armoredsuperheavy: Hamilton, Gavin (atribuido a) - Portrait of John Henderson of Fordell, c 1777. Museo de la Real Academia de Bellas Artes (Default)
repost from Renegadepublishing Tumblr

bellowingwhack said:
Hello! I just found your bookbinding posts and I love them, I've been wanting to do a project like this for a long time and your resources are so helpful! But I am wondering if you have thoughts on techniques that use less glue such as coptic binding/why you chose the particular style of binding that you do, is it more long-lasting etc?
 
While you submitted this to Renegade Publishing generally, and members do create books in various styles, I’ll assume you’re referring to the case-bound books that I make, half bound in cloth and paper. This is the type of book that I describe in my tutorial that a number of folks have followed.
 
This decision on my part to go with case binding was just sort of instinctive. I knew I wanted them to look like a “serious book” and this was also the sort of binding described in the first instructional guide I found. I don’t say this to malign other forms of bookbinding, but I wanted my result to appear very traditional. I like the juxtaposition of radical content in an austere, “proper” wrapper. It subverts assumptions about what’s worthy to be bound in such a way. It makes the strongest statement that the writing inside is valuable and real literature. Typically my typesetting and other design choices are also pretty conservative and I make those decisions with this goal in mind.
 
Other forms of binding such as Coptic stitch and glueless bindings are perfectly fine, but didn’t seem to make such a strong subversive statement as the stodgy old case binding.  Other Renegade members have experimented far outside the bounds of the case binding method and achieved great results, so if that’s a method that appeals to you, by all means go for it! The most important thing is that you bind that book!
 
-ArmoredSuperHeavy 
armoredsuperheavy: Hamilton, Gavin (atribuido a) - Portrait of John Henderson of Fordell, c 1777. Museo de la Real Academia de Bellas Artes (Default)
Last night in the bookbinding Discord, things really popped off. There are almost 70(!) people in the Discord now. 
A discussion started up about everyone's imprints. Several of us created logos and names for ourselves as publishing entities; mine is Dead Dove Publishing. Last night, though the idea arose of a single name to tie together the group of guerrilla publishers as a whole. 

After much back and forth, we came up with the name Renegade Publishing.  The Discord server is the "Renegade Bindery". 

There's now a Tumblr account which will feature reblogs of members' binding, and a Fanlore page. 


The text of the intro post is quoted below.

Renegade Publishing is a not-for-profit guild of artists engaged in fanbinding—publishing in extremely limited edition fannish works, including fanfiction, meta, original fic, zines and other works. Most works are made in handmade editions of one or two copies.
 
Members work self-directed, selecting works to bind individually, and may or may not offer commissions for binding services. We consider publishing to be a political act of resistance and self-determination, that makes an unequivocal statement about the value we see in these endangered, underground works. We refer to our work as fanbinding.
 
@armoredsuperheavy started fanbinding independently in 2018. After their guerrilla bookbinding manifestos went viral in 2020, they created the fanbinding Discord server. The community grew and so began Renegade Binding.
 
Our Bindery is on Discord. Send an off-anon ask for an invitation if you are interested in joining the movement.
 
Our site is maintained by members of the Renegade Binding group. Our site and Renegade Publishing formally established August 17th, 2020.
armoredsuperheavy: Hamilton, Gavin (atribuido a) - Portrait of John Henderson of Fordell, c 1777. Museo de la Real Academia de Bellas Artes (Default)
Here’s a big list of resources. If anyone has further suggestions please send me a message and I can add it to the list (and enhance my own knowledge!)

EDIT: This list is greatly expanded and moved here  : Bookbinding Resources Master List
 
Bibliography

ArmoredSuperHeavy - Self-Published - 2019
This is document is still in development but you can read the entire thing for free. This is a service I am offering to fandom and part of the fandom gift culture.
 
Physical book construction
 
Introduction To Bookbinding & Custom Cases: a Project Approach For Learning Traditional Methods
Tom Hollander-Cindy Hollander - Schiffer Publishing - 2019
ISBN 9780764357350
 
Bookbinding & Conservation By Hand
Laura S. Young - Oak Knoll Press - 1995
ISBN 1884718116
 
Fonts, Typography, & Layout
 
Better Type: Learn to see subtle distinctions in the faces and the spaces of text type. Achieve legible, beautiful, and expressive type every time.
Betty Binns - Watson Guptill - 1989
ISBN 0823004848
 
The Complete Guide to Typography: A Guide to Setting Perfect Type
James Felici - Adobe Press - 2003
ISBN 9780321127303
 
Just My Type: A Book About Fonts
Simon Garfield - Gotham Books - 2010
ISBN 9781592406524
 
Contemporary Book Design
 
Bookmaking: Design/Edit/Production
Marshall Lee - W. W. Norton & Company - 2004
ISBN 0393732967
 
Notes on Book Design
Derek Birdsall - Yale University Press - 2004
ISBN 0300103476
 
Historical Book Design
 
The Book: The Story of Printing and Bookmaking
Douglas C. McMurtie - Dorset Press - 1943
ISBN 0880293489
 
Modern Book Design: From William Morris to the Present Day
Ruari McLean - Essential Books - 1959
(no ISBN)
 
Book Typography 1815-1965 in Europe and the United STates of America
ed. Kenneth Day - University of Chicago Press - 1965
(no ISBN)
 
Victorian Book Design and Colour Printing
Ruari McLean - Faber & Faber - 1963
(no ISBN)
 
Art of the Printed Book 1455-1955: Masterpieces of Typography Through Five Cecnturies from the Collections of the Pierpoint Morgan Library, New York
Joseph Blumenthal - Pierpoint Morgan Library - 1973
(no ISBN)
 
Illustrierte Geschichte der Buchdruckerkunst: mit Besonderer Beruecksichtigung Ihrer Technischen Entwicklung bis zur Gegenwart
Karl Faulman - A. Hartlebens Verlag - 1882
 
Supplies

Talas Online
Talasonline.com - huge selection of archival, library, bookbinding, includes heavy equipment and things like real vellum.
 
Hollander’s
Hollanders.com - Everything you need. Best selection of decorative paper; also different bookcloths, offers Davy board custom cutting service which is worth it
 
Etsy
Etsy.com - search Bookbinding Supply, you can get deals on things, also decorative papers.
 
Blick Art Supply
DickBlick.com - Stocks some essentials; if you have a brick and mortar near you it’s great for emergencies like if you run out of glue in the middle of winter.

Panduro Hobby (https://panduro.com) has glue and decorative papers, they're a chain (with physical locations) delivering to parts of Scandinavia+parts of Germany.
 
Affordable Binding Equipment by Jim Poelstra
https://affordablebindingequipment.com/
His “simple sewing frame” and “simple book press” are very similar to my homemade ones. They do the job. 

(Tumblr xpost)
armoredsuperheavy: Hamilton, Gavin (atribuido a) - Portrait of John Henderson of Fordell, c 1777. Museo de la Real Academia de Bellas Artes (Default)
I’m flattered by recent attention on Tumblr for my bookbinding posts, and I’m glad the practice of binding fic has resonated with folks!

I periodically get questions about being able to buy these books. I thought I’d address that publicly.

The Gift Economy of Fandom

The vast majority of my bookbinding projects (over 90 and counting so far) have been strictly volunteer - that is, I’ve read the fic, or been recommended it by a trusted friend, and chosen to bind it, based on my own arbitrary evaluations.

Binding means two copies. One goes to the author, as a gift. The other I keep in a slowly growing archive. They are not for sale at any price. Nobody is paid for their labor, and I am not running a business. I am spending out of my own pocket for every piece of paper, every tool, all shipping costs. I accept small tips from authors if they wish, but they are under no pressure to send me money, and a tip doesn’t come remotely close to the value of my labor hours. But why should they pay me? They wrote the entire goddamn book for free. 

I approach fandom in the old-school way, as a community-focused practice and a “gift economy” - something a lot of newer participants of fan culture are drifting away from as the incentive to monetize fan works grows. The reasons for it are understandable. But I think this shift in fundamental approach is going to cost us a lot, as a subculture and as a community, in the long run. 

Do we really just wanna be customers/consumers and “content producers” in fandom? Fuck that, I want an actual community. I’m not a content producer. I’m a person making connections to other people and slowly growing a modern day online queer found family.

Because I seek community in fandom, and see fanwork as contributions to the “potluck”, I see this as just bringing my dish to the party here. I brought a cake - and it seems popular. If anyone else brought another cake, we’d have MORE of it and nobody would complain. Two cakes, and so forth.

What I’m getting at is, these are not PRODUCTS for you to BUY. These are artifacts of a community and a demonstration of community activism.  In order to GET one, you must get involved. You must either write a brilliant longform fic that I’m into,OR you can become a Guerrilla publisher in your own right!

Commissions

I’m uncomfortable with taking commissions and have only done it I think three times. Every time, I had to be convinced to do it. And I spent every penny of it on supplies and shipping and whatnot.

There are two main reasons I’m not open for commissions:

1 It immediately shifts the calculus of whose work gets printed. People with spending money get to see their chosen work in print. People without, not so much.

2. I’m less able to self-direct which work gets printed. I like the power to choose what to bind. I say what gets printed at my house. No outside money is steering that decision. The decision is not driven by money whatsoever. 

Without the money, I don’t have to give a fuck about the optics of which book I chose. I don’t have to worry about follower count. I print a lot of work that got “canceled”, authors beset by purity police for being “problematic”, etc. If I were trying to run a profitable business, these works are the last ones I’d choose to print. And that’s exactly why I’m printing them here.

OK but I want a Book, Sell Me One

Well, don’t wave money in my face. I’m sorry, that’s not why I’m here. See above.

If you’d like to actually take up bookbinding similar to what I am doing, I can provide you with information to get started. There are no secrets about my process, just trial and error and a shit ton of work. Just drop me a line. 

I realize that not everybody has the resource of time, money, or patience to figure out how to make books like mine from scratch. But that doesn’t mean you’re completely out of options.

Preservation of fic doesn’t have to look like a completely bespoke handmade book with sewn signatures and hand marbled papers.

It also doesn’t have to be a professional-grade 200 page glossy hardcover kickstarted mega-project with 100 contributors.

I’d really like to see the practice of print zines come back. Print your fic in a booklet and sew it up with a piece of thread. Mail it to your fandom friends. Go guerrilla publisher yourself. And if you didn’t write it, don’t forget to give a copy to the author: it’s the only ethical way to make use of their work.

I don’t want to be the only bookbinder to ever touch a fanfic. I want lots of people binding. Two cakes - nay, a thousand cakes, and the feast of cake was legendary and not soon forgotten, and slices of the cake were passed down to our children and grandchildren, and the cake survives even after we are gone. Let’s get baking.



armoredsuperheavy: Hamilton, Gavin (atribuido a) - Portrait of John Henderson of Fordell, c 1777. Museo de la Real Academia de Bellas Artes (Default)
I bind fanfic and other underground writing into real books. I am a Guerrilla publisher.

Why are you doing this?
  • To make a demonstrative statement on the validity of “fic” in general (and fanfic within that specifically) as a newborn genre of literature that has really only come into its own in the last 15-20 years.
  • To disrupt preconceptions about what is valuable and worthy of being memorialized in print, much less published in a fine edition.
  • An act of anti-capitalist resistance. Participation in the traditional gift economy of fandom. Most of my projects are volunteer and gifts.
  • Preservation of fandom history and works for future generations. These books won't blip out of existence by politically-motivated, puritanical updates to a corporate terms of service. These books are acid-free, archive ready, made to survive for another century.
  • Demonstration against censorship of fiction. Most of the books contain subject matter some people may find objectionable on various grounds. I have begun to deliberately seek out works that authors and artists were persecuted online for creating.
  • In summary, it’s a big Fuck You to power structures that silence people. On a positive note, it encourages people to keep creating and I hope reassures them that their work has enduring value. It makes my friends so happy that they cry, so that’s nice too.

Stylistic Choices

My book design is deliberately conservative because I am challenging ideas of what should be inside the book. The more a book looks like something a “real” publishing house would put out, the stronger and more subversive the statement it makes.

I've settled onto a bit of an equilibrium point with regards to my setup, production speed, the amount of labor I put into each book. My goal is not to make the most exquisitely fine objet ever bound. My long-term goal is to capture and preserve in print a broad array of fic and outlaw writing. Therefore, I haven't leveled up my equipme
nt to "fine binding" levels, I economize as much as possible the decorative paper, and don't lavish hours on technical perfection. To me it is a race against time to bind as many works as I can. I am racing against repressive bans of adult content, the chilling force of contemporary purity policing, and my own mortality.

Future Plans

Starting out two years ago I'd set a goal of 100 works, and I'm now on project 90. I am on track to meet that goal by the end of the summer, but have no plans to stop.

In the future I would like to somehow propagate this practice to others, and create a movement of decentralized, anarchistic, hardcopy fic distribution. I believe in the community-building power of fandom as a gift economy, a bit of an oasis from capitalism, and want to perpetuate this practice as much as possible. It may not be possible for many people to get into full-blown bookbinding, but I would like to see old-school zines and other paper goods circulate more.

I have deep concerns about the future of these fragile online communities we continually build, only to lose. Every couple of years, a major purge event causes many people in fandom spaces to precipitously fall out of touch. One way I see to combat this is to "get real", and distribute physical things to your circle of friends.

If we are serious about being connected, if we would like to have each other as a modern-day "found family" in the queer tradition, rather than a bunch of randoms unified only by
commercially unsavory thirst-consumerism, then we have to do the work to stay connected in an environment where nobody but us gives a fuck about our community, and none of the monetized structures we exist within online are going to go out of their way to support or enable that.

We have to do it; it's up to us.

And that's why I'm a Guerrilla publisher.

(Pseudo x-post on Tumblr)

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armoredsuperheavy: Hamilton, Gavin (atribuido a) - Portrait of John Henderson of Fordell, c 1777. Museo de la Real Academia de Bellas Artes (Default)
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