bzedan: (Default)
posted by [personal profile] bzedan at 11:40am on 12/04/2025 under
I think one can do pinned here? Or "sticky"?? Anyway, I just went and cleaned up some weird code that the linkback from my WP plugin was doing and figured that I should note: more often than not, what you see here is just mirroring my blog-blog! But I do reply to comments here, obvi, the posts just *originate* mostly from another place.

In the spirit of putting some useful things right up top, here's a the intro from my Tumblr, where I am the most active:

I go by B most often and if you are wondering how to pronounce my handle/name, this post right here has visual and aural examples, thanks to a wonderful podficcer ask.

I’m all over the internet because I’ve been here a long time, see my link page for the regular places. Tarot card stickers can be found here!

I’m also on AO3 as bzedan as well because the fact that I’m very googlable has yet to be a problem with work.




bzedan: (squint)

Storytelling Collective does a yearly challenge for flash fic, with prompts and a nice community format. Every year I complete a run I pick my ten favourites and collect them into what is basically a zine. With 2025’s up, now it’s time to share some faves from 2024.


A black and white illustration of an orrery, the model worlds and moons rigged to circle around each other.

It is eclipse season once more, my heart. You remember—each year, as the season spins up, one of the planet’s satellites occludes the sun a little longer, a little more frequently. Like all children I’ve done my share of annual observatory visits, memorised the tour and peered at the orrery that explained the phenomenon.

But you know I’ve no head for these things. The orrery is beautiful, and I know each capital city has its own, made by local artisans to reflect the attributes of each place. Our orrery was composed of granite marbles and chrome, visually one with the building itself, the mosaic floor a portfolio of stone patterns and textures, walls and columns dense concrete.

Once, when travelling, I visited the observatory of a small farming town and their orrery was a series of lacquered seeds and fruit pits, combining field and orchard. It was charming and inventive and it saddened me to hear other out of town visitors imply it lacked an appropriate seriousness.

Why should an orrery be serious? Eclipse season peaks as the largest satellite matches the sun for half a day, but the slow blinking of light in the weeks leading up to it is a manic thing, a wild thing. There are dances about it, and traditional cookies. I think you’ve tried those cookies, when you were last here. I made them, even though it was simple-summer and finding the ingredients out of season felt like a quest. How can something that is accompanied by a traditional cookie be so serious it should only be represented in the least fanciful materials?

Anyway, as I was saying, I love an orrery but they speak in a language I cannot learn. I remember when you showed me the little tide table you kept in your wallet, and explained how an ocean worked. That made sense to me, more than a device I could draw from memory. Every year we can pick up something similar from the town centre, a time table of occlusion. It’s a handy thing to have on hand when running errands, or before starting chores. I’ve been caught out in the dark walking home, my arms full of groceries (this is before you got me that little rolling basket) unable to get to the jacket I’d tied around my waist. It gets so cold during an eclipse. I don’t know if it is only in comparison to the moments before, or if there is something else about it. I had to walk home, shivering in the dark. Luckily the streetlights turn on automatically, but you know that the last stretch before my house is shaded by trees, with only one small globe at the crossing from the main road. It was quite an adventure. The tables aren’t perfectly accurate, but they’re good estimates and guides, and it pleases me to keep it in my wallet as you do your tide tables.

I’m writing this now, bundled up, as eclipse season reaches its zenith. Or is it the nadir? According to the time table, it should have ended over an hour ago, but still here I am under my warmest blanket, a lamp on and it not yet noon. Like I said, their accuracy isn’t fully guaranteed and I’m sure there is an expected range of inaccuracy. There is a word for that, isn’t there? If you were here I could just ask you, as I know you’ve said the word before, talking about your work and all those experiments you would check and recheck. Part of me wishes you were here now, so you could tell me what word I was thinking of and so we could sit under my heaviest blanket together. It’s a better warmth, the kind shared with another.

I know it’s for the best you’ve returned to your oceans and tides. You would find eclipse season fascinating. We could go on a tour of small towns and compare everyone’s orreries. Maybe there is one made with flowers, or even one that uses projected light. I think it would be fun to see what is out there, how different places interpret the same thing.

If you were here though, I think you’d worry that the time tables had been so inaccurate this year. You’d say “surely this is greater than any margin of error”. That’s it! That’s the word, or words. I imagined you well enough you answered me. Oh, my heart, maybe someday I will be able to go to you. I would like to see an ocean. Does your world have orreries? If so, what do they make them from?

Your beloved.


 

 

bzedan: (me-wig)
posted by [personal profile] bzedan at 12:20am on 09/04/2025 under ,

I saw an engagement-type post recently that was like “what were you doing in 2008” and I went and looked at my Flickr, which I’ve kept since 2005 and works like a sort of backup memory for me.

In 2008 I’d been out of college for three years, was making a sculpture a day for a bit, went to Wyoming for the first time, tabled at a comics fest for the last time, and we paid $650 for a two bedroom apartment where I had an entire room just for craft and making things. This was also the year I first shaved the sides of my head, realised that less hair was much easier to deal with, and never looked back. I think I’d moved to full time at the job I’d hold until we left Oregon completely (a horrible job but one that cemented my logistics and spreadsheet real-world experience, moulding me into the mix of product management wetworks I am today).

A panoramic photo of a room containing a sewing table, a bunch of clear stacked drawers, and a bunch of various boxes and stacks of craft things. A vacuum stands prominently in the middle.
I didn’t know how good I had it. The amount it would cost for me to have a spare room again is like a comedy number.

The key thing is though, I was still making minicomics and zines. As my life became one that included 20-24 hours of commute a week, I started writing more and reading lots (thank you, Project Gutenberg) and comics didn’t like, fall by the wayside but they faded out like all the little guys in Labyrinth at the end. It’s not like I stopped doing comics but I did stop printing them out or doing anything with them. I still had a long-arm stapler though.

And I did keep buying zines (I’ve even had subscriptions to some!) and have enjoyed watching the push and pull of “zine” changing from “thing I photocopied” to “nice printed and bound thing” while also seeing the return of the good ol’ one page zine.

Eventually, I got (back) into bookbinding, via fanbinding. Specifically, fanbinding fic I’d written with a friend of OCs from our D&D game. Bookbinding is fun as hell but sometimes you want something a little faster, which is where pamphlet binding comes in. Last winter I made my family group pamphlet books of short stories only available online. A pamphlet bind is like a high-end zine, tbh. Sewn instead of staples.

What’s funny is, through all of this, I’ve always laid out my various ebooks, like my flash fiction collections the same way you lay things out to be printed. I could not tell you why, tbh. Then I encountered a post by veronique about the joy of zines and turning ephemeral/digital things like blog posts into zines.

“Well dang, wait,” I thought, “that would be so easy to do.” I did still have that long arm stapler.

And so, here’s the past four years of Flash Fiction February collections, in physical form.

A hand holds a stack of four thick zines with bright covers, all are titled Flash Fiction February, with different years.

It’s wild how much more real this very real amount of work (daily writing, editing, illustrations, laying out the text block) feels in a physical form.

They do feel more like a “chapbook” than a zine though. So I tried laying out the first two essays from my newsletter, along with the pictures and book recommendations. It worked out swimmingly, and I then filled the two blank pages at the end with puzzles.

I don’t know what I am going to do with these? LAPL actually has a robust zine collection and maybe I’ll whack out a bunch of the FFF collections and send those in? Maybe I don’t need to do anything with them right now, maybe it’s just the joy of making. I have a bunch more newsletter essays that I can lay out and print out and be delighted by.

bzedan: (pic#11769881)

Storytelling Collective does a yearly challenge for flash fic, with prompts and a nice community format. Every year I complete a run I pick my ten favourites and collect them into what is basically a zine. With 2025’s up, now it’s time to share some faves from 2024.


A black and white illustration of a ball of yarn partly unwrapped.

It was Tuesday. It had been Tuesday for, as well as Mel could reckon it, something like five years. This would have been fine, they thought, if it was a solo or limited affect time loop. If it was only Mel, or only Mel and like a dozen people around the world, experiencing Tuesday, that would have felt surmountable.

But the whole world had been experiencing Tuesday for something like five years and had decided, after about a year of panic and then a year of recovery from that panic, that Tuesday was fine, actually.

That first year there had been spates of bank robberies, vengeance killings, strange pranks, horrible suicides by people sacrificing themselves in an attempt to reset the day. A lot of weddings, also. Money stopped meaning anything, what one spent on Tuesday was back in the bank on Tuesday morning. Even Mel had participated in an outrageous indulgence, purchasing a ticket for a first-class international flight. They’d had to buy it a couple of Tuesdays in a row, waiting for everyone else’s choices to line up for there to be pilots who chose to spend their day at work, for the airport to be intact, for the ground crews to also decide to spend their day at work. Mel was fine waiting. The airport was like a mall and it was as good a place to spend Tuesday as any.

All the social sites and forums reset each day as well, but Mel had gleaned enough over the months to know that they wanted to cross the international date line eastbound. Going west would just pop them right back into Tuesday. Going east let them enjoy the view, the food, the very nice accommodations. When they grew tired, they let themselves fall asleep, knowing they’d wake up in their bed, Tuesday morning.

They’d played, cautiously, with what defined “Tuesday.” It was some point of sunrise, the light gaining momentum as it spilled across the hills and they’d blink and they’d be opening their eyes on a fresh morning and another Tuesday.

Despite what was happening in much of the outside world, Mel spent those first two years more or less enjoying Tuesday. It was, in the old parlance, their “Sunday,” and what was a day that once held its own special dread of the work week to come now felt like a kind of haven. They did find it frustrating that any work they did on various craft projects was undone each day, calm hours cross stitching emptied from the aida. Eventually the frustration was filled with a sort of existential peace. It was the action more than the finished work that Mel liked anyway.

One of their mutuals on a fibre artist forum wrote a poem about Penelope and somebody with a better memory than Mel memorized it, adding it to the boards early Tuesday morning. Memorising the poem and sharing it became a ritual for Mel’s friends.

It was somewhere in the third or fourth year of Tuesdays that Mel’s manager called them and asked them to come into work. Mel hesitated, they’d always been very protective of their two days off in a row and the instinct wasn’t broken by years of Tuesdays. Mel’s manager then told them that “even if Tuesday forgets, I won’t,” the threat clear in her voice. Someday Tuesday would end and if Mel wanted to be employed that eventual Wednesday, then they needed to come in. And so, they did.

Mel’s manager wasn’t the only one who tried to claw back a semblance of order, playacting a normal week of days across a string of seven identical Tuesdays. Mel felt bad for her for a while, realizing how empty her Tuesday must be without the self-definition of her job. Mel’s pity lasted for a couple of months and then the habit of going into work carried them another year. They’d always been easily swayed into routine, and the pattern of going into work was a more practiced one than having a day off.

Then, one Tuesday lunch break, Mel read their mutual’s Penelope poem again. Someone had filmed themselves speaking it, over slowed video of a sweater being frogged. They’d done a great job with the sound, the popping rip of the yarn coming undone not overpowered by the words of the poem, but supporting them like a drumbeat. Mel watched the video three times in a row, then walked out of the store, leaving their apron on the hook in the break room. Tuesday morning the apron was back, folded on top of Mel’s dryer. There was also a very long text from their manager that Mel did not read before replying “Sry, day off.”

When Wednesday came, Mel wanted it to be a day shaped by their choices alone.


bzedan: (squint)

Storytelling Collective does a yearly challenge for flash fic, with prompts and a nice community format. Every year I complete a run I pick my ten favourites and collect them into what is basically a zine. With 2025’s up, now it’s time to share some faves from 2024.


A black and white illustration of a parakeet drawing with a feather quill in its beak.

Seb held up his hand and felt Aurok gently run into it. The small bird nibbled softly at the back of his hand before turning around and patting away. Turning his attention back to the parchment, Seb dipped his pen and continued outlining the flowers framing the verse. Although he liked adding the colours as well, Seb enjoyed this step the most, feeling the sweep of his pen follow twining stems. He was not so entranced by the process to miss the tapping sound of Aurok returning.

With the deftness of practice, Seb caught the bird before it closed in on the parchment. Aurok peeped cheerfully, nodding its head to duck within the warm cage of Seb’s curled fingers. Knowing what came next, the scribe hastily cleaned his pen and set it aside before placing the bird back onto the desk, an arm’s length from his workspace.

Merrily, Aurok strode toward the parchment. Seb caught it up again, the bird giving a high flute of excitement. Back to the scarred wood of the table, the bird’s steps jauntier, eager for the next part of the game. Once more Seb scooped up the bird, adding a small swoop to the path of his hand as he returned Aurok to its starting point. They repeated this cycle several times, until Aurok nipped Seb’s finger in a clear declaration of the end of the game.

Seb returned to his work and Aurok returned to its current project of tearing apart an old rag. Without interruptions, the outlining was done quickly. Seb tidied his workspace to make room for the paints. Seeing Aurok well occupied with its rag, he turned around to fill a dish with water.

The pleasant sound of splashing covered the noise of any crimes, and Seb turned back to the desk to see Aurok halfway across the parchment, the dainty claws of its feet leaving a trail through the not fully dried ink.

There was mercy in heaven, Seb thought, for Aurok’s path had not crossed the careful script of the verse. Quietly, he set the dish of water down and closed the distance to the desk. Aurok, focused on its quest, ignored him as it rummaged between the assorted jars and containers that accumulated on any working surface. Smoothly and swiftly, Seb’s hand darted out and captured the bird. Aurok showed no distress at this, nor in Seb wiping its feet, as it was far too engrossed in prising out the meat of a walnut half. Seb could not remember when he had last eaten walnuts and resolved that in the future he would pick up and wipe under the things on his desk rather than sweeping around them.

Its prize obtained, Aurok expressed no further interest in crossing Seb’s desk. The scribe spent the rest of the daylight incorporating Aurok’s inky steps into the design. The end result, he had to admit, was quite harmonious.


bzedan: (squint)
posted by [personal profile] bzedan at 07:55pm on 25/03/2025 under
A black and white illustration divided into three columns. The outer columns are circle-spot illustration of things like coffee cups, bridges, books. The text in the centre column reads "Flash Fiction February 2025."

Another year down! This is the fourth year I’ve completed Flash Fiction February and the fourth year I’ve put my favourite pieces into a wee collection and stuck it on Itch. And you can get it right here I’ve always likened the challenge to using a sketchbook, it’s an exercise, more often than not, to learn you can make some words come out at will. “Write 500 words from this prompt” feels very similar to my brain as “look at all these hairstyles and practise drawing them.” But, just like some pages of a sketchbook, sometimes you get something tangible from the practise.

Since writing flash tends to be a more contained practise than a sketchbook page, I am lucky enough to find ten stories every year to bring together, edit, illustrate, and share. My favourite part though, is that once I’ve got a new collection up, I take four favorites (of the ten favorites) from the previous year and share them on my blog. I really just like sharing stuff I’ve made. I like to think people read what I write. And after a year, picking four favourites really does bring the focus in on the most interesting or fun stuff.

Anyway! This year the illustrations were in the vibe of headpieces, with central images. Always a fun challenge to keep it: photocopy black and white AND somehow visually illustrate what isn’t often a visual set of words. In theory I could print any of these out into proper zines. Maybe someday I will.

Until then, here’s the pitch snagged from the collection’s page on Itch, where you can get it for a dollar:

Ten flash fiction pieces collected together with illustrations for each. There’s time loops,

There were probably better ways to spend a time loop than a job interview. Luz had done them. Made a lot of memories. Great stuff.

a smidgen of softness,

The cookbook was one of Cara’s most prized possessions. She’d found it at a junk sale, which seemed to be how it had entered every previous owner’s home. It fell open to the most-used recipes, some pages spice-stained, others clearly the victim of spills… On any of the most-used looking recipes, there was commentary from a half-dozen ghosts scrawled in any empty space.

and also time loops.

Check who is in front of you, is it the same group as every morning? Are they wearing the same clothes as every morning? No! How wonderful! The auntie two people in front of you is wearing a shawl not a sweater today, that’s great! That’s two things different this morning already!

This 7.7k+ word flash fiction collection is available as epub, mobi, and pdf files.

Content warnings: unreality, time loop death.

bzedan: (pic#11769881)

It’s difficult, to get back into the specific habit of blogging. I mean I do it – I “microblog” on Tumblr and I’m so far sticking well to my goal of weekly updates at Comradery and Patreon. Even my newsletter is kind of bloggy. But beyond that, it was a habit I kind of lost when I left LiveJournal, to a degree. My problem, I think partly, is I always want to cite lots of sources or have a ~reason~ for a post. Which is silly! I like posts that are just little life updates or complaints or stories or whatever whatever. And not just from others, I mean I also like stumbling across the ones I’ve written myself.

Anyway right now I’m in the middle of Flash Fiction February, as held by Storytelling Collective, I guess this is the fourth year I’ve really gone for it, though I’d picked at it previously. In 2022 I got an AlphaSmart and it helped me re-focus how I was going about things. Here’s a little video from then of how it works.

This year though, I’m typing on the computer, specifically in Ellipsus, because they have a very sexy little snippet you can do now and that’s fun. The always wonderful Zilla Novikov (who wrote Query, which you should read) does a “post the first line in your WIP” on Tumblr that I enjoy and don’t partake in enough, and I figured the snippets would be a good way to do that.

In 2023 I made a spreadsheet (of course I did) to track the prompts, word count and genre of what I was writing and to better note what should go in the collection I put together for each year (find them over on Itch, they’ve illustrations and everything). It’s a nice way to see, with these little bits of story that are like working in a sketchbook, what I keep returning too. Here’s a snapshot of where I am for this month, which is generated from daily entries. If the genre-description-type thing doesn’t make sense to you that’s fine, I mean this is more for me.

A screenshot of a spreadsheet. Columns are: Genre, Total, Total Used in Collection, and More Stats. Right now there are 4 "Normal World" stories, 3 "Sci-Fi" stories and an assortment of others. A cell mentions "Format Play," of which there are three.

It is difficult to balance working in a lot of media. While I’m writing I’m also (supposed to be) shooting some stickers to finally get them in the shop, working on some sculptures, finishing a quilt, mending my coat, etc etc etc. But that’s life! I dunno! It’s how its always been. Finding a balance, sticking to the to-do lists that keep me on track without putting me in a rut, building new habits or rebuilding old ones.

Like blog posts without a point, really. Other than saying “I’m here! I’m here please!” Which are good posts to have and to see and to make.

bzedan: (me-wig)
posted by [personal profile] bzedan at 12:29pm on 25/01/2025 under ,

I got into my head that Tamsyn Muir’s The Unwanted Guest needed to be bound to look like a Samuel French script. You know them, if you’ve done theatre. And although they’ve redesigned their covers, they looked the same for a very long time. I’d hoped to unearth one of mine as a reference (No Exit, by Jean Paul Sartre), but I have no idea where it disappeared to in the two decades and half-dozen moves since I first marked it up.

Luckily, “vintage” acting editions abound in the second-hand world and I was able to find reference images to suit. I think I did a good job getting the vibe right. I made three copies, two gifts and one for me (which worked out great since I fully forgot orientation for my printer and the inside cover of my copy is upside down).

A photo of three actors edition scripts for "The Unwanted Guest" from Mithraeum Play Service Inc. with soft purple covers.

For this bind I added a lot of fluff, like inside covers advertising posters, other scripts available from the Mithraeum Play Service Inc. library and a new play available – The Noniad.

A photo of the script book opened to show the inner front cover, with a very vintage vibed full page advert for buying posters of different sizes for the play.
A photo of the back cover, with rapiers at the top and bottom, framing a list of other titles available in the Appendices.
A photo of the script book opened to show the inner back cover, with a full page advert for The Noniad "now formatted for the stage"

I also wrote little character descriptions, which I’m proud of. Luckily the script book I had to hand to physically ref was also a two-person play so it helped with the vibe. The inside text block is… fine. I realised way too late that I had mucked up the scene headers, so we won’t look at those.

A photo of the interior of the book, with one-paragraph descriptions of Ianthe and Palamedes. IANTHE TRIDENTARIUS—22, Formerly the Princess of Ida and Heir to the House of the Third, she now serves The Emperor as one of his Lyctors, as the Saint of Awe. The pale twin to her sister Coronabeth’s glowing charisma, she was the first of the Canaan House prospects to ascend to Lyctorhood. A necromantic powerhouse before her ascension, she is a calculating woman who also enjoys dramatics and excess. PALAMEDES SEXTUS—20, The Heir to the Sixth House and Master Warden of the Library, he is an intelligent and ambitious man who also has a soft spot for erotic fiction and romance. He has an appetite for solving problems and thrills at what appear to be impossible challenges.
A photo of the interior of the book, which looks like a script, character names bolded.

Also fun: text on the spine. You know, to become completely rubbed off as your sweaty hands keep fussing with the script as you completely destroy it while memorising your lines. Probably nowhere near accurately bound but it gives the vibes.

A photo of all three scripts, stacked, slightly bent to show the narrow spines with the play title on them.

This was a delight to do, and (other than messing up the scene headers) they turned out exactly as I’d hoped and imagined. The covers were off-cuts from a photo backdrop! The perfect colour I think.

bzedan: (me-wig)
posted by [personal profile] bzedan at 04:44pm on 18/01/2025 under ,

As I posted earlier, I did some pamphlet binds of short stories for family gifts this year. Pamphlet sewing is my comfort craft, tbh. It’s always satisfying, easy to play with form, just a delight up and down. If you missed the earlier post check it out here.

Which is good because I had to make a grip of them in a week (I put things off a touch). I had done a very niche bind in a set of three as more specific presents, then realised I should just indulge myself and do something similar for everyone. You can get a peek of what the initial bind was here, but it will get its own post.

A photo of a hand gripping a thick stack of half-letter pamphlets in a bright array of colours.

All this talk of pamphlet binding and this first one isn’t that. It’s three signatures, with a soft cover. I selected three favourite trope-based stories and wrapped them in the brightest dang red I have tried to photograph. The illustrations for each section I drew myself based off of images found in Wikimedia Commons.

The stories are:

A photo of a VERY bright red paperback titled "Three Tropes" with three symbols below it: a winged hourglass, a pitchfork wrapped with an arabesque, two hands shaking.
A photo of the same book held open to the title page, showing the same three images, this time with the titles of each related story next to them.

One of the fun things with this project was thinking about what story would make someone the happiest – what they’d read and loved or had never read and might love. For this friend, I couldn’t think of a better match than Pockets by Amal El–Mohtar. The images were sourced from Wikimedia Commons, coloured with watercolour pencil and gold pen.

A photo of a half-letter pamphlet done with white and yellow butcher's string that is tied in a bow at the spine. The cover is decorated with the kind of images you see on a sewing pattern, with the title "Pockets" across it at an angle.
A photo of the back of the same book, with a drawing of two hands in the middle of a disappearing coin-trick at the bottom.
A photo of the same book, opened to show the text, with a trombone separating sections of text.

This one I haven’t mailed yet because first: I always mess up this person’s address somehow and USPS will say they don’t know where that is. And second: because we are very close to one of the big LA County fires and our power has been out and schedules disarrayed. Elves in Illinois by Sarah J. Wu is a true delight and the length pushes the appropriateness of pamphlet sewing.

A photo of a thick half-letter pamphlet with a light blue cover with the title "Elves in Illinois" surrounded by flowery border bands above an illustration of a field.
A photo of the same book, opened to a section with the header "1975", the first line has a drop-cap.

This searingly bright bind is a fanfic for a very specific ship, if you have AO3, def kudos All The Things You Are by bossbeth, this is just chapter one.

A photo of a half-letter pamphlet with a very bright green-yellow cover with a rope frame and a barrel cactus beneath the title "All The Things You Are."
A photo of the same book, opened to show the squiggle of rope used to separate scenes in the text.

Okay, I’ll get to the bind that started it all next. These were such a joy to make, there’s something very magical about being able to hold something in your hands you otherwise can only access on your phone.

bzedan: (me-wig)
posted by [personal profile] bzedan at 06:52pm on 11/01/2025 under ,

One of my favourite things about winter is making a bunch of gifts for my family (who I am related to only one of, but: family). I like to have a “party favours” energy to it often. For a while I rotated through folks with who got “big” things that required more build time, but the past couple of years have been tired ones so everybody gets something a little smaller instead now.

This year, I decided to indulge my love of pamphlet binding and make little gifts of short stories only available online, or as part of larger collections. Pamphlet binding is just a delightful way to transform something ephemeral/online into a physical object. And it’s one of the easiest ways to make a book, I think.

A photo of a stack of half-letter pamphlets fanned out. All the covers are bright, some have gold detailing picking up the light.

There’s one I did three copies of (two gifts, and one for me) that I’ll share later, but here’s the first half of the bunch!

Let’s start with the silliest one. RE: REQUEST FOR PROPHECIES AND QUEST FUNDING APPLICATION GUIDELINES by Sara Ryan. When you’re sending a gift to someone who also binds books you want to have a little more silliness. This amazing short story, done in the style of a grant application, I bound in a re-sized manilla folder, using brads to secure the pages. These brads, btw, were salvaged from an archive project and I love that they show their age.

A photo of a hand holding a half-sized manilla folder labelled "Adventurers United".
A photo of the same mini-folder, opened, a hand lifting up pages to show how they can be read.

I had a lot of fun both using foil and finding free-for-personal-use fonts to act as section delineators (there’s a word for them but its escaping me). For The Nalendar by Ann Leckie (also available in her AMAZING short story collection Lake of Souls) I used Nature Boho by Edy Wiyono.

A photo of a half-size pamphlet titled "The Nalendar" in a vivid green. The title and a sketchy illustration of a lizard below it are done in gold foil and almost invisible in a flash of light off the foil.
A photo of the same book's title page, showing the same title and lizard, this time with a column of almost glyph-like arched shapes evoking nature scenes.
A photo of the same book open, to show some text on a page, sections delineated by a small arched image evoking sun through a window.

For Velvet Man by Leone Ross, I loved Under by imagex. I also drew the spotch that I foiled for the cover.

A photo of a half-size pamphlet titled "Velvet Man" in a vivid orchid cover with gold foil in the pattern of a stain wrapping around the spine.
A photo of the same book open, to show some text on a page, sections delineated by a row of fat scribbles.

I’ll share the next half in a new post, since this is getting a bit big!

March

SunMonTueWedThuFriSat
1 2
 
3
 
4
 
5 6
 
7
 
8
 
9
 
10
 
11
 
12
 
13
 
14
 
15
 
16
 
17
 
18
 
19
 
20
 
21
 
22
 
23
 
24
 
25
 
26
 
27
 
28
 
29
 
30
 
31