@labmousin
Staring at the one who approached, they'd address the little mouse as that tail flickered, "Hm? I take it you live here? You can call me Ankha, but try not to get too close, my clothes are expensive and I wouldn't want them dirtied, but it's a pleasure to meet you, me meow. I moved in recently from my own whims and flights of fancy. So how long have you been here? I came because it's fairly developed and I tired of the people around me."
It seems they were fairly wealthy as the movers took her furniture in, even comically struggling to fit a pyramid through the door and bringing in a golden throne... among many other things and oddities.
Just who was this person?
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A Fire Shall Be Woken, by Ealcynn. A pair of bindings using the K118 structure, one as a gift for the author and one to keep.
Chapter page illustrations are by Alphonse Mucha, all other illustrations are hand-drawn.
I hope to make a long post later explaining the process in more depth & another to document all my mistakes, but here's the basics.
New techniques learned: Paper marbling, edge marbling, uncial calligraphy, making paste papers, drawing on bookcloth, making paste-filled cloth, fold-out maps
I began work on this project in early September and am completing the finishing touches this week.
Structures:
Binding: K118 tightback
Endpapers: Simple cloth-joined endpapers
Map fold: Turkish map fold
Materials:
Sewing supports: linen tapes
Thread: 30/3 linen thread
Spine lining: Medium weight kozo tissue bonded to linen fabric
Interior paper: Hammermill Ivory, 11x17, hand-cut to 8.5x11
Endpapers: Blick sulphite paper hand-marbled, with masked stenciled silhouettes created with freezer paper
Adhesives: Jade PVA, wheat starch paste, wheat flour paste
Covers: Davey board, laminated full thickness to half thickness
Cover fabric: Studio E shot cottons in Jungle and Emerald; filled with wheat starch paste
Cover decorations: Speedball india ink and Dr. Ph. Martin's calligraphy ink in Copperplate Gold
Inks for maps and illustrations: Speedball black india ink and a selection of watercolors thickened with gum arabic
Dip pens used for calligraphy: Combination of Brause calligraphy nibs and Leonardt tape nibs
Dip pens used for illustration: Nikko G pointed pen nib
Typesetting:
Typesetting program: Scribus 1.5.5
Body font: Coelacanth in 10 pt caption weight
Headings, titles, chapter titles, drop caps: Hand lettered uncial calligraphy, scanned
Illustrations and References:
Frames on colophon, copyright, author's notes and title page: Hand drawn, with inspiration taken from the vellucent bindings of Cedric Chivers
Frames that illustrate each chapter start: Alphonse Mucha from Cloches de Noël et de Pâques
Cover illustrations: Referenced from a photograph of an European beech tree found on iNaturalist.org
Maps of Imladris: Hand drafted with inspiration from the maps of Barbara Strachey, and Daniel Reeve
Map of Eriador: Traced from a map by Karen Wynn Fonstad, with edits made to coordinate with the geography of the fic
Frames on maps: Referenced from a drawing by Alphonse Mucha that @zhalfirin found for me
Special Thank Yous:
To the tightback council of problem-solvers in the Renegade server: Zhalfirin, Eka, @spockandawe who helped figure out many issues with the structure and technique
To the marbling experts in the Renegade server: Marissa, Aether, AGlance, Jenny, Catz, Badgertide, Rhi, and everyone else who helped me figure out beginnner marbling
To Spock for finding the K118 structure and introducing it to the server!
And to Bruce Levy, who discovered the method and shared his discoveries freely with the bookbinding and conservation world.
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