using timestamps. In the whole 85k words of the story, I think I caught only 3 timestamp mistakes. All the timestamps are quite believable in the delay between each message, and while it's easy to disregard them when reading, it's super fun to notice the implications when you pay attention.
I thought that I'd put all the timestamps at the side of their respective messages, like the author does in the fic, but after pondering, I also decided to push the "messaging app" look by adding this date-and-time stamp that appears after a pause in the conversation. I didn't have a clear rule for that, but I opted to add these stamps for breaks in conversation that lasted more than 5-10 minutes. It may seem short, but these characters chat A LOT, and 5-10mn breaks in a conversation actually don't happen that often throughout the story.
Now that you've seen examples of AO3-to-typeset translation, let's rewind a little to the part where I was deciding how to do my formatting. Basically, the center point of it was that while the original story was written with vague point of views, my typeset needed "actual point of views" in the form of whose phone we were reading the story from. Which could only mean one thing.
I needed to do a first print and re-read the fic.
Colour-coded, of course, because what are we? Animals? The first colour is the phone we're reading from. The second colour is the person sending the messages to this phone. The name written in full letters with a pen is the display name on the phone.
Once this was done, I finally had everything I needed: a good idea of what my formatting would look like, all the images I needed to embed in the text, and the key elements to shape everything together with timestamps and point of view. Now, it was only a matter of putting everything together. Easy enough, right?
...
...right?
As Tumblr refuses that I put more than 30 images in a post, I'm going to take a break here before we move on to the next part of typesetting hell; the one that most people I talked with were interested in; my walking nightmare for weeks and weeks; the part where I actually started using Excel for a typeset, with a deadline on sight.
This bind is probably my best example of "Everything that could go wrong... but it's fine in the end" so far.
For the 2025 Renegade Typesetting Exchange, @tinwhiskerpress made a typeset of my favourite Klapollo fanfiction, Words Come Fluently by ItsyRoyal. It's a music industry AU with tons of social media elements and a healthy dose of the secret/mistaken identity trope. And finally, here it is, all bound and ready to go on my shelf!
Except it was an adventure and a half to reach this state.
First, my mistake 100%: the typeset was meant to be A5, but I'm out of short grain A4 paper for A5 books (which is a tragedy I need to remedy QUICK), so I did an A6 book. The size of the font made it work, I was happy with it.
For some reason, my printer skewed the print. It wouldn't have been such a big problem in A5, but it became visible in A6. Printer, why?!
Then, I didn't stabilise my guillotine before cutting. Again, 100% my mistake. But my text block ended up cut even more askew. At this point, I was left with the painful question:
DO I GO ON, DO IT START OVER, DO I GIVE UP?
I'm not a quitter. I have limited amounts of paper. I decided to go on.
After re-trimming, the text block straightened a little, and I figured having a straight book cover might help compensate.
It did! Mostly.
Except. Since it was an AU centred on the fame of the Gavinners, I wanted a cover that would be glittery, flashy. I used a paper with lots, LOTS of glitter for endpages and I layered it on the cover with a cut-up bookcloth that shines a nice gold shifting into purple. It felt like the perfect fit, right?
Except: the paper was too thin, the glue sipped through, the bookcloth got stained. BADLY stained. I tried to salvage it by adding "grunge like" dots of gold.
This was NOT working. This was awful. I was so unhappy with it.
Still not a quitter, but I had other types of bookcloth. And most of all, I had a piece of fabric I'd been meaning to use for forever: shiny, thick, HOLO. (I have told you I love holo, right? Yeah, thought so.)
Scrap the cover, cut the endpages, tidy the text block, let's do it again.
(It's always a little painful)
I printed and glued new endpages. What I had NOT anticipated: the cloth I picked was heavier than I thought. Like, really heavy. And the end pages were too thin.
It tore.
Sunk cost fallacy at this point. I had a nice shiny cover, a perfectly decent text block. I wouldn't let endpages get me down.
I had some decorated paper, thicker than I usually use for endpages, but thought it might be the occasion. It took... a lot of glue. And possibly a bit of tape. I'm not 100% proud. BUT. It holds.
Finally, I managed to complete the bind with adhesive vynil cut with my Silhouette Cameo. And this, for once, worked exactly as intended.
So, everything that could go wrong went wrong. Multiple times. But I'm glad I can finally have this book on my shelf! Thanks for the typeset, @tinwhiskerpress, and thanks for the fic, Itsy!
A few weeks ago, @soadscrawl posted A Guide To Being Half-Galra, a masterpiece of Voltron scrapbook storytelling, with a healthy dose of hurt/comfort that made my heart grow three sizes.
It's 15 page long, and I'd been wanting to try short, scrapbook-like binding for ages. I'd seen some examples of fun, not-regular coptic stitches and—well. Soda's guide was so perfectly fitting the bill that I knew it was The Perfect Project for experimenting.
And I'm so happy I picked it. It had been a while since I had so much fun with a project, and the result is one of my favourite binds so far.
...The fact that it's glue-less might have to do with it.
Due to my uuuhhh... experimental approach, I'm writing the full process under the cut, if only for myself to remember it later. 😅
I began with a somewhat vague idea of the design. I decided to go with a purple & black colour scheme fitting for the Galra. I knew I wanted it to be not too thick, keeping this personal-notebook feel, but still thick enough to show the coptic stitches.
From there... everything else was pure FAFO.
I started by doing 6 single-sheet signatures, printed on an 90 gsm recycled paper that is slightly thicker than your usual 90gsm, and I lined the folds with black Colorado cloth tape from Ratchfords because, as mentioned above, I was going for glue-less. (This tape has saved me so much time and trouble I ended up buying 100m of it last time they had sales. I Do Not Regret A Thing, although, with this amount, I might be set for life now.)
The recycled paper + Colorado cloth lining allowed to ensure getting just the thickness I wanted for the book, and keeping the spine an even black.
I had seen this fun pattern for coptic stitch who-knows-where ,and I knew it would be fitting. I have barely ever done coptic binds (maybe... three times?) so while I tried my best to measure and keep an even space between the holes on the cover, I winged basically everything else. Including the thread.
The only purple thread I had was cheap cotton embroidery thread. And it turns out it is a pain to sew with. Keeping a good tension in the thread was a nightmare.
I whined so much about it that, the next day, a friend went and bought me thick linen threads in different colours so she doesn't have to hear about it ever again.
It's really cool linen thread too. So now I want to do more coptic binds.
With the spine a nice black, it would have felt strange to have the edges keeping their natural greyish colour. After considering my options, I thought "OH WELL" and picked up a black marker to line the edges by hand. Exactly the kind of things I used to do with my notebooks when I was an angsty teenager. Honestly, it couldn't have been more fitting.
The endpapers, taped on the boards using my trusted double-sided adhesive Gudy (because no glue, remember?) are made with regular 90gsm purple paper, on which I printed the first words of the Guide.
I used the Galra alphabet made by user Salty_Sapphic on Reddit, that I have turned into a personal font specifically for this occasion. (I might re-use it in other Voltron binds in the future, though.)
That means there will likely be other Voltron binds in the future, yes.
The boards for the cover are simple black 230gsm recycled cardboard. I really dig the texture of recycled paper for scrapbook projects. It's VERY satisfying. Keeping it simply black felt a little sad, though, so I dug through my Hoard Of Stuff-For-Covering.
I found sheets of holo stickers with scale-like patterns that I had bought for 0.5€ in a random clearance sale a year ago or so.
I know Galras have fur, not scales, but consider:
1. it's holo and creates a fun balance with the black
2. it's holo and gives this weird otherworldly effect that I was going for, because even if it's a scrapbook, it's a scrapbook in space.
Considering they're all using tablets and I'm not sure I've ever seen any pick up a pen, I wonder if Keith would have scrapbooked on his tablet. I love digital scrapbooking. I kind of see him do something like this.
3. it's holo and great to create the uncanny impression that the cover is glitching/corroding.
4. have I mentioned it's HOLO
IT'S SO SHINY AND I'M VERY WEAK, OKAY?
Anyway! I cut patches in the sheet (you can see them missing in the video above) to stick on the cover, so that the notebook looks like it's corrupted, with alien stuff covering its regular appearance—just like Keith feels like his body gets corrupted with his genes, I guess.
Once everything was put together, I still felt like something was missing. I wondered if I should maybe do a label with Keith's name on it, like these old notebook labels they give you at school to write your name on. As usual when I'm unsure about something design-related, I went to pester my partner about it. While they never fail to grumble about how "they're more design-challenged than me and why am I asking them", they usually have very good advice. This time again, they did not disappoint.
"Why would you use a label? Keith is absolutely the kind of guy who wouldn't bother with it and just scratch his name on the cover."
And. Yeah. Okay. Point. Keith definitely picked up a red pen and scribbled his name on the cover without a care. Since Soda has designed the Guide so that Keith signs at the end, I decided to do my best and try to freehand the same writing style, for consistency. It's... not perfect, but I like the result.
(Also. It's metallic red. ALL THE SHINY!!!)
And... that's it! First time binding something this short, first time doing this type of coptic, first time creating a font... This bind is the sum of many happy FAFO accidents that, put together, end up becoming one of my fave things I've done since I picked up bookbinding.
A massive THANK YOU to @soadscrawl for creating this inspiring guide and giving me the permission to share.
I'll just conclude with the thing that convinced me I just needed to bind it:
Intradiegetically, Keith is the author of this guide. He is the one writing this whole mess of self-deprecating unhelpful "advice".
And yet, as if it weren't enough, he manages to add a layer of self-deprecation by adding "sorry" by hand afterwards. Like he re-read what he wrote and managed to feel even worse and make it worse.
This broke my heart so efficiently; even before reaching the tear-stained page.
Plot twist: Call Me Beep Me has a cover title now!
Apparently, I can't leave well enough alone.
I needed to test a new way to make titles for books that don't take foil well, and I wanted to see if I could use a similar method to the one I did for the logo on the Sleep Token lyrics collection I made, but without having to do it by hand, relying on my old Silhouette Cameo instead.
What better to test on than my favourite prototype-turned-actual-book?
(If you somehow missed the whole epic of making this typeset/book, as well as all the references for the typeset/cover you can read more here.)
Since I'm using a pearl paper much, much thinner than the vinyle I've been using so far, it's been... interesting. It's a good thing I did use it on a prototype first, because I would have lost my mind trying to make a clean book with it. It's too thin to properly apply (tweezers were a great help, but it was still A Lot) but still too thick to get a really tidy, flat look. You can see the bumps it makes. I find it very clear (and frustrating) here, when compared with the laser-printed and foiled title of the book beside it:
(1. This photo contains spoilers for future posts here once I'm done sorting through my photos. 2. Have I ever mentioned how proud I am that ALL my books stand upright so easily? It's the small things.)
All in all, I'm happy with the shiny look, but I'll need to perfect this if I want to do it on a book I'll give. Especially considering the effort it takes to put the letters together, as transfer sheets won't work and I have to do it by hand. To be continued...
And in the meantime:
We're officially...
...closed.
Tumblr, you're a witness: I am marking this project folder as [COMPLETE].
Call Me Beep Me, you were incredibly fun (and painful) to make, but I'm finally done with you.
I have a billion photos and projects and I need to update this blog more often.
But since I apparently can't post anything serious lately, here's the result of a series of tests I made. First time using adhesive vinyl cut with my Silhouette, repurposing old cardboard packages and the cheapest bookcloth I could find on Aliexpress (if you can avoid it, I recommend avoiding it. Seriously. This bookcloth was a nightmare.)
Also, my new "method for trimming" doesn't work at all. I'm going to buy myself a guillotine for my birthday, I think.
Endpages are the lyrics of Never Gonna Give You Up, printed in mirrored Sankofa Display font. It's a REALLY lousy notebook, okay? 😅
