Thank U For This !! Saving For Refrence Later

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Book binding 101: Materials

I’ve decided to do a series of posts on how to book-bind since I talk about it a lot, and I think it’s a really fun process. This post will include various inexpensive alternatives to “professional” supplies, many of which you will have at home. Not everyone can afford a cricut and that’s ok! I will also be listing more expensive materials for people who want to invest a bit more into the craft, but they absolutely are not a must.

This first post will focus on a list of supplies you can use to make books, but will not yet get into the instructional part of it. That will come later!

Anyway…

Bookbinding Materials: Essentials

These are items you need to bind, but many you can find around your house!

Sewing thread: Any thread will work for bookbinding, though waxed threads can help reduce tangles. You can also double up thread as another way to prevent tangling if you so choose. Waxed thread is definitely more expensive, so it can be good to use what you have starting out. Here’s a link to the waxed thread I used for those that are interested. You can buy it in a lot of different colors! (White is good if want an “invisible” thread).

Sewing needle: A lot of people say to use a curved needle for binding, but I’ve never found it to be much different from using a regular needle. If you have one, I would recommend a larger needle, however, since it’s better for piercing through signatures (aka the stacks of pages you bind together). In other words: there’s no special needle you need to bind books.

Ruler: I’d recommend any metal ruler since it’s better to use as a straight edge for cutting. There’s a good chance you already have one. It’s just used for measuring and being a straight edge. Nothing fancy.

Paper: Any paper will work. What you wanna use depends on your project really: if you’re binding together a work of text you’ll want to use some kind of printer paper (of course). If you’re making a sketchbook, you can fold up some sketching paper. I like to get sketchbooks with perforated edges so I can tear them out easily if I want to use a blank page for bookbinding. You can also buy large sheets of paper made for any medium. For example, if you want a sheet of water color paper, just search “large watercolor paper sheet”.

Awl (or all alternative): An awl is a tool used to poke sewing holes. It’s nice because it’s sharp and ergonomic, but you can totally also use a pushpin or even a sewing needle.

Bone folder (or a bone folder alternative): A bone folder creates sharp creases when you fold your pages, making them lay flatter. It also helps define the hinge gap on finished books, making it open easier. You can use a ruler if you don’t have one.

PVA glue: PVA glue is what to look out for when it comes to binding glue. There are some designed specifically for bookbinding, which spread out a bit faster than ones that aren’t. You can also use tacky glue which IS a PVA glue.

Book board: Also sometimes called chip board, Davey board, or mat board. This is what you’ll use for hard cover books. It is important to use book board specially, as cardboard will warp. You can buy book board directly, or you can cut the covers off of old textbooks or binders, unwrap the paper/plastic around the board, and use that!

Box cutter or utility knife: for cutting the board

Decorative paper and book cloth: For wrapping around cover boards and for endpapers. Book cloth can also be used to cover boards. You can also draw your own designs on Bristol paper if you want (or any paper with a similar thickness/durability). When it comes to decorative paper I like to either get scrapbook paper or rolls of fancy handmade paper (you can get those on Etsy, through paper source, or through bookbinding websites).

Bookbinding materials: Optional (and not crazy expensive)

These are supplies that you don’t need for binding but that can make the process easier and/or help with the decorative elements of your books. I’d recommend these things for when you’ve been binding for a while and feel these things could be helpful!

Paper trimmer: can cut a few sheets of paper evenly—I find it really helpful for endpapers

Stencils: Super helpful if you want to add text on the covers

Stamps: Good for adding text and also great for adding illustrations if you’re not able to draw them on your own. You can buy ink pads for them or use markers by coloring over the stamp lightly and using the stamp immediately so it doesn’t dry (I’ve tested this with alcohol markers and it works very well)

Paint markers: great for drawing directly on the cover. Since they’re opaque they can imitate the look of vinyl. You can also get them super painterly if you want. The internet usually talks about poscas but there are tons of different brands. Do some research, figure out what you like & can afford.

Hot foil pen & heat transfer foil: Perfect if you want to add foil to your covers but don’t want to spend a ton of money on a cricut. A lot of binders uses the foil quill brand, but there are ones that cost less and work the same (I have both a cheaper one & an actual foil quill because I wanted some nib variation. As long as the pen has good reviews that aren’t from bots you should be good). Also remember: don’t use foil designed for going through laminators (I.e. decofoil) . It doesn’t work the same way.

Bookbinding Materials—Expensive

These are materials I’d recommend for people who have been bookbinding for a while & feel that it’s something they really want to invest in. To be fully transparent, I’m a college student and don’t own these and have little personal experience with them. However, I know a lot of binders who love them!

Cricut machine—Cricuts are cutting machines that can make precise cuts into paper, wood, bookboard, or vinyl. A lot of binders will cut designs out of vinyl and apply them to the covers using a heat press.

Book press—What it sounds like. The pressure helps the pages lay flat and stay even. That being said you can stack heavy books on top of your projects, it just may not have the same even pressure. I also know some people will DIY these, so if you’re skilled with power tools you can give it a go!

Paper guillotine—like a paper trimmer but bigger and can cut more sheets of paper at once. I believe really good ones can also be used to cut bookboard!

Those are all the materials I can think of! Hope this can work as a good starting point for those interested in the craft. I’ll definitely be posting more info about bookbinding for people who are interested :)

-Zoë💗

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173K notes View Post

bonjour-itsame

1 month ago

maybe it’s cause it’s 2:30 but this was funny enough that i gotta have it to refer back to for a laugh

96K notes View Post

bonjour-itsame

5 months ago

Rhysand's SA of Feyre UTM is real, and the way it is brushed aside is hard to reconcile. So let's talk about it (inspired by an amazing fanart of Feysand UTM).

1. "Drink, you'll need it." "No." "Drink."

The faerie wine is a way to control Feyre, stripping her of her ability to resist or even fully remember the SA she endures. By forcing her to drink against her will, Rhysand takes away her awareness and her consent, putting her in a position where she can't defend herself, can't remember, and can't even process the trauma of what is happening to her. The fact that she loses entire chunks of time under the influence of the wine, along with his mind manipulation, is incredibly dark. He exploits her vulnerability in the worst possible way, taking advantage of her defenseless state to make her an object of display and control.

And the blackouts likely make it easier for her to excuse his actions later because she can't fully recall the details—her memories of the abuse are fragmented, which makes it hard for her to confront the reality of what happened. By removing her memories of the trauma, Rhysand essentially robs her of the ability to even begin healing from it, which is both abusive and manipulative on a profound level. That line where Feyre admits to looking forward to the faerie wine is heartbreaking and reveals the depth of her trauma and desperation. She's so overwhelmed, so physically and mentally trapped UTM, that she starts viewing the wine as a reprieve.

When Feyre clings to the chance of escape, even if it means blackout oblivion, it's clear she's developed a trauma response—a desperate coping mechanism to endure her circumstances. She craves that brief numbness, however forced, to escape the horror of her reality, even though the wine also strips her of her autonomy and memories. This moment does not show her acceptance of what is happening to her, but rather how deeply damaged Feyre is, to the point where the very thing that is hurting her becomes something she grasps onto for a sense of relief.

She's left with only the tools of her abuser, clinging to the one thing that allows her to survive, even if it means blacking out parts of herself. And that's one of the saddest aspects—she's forced to use the very method of her exploitation as her survival mechanism, and it reveals how utterly trapped she feels. It's incredibly troubling to see this suffering reframed as some sort of prelude to romance, especially when her trauma responses, like craving the oblivion of the wine, go unaddressed later.

2. "From the neck down, I was a heathen god's plaything."

Dressing her up like that is another layer of control and degradation. Rhysand doesn't just make her a spectacle, he strips away her agency and autonomy in how she presents herself, reducing her to an object—"a heathen god's plaything." It is a costume designed to sexualize and dehumanize her, reinforcing his control while robbing her of any in how she looks or is perceived. Feyre is reduced to a pawn in his game, forced into a role where her dignity is actively stripped away. And that lack of choice over her appearance isn't a small detail—it shows how calculated his cruelty is, how every element is crafted to control and humiliate her while leaving her feeling exposed, objectified, and powerless.

Fast-forward to the Court of Nightmares, and it's disturbing to see Feyre wear a similar costume with Rhysand's approval and guidance. In ACOMAF, it's framed as Feyre's choice, as part of a scheme they're in together, but the undertone is still there—that her body, her appearance, and her sense of self are manipulated to play into Rhysand's strategy. While she consents this time, her "consent" is given within a framework that echoes her previous trauma, with Rhysand guiding her actions in a place where she once felt utterly degraded. This creates a troubling dynamic, as she's stepping back into a role of objectification and sexualization, one she didn't initially choose. It's like Feyre is reenacting her trauma in the name of strategy, and Rhysand, rather than considering the impact of such an act, almost seems to encourage it.

The narrative attempts to pass this off as empowering, but it feels unsettlingly manipulative. Feyre is using her own trauma against herself in a sense, allowing herself to be dressed up, touched, and paraded in a way that directly mirrors her exploitation UTM. Rhysand's involvement in this scheme blurs the line between a partnership and a twisted repetition of his control over her. What's especially disquieting is that it’s framed as something clever, as if allowing herself to be objectified is her best option, which glosses over the ways this echoes her previous abuse. The lack of self-reflection or deeper acknowledgment from Rhysand about how disturbing this could be for her is another glaring omission. It's treated as if the past doesn't matter, as if she can simply step back into this role and play along.

3. "As soon as his finger left my skin, the paint fixed itself."

Rhysand deliberately puts Feyre in degrading positions, like having her sit on his lap or by his feet, dance between his legs, turning her into a kind of possession to flaunt in front of everyone. That sort of physical control and forced closeness is a form of SA, plain and simple, and it is deeply violating for Feyre. But let's talk about the non-consensual touching that Rhysand engages in that is frequently excused because it is on Feyre's waist and sides. Let's look at this scene when Rhysand demonstrates how the magical ink on Feyre's body works:

I braced myself as he ran a finger along my shoulder, smearing the paint. As soon as his finger left my skin, the paint fixed itself, returning the design to its original form. "The dress itself won’t mar it, and neither will your movements," he said, his face close to mine. His teeth were far too near to my throat. "And I’ll remember precisely where my hands have been. But if anyone else touches you—let’s say a certain High Lord who enjoys springtime—I’ll know."

What is particularly alarming about this is Rhysand's ability to fix the ink that he smudges with ease. This suggests that he might be touching Feyre anywhere on her body without leaving a trace, only choosing to smear the ink in a way that is minimal and non-incriminating as a deliberate tactic to create an illusion of consent and innocence to ensure that Feyre believes he isn't crossing any boundaries, while the reality is far more sinister. Since Feyre is blacking out each night, she has no way of knowing the extent of his actions.

This creates a disturbing dynamic where Feyre is left questioning her own experiences. The boundaries Rhysand establishes through selective touching serve to confuse and trap her, making it easier for him to maintain control. The knowledge that he could be touching her inappropriately without her knowing adds a layer of psychological torment. It underscores his power over her autonomy and reinforces the idea that she is never truly safe from him. The smudged ink is merely another tool of deception, allowing Rhysand to manipulate her perception of what is happening to her body.

4. "I spent my days sleeping off the faerie wine... to escape the humiliation I endured."

Yes, this line is important because it reveals just how deeply broken Feyre feels UTM, using sleep to escape the horror and humiliation forced upon her by Rhysand. Her days blur together in a haze of faerie wine and sleep, a desperate attempt to shut out the reality of what she is enduring. Sleeping through the pain, drinking away the humiliation—these are raw trauma responses, the signs of someone who feels so trapped and powerless that unconsciousness becomes her only refuge. It's not a choice born out of comfort or peace, it's survival, an act of shutting down just to endure the next day.

This level of psychological exhaustion—using sleep to escape humiliation—shows the depths of what Rhysand's SA does to her. Each day, she wakes to a fresh cycle of abuse and trauma, so she retreats in the only way left to her: shutting her mind and body down. Even without full memories, a part of her mind understands the darkness she is facing and tries to find any means of survival. Yet, that's the last we see of Feyre's trauma responses to her SA by Rhysand.

In ACOMAF, we see Rhysand haunted by nightmares of his SA by Amarantha. His distress is severe enough that Feyre even helps him through one of these episodes when she is staying with him at the Townhouse. It's clear that his trauma around the abuse he suffered under Amarantha is still raw and unresolved. But it raises an unsettling question: why does Feyre no longer seem to exhibit any nightmares or trauma responses tied specifically to her SA by Rhysand?

Feyre's lack of nightmares surrounding her experiences with Rhysand, especially given her coping mechanism of sleeping off the humiliation, feels absurd. It implies a troubling erasure of her trauma, suggesting that either she is suppressing these experiences or the narrative chooses not to engage with them. Instead, we see her nightmares focus on other parts of her trauma UTM—like the faeries she killed to save Tamlin—but the specific horror of being abused by Rhysand is conspicuously absent.

5. "Don't get me started on what you did to me Under the Mountain."

When Feyre tries to bring up her SA in ACOMAF, it's dismissed with barely any meaningful confrontation or healing process. Rhysand's near-breakdown and avoidance make it seem like his feelings take priority over Feyre's trauma—a strange and uncomfortable narrative choice. Feyre deserves closure, and readers do too. It's painful to see the story shift to make him the hero without ever fully grappling with that past harm. The lack of acknowledgment or accountability not only undermines Feyre's agency but also misses the chance to explore the complex journey from trauma to healing.

What's even more disturbing is how Feyre's SA by Rhysand is recontextualized to excuse his behavior as somehow protective or necessary. It creates a twisted narrative where his cruel choices are somehow reframed as noble or sacrificial, without ever allowing Feyre her rightful anger or trauma over that experience. The absence of a real, open discussion about this later on in the series—one where Feyre's trauma isn't overshadowed by Rhysand's guilt or anger or avoidance—is a glaring gap.

In failing to fully address the impact of Rhysand's SA on Feyre, the narrative ultimately deprives her—and the readers—of the resolution and healing that her trauma demands. The fact that her suffering is left unexplored while his is highlighted skews the focus, suggesting that his redemption and guilt matter more than her recovery. This imbalance not only erases her experience but distorts her journey from survival to empowerment. A truly powerful narrative would allow her to confront him and reclaim her voice, addressing the harm he inflicted.

There's so much more to unpack here that I'm sure I'm missing—like the nightmare fuel that is Chapter 54. Anything else you guys would add?

166 notes View Post

bonjour-itsame

2 weeks ago

good things will happen 🧿

things that are meant to be will fall into place 🧿

697K notes View Post

bonjour-itsame

4 years ago

Blame this guy named tony for this ok😭

167K notes View Post

bonjour-itsame

1 month ago

“Covid game me narcolepsy” no you fucking pervert it didn’t. You’re just a weirdo with a gross fetish. Covid didn’t make you suddenly want to fuck dead people. Keep that shit to yourself you gods damned weirdo

I have type 2 Narcolepsy. Studies have shown that serious viral infections can cause people to develop Narcolepsy if they are already genetically susceptible to having it. This includes covid. That is what happened to me.

You on the other hand might want to google the difference between Narcolepsy and Necrophilia….

89K notes View Post

bonjour-itsame

3 weeks ago

in denial and rewatching the series… remember the halloween episode (“Spooky”, Season 1 Ep 5) where idk experiment 300 shows people their worst fears… and nani sees cobra changing his mind and saying he’s taking lilo…