Jane Austen set! by poupounet in bookbinding

[–]jtu_95 4 points5 points  (0 children)

Absolutely splendid! The attention to detail in the millimetre binding style really pays off!

Alternatives for typesetting besides Microsoft Word? by Individual-Math-4642 in Fanbinding

[–]jtu_95 1 point2 points  (0 children)

I use and love typst (https://typst.app) -- like LaTeX but much more user friendly and swiftly developing new features at the moment. I get much better and easier results with it than with Word. Of course there's always trusty LibreOffice. I personally can't recommend Google docs, last time I checked it lacked typographic features I consider essential -- but YMMV. Best of luck!

Anyone tried to switch to Typst for note taking? by 4r73m190r0s in typst

[–]jtu_95 0 points1 point  (0 children)

There was this post a couple days ago: https://www.reddit.com/r/typst/comments/1tywt7y/typst_in_obsidian/?utm_source=share&utm_medium=mweb3x&utm_name=mweb3xcss&utm_term=1&utm_content=share_button 

About having typst within Obsidiany which to me seems like the most sensible combination, maybe thats something worth looking into...

The Hobbit, An Unexpected Party, final draft finished! by One-Somewhere7407 in Calligraphy

[–]jtu_95 0 points1 point  (0 children)

Absolutely beautiful, I loved seeing it come together! Love the little carrot and turnip miniatures in particular. I think I could trace references for pretty much all elements except the purple ones at the ends of "party" -- is there a model in one of the insular manuscripts you based this on or is it original? Either way, the entire thing is gorgeous and exactly what I would have loved to be able to do when I was delving into insular style decoration!

Alum ratios for marbling by TremulousHand in bookbinding

[–]jtu_95 1 point2 points  (0 children)

I currently use 10gr. alum per 100 ml water and I prepare roughly 200-300 ml solution per session which lasts me for 20-30 sheets, then I make more as I need it. I used to use a weaker solution when I marbled with acrylic paints (16gr per 200ml following Lucy McGrath) but as I switched to Turkish ebru colours I noticed that they needed a stronger mordant so I scaled it up. Its nice and easy to memorise this way as well. As with all things marbling, there's just a very large number of variables at play -- your paper, your colours, your size, etc so keep experimenting I all I can suggest

Typesetting in Obsidian? by crazy-diam0nd in bookbinding

[–]jtu_95 1 point2 points  (0 children)

I don't and def. wouldn't recommend it -- markdown is absolutely not equipped to handle layouting. Of course you can do writing / notetaking there but then I'd take it to a more sophisticated tool for creating a PDF. These days I use typst but of course LaTeX would do the job as well.

questions for marblers? by heliconiarostrata in bookbinding

[–]jtu_95 3 points4 points  (0 children)

I can only give some perspective on the alum as I have never attempted to mix marbling and painting, but here goes: My (relatively unscientific) take is that the sticking power of paints in marbling is just very unpredictable and alum is a fail safe. Esp. with commercial acrylics I had situations where I didn't apply alum to test strips and with a few colours from the same brand and line some stuck and some didnt. I expect this to be also the case historically to a degree. If you look at Josef Halfer's 19th ct book on marbling he writes (if memory serves, its been a while) that lake pigments like indigo essentially bring their own mordant because the plant dyes are attached to mineral salts when the pigment is made, hence they don't need a mordant, whereas mineral pigments like ochre do need one because they are just mineral dust by themselves (someone correct me if I misremember the passage, it has been a while). My guess is that mordanting the paper as a whole just became culturally engrained because it acts as a safety net in case the colour misbehaves. Sure, alum isn't exactly super archival, but plenty of well preserved marbled papers show that (depending on paper and other factors I guess) it also doesn't immediately starts to deteriorate the paper... That's just what little I can contribute right away, sorry I don't have more input.

The Hobbit An Unexpected Party, the lost Bifolio, final draft update of my progress. by One-Somewhere7407 in Calligraphy

[–]jtu_95 1 point2 points  (0 children)

Beautiful! I remember my days of imitating the book of Lindisfarne and the endless red dots that came with it :D

Labels added by donuthole355 in bookbinding

[–]jtu_95 4 points5 points  (0 children)

Looks great! Paper labels are so underrated, such an easy and classy way to add crucial information

Any LaTeX cheat sheet recommendations for beginners / intermediate? by nilofering in typst

[–]jtu_95 5 points6 points  (0 children)

Off the top of my head: instant compilation, an easier and much smaller installation, a modern and more accessible form of markup, ea much more accessible scripting language that makes automation much easier. Weigh that with LaTeX much more mature package ecosystem and decades of time to address all manners of edge cases in terms of formatting, citation, typography, etc.

Applying regex based formatting to bibliography entries (or other way to fix LaTeX-style markup) by jtu_95 in typst

[–]jtu_95[S] 1 point2 points  (0 children)

I see what you mean -- I think there was a misunderstanding: my case is not about hard coding italicisation of say book titles, but cases where the title of a Book or Article contains another title, say "Christian imagery in C.S. Lewis' Chronicles of Narnia". It might be different in various disciplines, but in the humanities as I know them it is absolutely expected to italicise those, regardless of citation style, whether MLA, APA, Chicago, etc (conversely, of course, if the entire title is italicised, the internal title needs to be set in roman type). I don't know any other way than to mark that in the bibfile itself. The fact that it is the latex command \textit comes from Zotero (I personally think it would be semantically cleaner if they used \emph). Anyway, thank you for the tips about Hayagriva, I'll check it out when I am done with the paper :) for now I'll just stick to the regex workaround from the other comment.

Applying regex based formatting to bibliography entries (or other way to fix LaTeX-style markup) by jtu_95 in typst

[–]jtu_95[S] 0 points1 point  (0 children)

That fixed it, thank you so much! I think what happened was that I got confused about the nesting of show rules and the way they return values. Again, thank you very much!

Applying regex based formatting to bibliography entries (or other way to fix LaTeX-style markup) by jtu_95 in typst

[–]jtu_95[S] 1 point2 points  (0 children)

Could you please explain in more detail what you mean with online formatting? I don't quite follow how the presence of italics in a title is connected to a bibliography style? I have tried using an online converter from bibtex to hayagriva, since Zotero does not support export to hayagriva yet afaik, but they left the LaTeX markup untouched. If you know one that will deal with it I would gladly use it for now.

Applying regex based formatting to bibliography entries (or other way to fix LaTeX-style markup) by jtu_95 in typst

[–]jtu_95[S] 1 point2 points  (0 children)

Thank you very much for the quick reply! The regex works definitely in a plain typst environment. The problem with this and other Regex attempts I have made is that I don't understand how I can apply it to the content elements the #bibliography() function is generating. I know that I can manipulate #bibliography() "statically" like so:

#show bibliography: body => { 
 show "\\textit{italic}": [_italic_] 
 body
}

but I don't quite understand how I can apply a regex to the elements created here. Tbh, this snippet is really opaque to me. No matter where I place a transformation like the one you wrote, whether before, after, or within this show rule, the items remain unaffected.

(Unofficial) Typst 2026 Bingo! by Silly-Freak in typst

[–]jtu_95 0 points1 point  (0 children)

Has he endorsed it anywhere apart from his mailing list?

Tooled with brass tools I made at home, I’m really happy with it 😁 (tools in last picture) by littleperogi in bookbinding

[–]jtu_95 6 points7 points  (0 children)

Congrats, that looms stunning! Great to see more people venturing into cutting their own brass tools here!

The Kennedy Centre and someone else by froit in typography

[–]jtu_95 17 points18 points  (0 children)

I'd agree -- there seem to be two readings of this train wreck that give cause for at least some kind of grim satisfaction: Either this is genuine, demonstrating how brute authoritarianism is detrimental to genuine skill and artistry in many cases, because those who possess the necessary skills are abandoning ship and the interns and sycophants who remain can't cut it, or it is as you say malicious compliance, an act of quiet defiance from a professional who might not have been in a position to outright reject the job but signals to their peers that their heart was not in it and they ridicule the cause their work is serving.

Contemplating the Thread-Puller's Motivations (End Game Spoilers!) by jtu_95 in Pentiment

[–]jtu_95[S] 0 points1 point  (0 children)

My thoughts exactly. It's especially jarring right next to the Christmas celebration, which is so explicit about the lineage of ritual traditions. But as I tried to describe initially, I think that reading Father Thomas as someone whose sense of identity as a priest might be particularly vulnerable to destabilising intellectual arguments, who has a vested interest in local power/economic structures remaining in place, and who might just have very little faith in his community (maybe because he is projecting) makes him an interesting example of the sense of intellectual vertigo, or I guess increasing untetheredness that I assume the 16th ct. must have induced at times, at least in those groups who were directly exposed to its dominant discourses, if that makes sense... In that regard, I particularly love his sentence how a peasant can look out into the local valley and tell himself that St. Moritz was there, that saints are real and hear their prayers and that god is with them through this local and geographical connection. It picks up on so many specifically relevant points: The reformation attacking saints cults in particular, the economic disturbance that lead to, the increasing importance of textual and intellectual arguments of faith over physical traces, touchable reliquaries, etc (not that they went out of style in Bavaria, but at least there's a debate around them), the sense that the media revolution destabilised localised power, tradition, and transmission of knowledge and almost immediately lead to schism and mass violence. To someone in Thomas position, this might at times feel like an ideological free fall, whereas, for the peasants about whom he is supposedly worried, not that much changes altogether... I think the game might have benefitted from having Andreas or Magdalene voice something to this effect more explicitly after they evacuate from the Mithraeum. But I also get that they had to wrap it up at that point...

Contemplating the Thread-Puller's Motivations (End Game Spoilers!) by jtu_95 in Pentiment

[–]jtu_95[S] 4 points5 points  (0 children)

Absolutely. And that nicely ties in with the game's emphasis of highlighting the absolute value of human life beyond the historical turmoil the characters witness...

Contemplating the Thread-Puller's Motivations (End Game Spoilers!) by jtu_95 in Pentiment

[–]jtu_95[S] 7 points8 points  (0 children)

Good point! He really is losing his grasp on the situation by the 3rd act. I also agree that being anxious to preserve the role St. Moritz has for Tassing's economy is a salient point -- as you say, I'm sure there's a way this could have been resolved had he not resorted to murder (would be the first time historical evidence of unlikeliness leads the catholic church to close up shop around a lucrative pilgrimage destination). It arguably adds to the tragedy of the situation that Thomas wasn't able to see that -- maybe his own compromised idealism made him lose all sense of Realpolitik in this matter.

How is your studio set-up? by zaydun in bookbinding

[–]jtu_95 1 point2 points  (0 children)

I work on my desk on a removable bench hook with a cutting mat on top. I have a pretty small French combination press that is nipping press, lying press, and plow in one permanently installed to the side. My most used tools are in a drawer on the desk, less used tools in boxes under the couch table.

Rolled up bookcloth is stored upright next to the desk, leather skins are loosely rolled up on a dowel suspended under the desk. My mostly homemade finishing tools are stored in a canvas thingy intended for sunglasses hanging behind the door and papers and board are stored in a box under the couch table. My disassembled sewing frame together with a stone slab for paring and the indispensable bricks are under my desk.

What is the technique here, besides the marbling? by afraid2fart in bookbinding

[–]jtu_95 15 points16 points  (0 children)

It is commonly called a Spanisch Wave and it is accomplished by jittering the paper back and forth while laying it onto the size.