#oak gall ink

[diogenesprintco]

"Pegaſe eſt une grāt beſte terrible et eſpouentable Et naiſt en Ethiopie et a la forme dung cheval et les aiſles cōme une aigle : mais elles ſont moult plus grandes / et ſi a la teſte armee et garnie de cornes."

I was reading an Internet Archive scan of Le Jardin de santé (a 15th century herbal and bestiary originally published in German) for inspiration as I wanted to make a couple woodblock-style floral prints for t-shirts/patches, but kept getting distracted by made-up creatures and antiquated French spelling.

[gaylittleguys]

this is not very good paper for it but some blackletter practice :)

[monstera-tea]

making oak gall ink!!

It has been a party and also the least arthritis friendly experience if i didnt have carpal tunnel already i def do now

later ill post how it turns out and link the article im using!

[futurebird]

The nerve! The Gall!

Oak trees have got to be pissed about galls.

Galled if you will.

"I made an apple for a wasp? I'm not even a fruit tree--And it didn't even help me grow any new oak trees? no seeds? Just a wasp house? Why would I do that???

And now some monkeys are mashing it up to make marks on... on OMG. Is that pressed pulped *flesh* ?

No, not that sheep skin one... that other one... was that... dear Edna?"

[pumpkinpaix]

things you can find in my backpack today:

- two rocks I picked up off the side of the road

- a stick that I’ve half shaped into a makeshift pestle

- 10 unsewn books

- plantain chips

- ray bradbury’s twice 22 (half repaired)

- jolly ranchers

bonus:

- assorted pages from Edwardian women’s fashion magazines that wouldn’t fit in my backpack that I had to carry home awkwardly

[historysurvivalguide]

Good Summer for Oak Galls!

(Oak Marble Gall Wasp Photographed Summer 2023)

Oak Marble Galls are about the size of a marble and look a bit like an acorn without a cap (and growing on a branch)

Oak Galls are sometimes also called “Gall Apples” because it can resemble an apple-like structure on the branch

(Spongy Oak Apple Gall Wasp Photographed in Summer 2023)

This Spongy Oak Gall is about an inch or two wide (about the size of a small tomato)

Galls can grow on the underside of leaves or the branches of oak trees and depending on the species can range in appearances

Used traditionally to make permanent black ink!

[chaotic-history]

tried to make a quill

[oidheadh-con-culainn]

this one's actually pretty normal and not a weird video this is what you do with the oak galls to make them into ink rather than about the wasps that made the oak galls exist in the first place but you can also find more wasp-centric videos if you are so inclined

listen it's still not my job to teach anyone anything but also i am metaphorically taking you all by the hand and giving you pieces of parchment to touch and making you watch weird videos about what wasp infestations have got to do with ink manufacture

and then making you learn scribal abbreviations not because it's useful but just as an act of sadism sorry i just want to see you deal with fifteenth century bilingual irish-latin nonsense

[zhalfirin]

A princess of Mars - Edgar Rice Burroughs

Full cloth binding, backed with french groove and paper onlays, coloured edge and french double core endands.

The typeset was part of Renegade's Tiny Books Bang event last year, but it took me forever to get enough distance to come up with my own cover instead of copying the wonderful bind that was exchanged in the event.

This wonderful typeset was provided by @tinwhiskerpress

Materials used:

case covers - grey board 2,4 spine stiffener - cardboard covering materials - commercial bookcloth (Duo brick, brown) paper onlays: bugra bütten (yellow, green), marbled paper (by Renato Crepaldi)

inner book bookblock paper - Schleipen fly 05 (115gsm) endpapers - marbled paper by @renato-crepaldi endbands - buttonhole silk (Gütermann), leather core (1 and 2mm) edge colouring - oak gall ink and interference chameleon acrylic ink (Nebula copper)

Size: ~A6

See WIP pictures here and some detail pictures here

[letsatomicbanana]

Ink!Sans Cultural Inspiration

(revised version)

art by @/sakuramochi64 on twitter

Disclaimer!

This post aims to explore and analyze both the prominent and subtle East Asian cultural influences—primarily Japanese—that have shaped the character of Ink!Sans. By examining these influences, we can better understand how traditional East Asian aesthetics and artistic practices are woven into Ink’s design and powers. If any information in this essay is inaccurate or unintentionally offensive, please don’t hesitate to reach out! This essay serves as a revised and updated version of the analysis conducted last year, incorporating new insights and refined perspectives to enhance our understanding of Ink!Sans’s character and his cultural influences.

Ink!Sans by @comyet/@myebi

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''It was a night where it felt like i was a miserable artist and i was very frustrated at my work and it felt like i wasn’t worth alot (we all have these), then I came across a picture of a japanese ink brush, and it was all I needed to start doodling a concept.

That’s how Ink is born.''

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According to Ink’s creator, Comyet, the idea for Ink!Sans was sparked by an image of a brush specifically crafted for sumi and Chinese ink art. In China, the tradition of using specialized ink brushes, known as Chinese writing brushes, has been a foundational element in the art of calligraphy and traditional painting for centuries. These brushes are highly valued for their precision and versatility, allowing artists to produce a range of strokes, from fine lines to bold, expressive swashes. The brush itself is composed of a bamboo handle and a carefully tapered head made from animal hair, designed to hold and release ink in controlled flows.

This tool became central not only in Chinese culture but also influenced Japanese, Korean, and Vietnamese art, where calligraphy holds a similar cultural significance and is closely tied to writing systems derived from Chinese characters. These brushes symbolize the control, fluidity, and intentionality required in both written language and visual art across East Asia. This deep-rooted cultural importance of the ink brush inspired Ink!Sans's character design and powers, allowing him to wield 'ink-based' abilities, symbolizing both creativity and adaptability. His main weapon—a brush—reflects this heritage and further emphasizes the connection between art and battle, as he channels the brush’s traditional associations with fluidity and strength into his fighting style, merging the arts of calligraphy and combat.

(visual example of an ink calligraphy brush)

At glance, the ink material is an enduring medium that still surrounds society till this day and it's used in multiple cultures across the world.

Writing with ink calligraphy brushes is also common in Europe and the Middle East, where artisans developed ink using a unique combination of iron salts and oak galls. This type of ink, known as iron gall ink, initially appeared in rich, dark tones, making it highly desirable for manuscripts and official documents due to its bold, readable quality. However, over time, the iron in the ink oxidized, resulting in a distinct color shift to warm, rust-like brown tones. This characteristic fading can still be observed today in ancient manuscripts, such as early European literary works, where the reddish-brown hues give a sense of history to these documents. The durability and aesthetic appeal of iron gall ink contributed significantly to its prevalence in both regions, influencing the artistry of calligraphy and manuscript illumination for centuries.

Like previously mentioned, Ink!Sans was inspired by traditional ink materials developed in East Asia, where artisans mastered the creation of carbon-based black ink, often using soot or charcoal mixed with binding agents like animal glue. This type of ink, known for its rich, deep color and lasting durability, was a staple in East Asian calligraphy and artwork. Unlike iron gall ink, this carbon-based ink maintained its dark, almost jet-black color for centuries, even in varying environmental conditions. The resilience of this ink allowed ancient texts, paintings, and scrolls to retain their striking contrast and clarity, making it a celebrated medium in East Asian art and culture. Ink!Sans draws inspiration from this enduring quality, symbolizing strength, creativity, and the timelessness of artistic expression

(visual example of an ancient art piece that used carbon-based black ink)

To note, unlike iron gall ink, carbon based inks are still very common to this day.

Although the primary Chinese calligraphic scripts were well established by the fourth century, calligraphy as an art form has continually evolved over the centuries, adapting to new cultural and aesthetic influences. Skilled calligraphers, who spent years mastering brush techniques and perfecting their own unique hand, were celebrated for their distinctive styles, and their works became templates for both art and personal expression. Over time, subsequent generations of artists studied these revered styles, incorporating and reinterpreting them to reflect their individual voices and the changing social landscapes. This ongoing transformation has kept Chinese calligraphy dynamic and relevant, and it remains a respected art form today, blending tradition with contemporary aesthetics.

In Japan, calligraphy also held deep cultural significance, symbolizing both personal refinement and intellectual achievement. Calligraphy was regarded as a mark of scholarly sophistication and artistic taste, with a variety of tools developed to enhance the writing experience. One notable example is the suzuribako ("ink stone box"), a portable lacquered wood box designed to store an inkstone, water dropper, brushes, and solid ink sticks. These boxes were crafted with precision and adorned with intricate lacquer designs, reflecting their owner’s status and appreciation for art. Suzuribako were lightweight and convenient, enabling calligraphers to take their tools outdoors or to scenic locations to write letters, diary entries, or poetry. This practice not only facilitated creativity but also connected the act of writing with nature, creating an immersive experience where one could find inspiration in the surrounding beauty while crafting words in elegant brushstrokes. The combination of these refined tools and settings underscored calligraphy’s role as a deeply personal and aesthetic pursuit in Japanese culture.

From this perspective, it is essential to highlight that Ink's character draws inspiration from traditional ink calligraphy, a detail reflected in his distinctive speech font, 'Note This'.

(Example of Ink's canon speaking font and ancient calligraphy)

Also clarified in an ask on her side blog, Comyet explained that traditional samurai clothing served as a key inspiration for Ink's outfit redesign in 2020. Ink's creator thoughtfully incorporated these characteristics to enhance Ink’s visual appeal and connection to his main source of inspiraton. This influence is particularly noticeable in the first and second analyses of Ink's character, where we see clear visual cues from iconic Japanese garments like the hakama.

(Ink!sans reference sheet for the 2020 design, credit goes to @/comyet)

Ink's pants were inspired by hakama, a traditional Japanese garment known for its distinctive design as skirt-like trousers, typically worn over a kimono. Hakama are historically associated with a range of activities, from ceremonial occasions to martial arts, and are often considered a symbol of status and refinement. Specifically, Ink's pants appear to be inspired by the umanori style of hakama, which is characterized by a split or division in the middle, allowing for greater freedom of movement. This style was traditionally worn by samurai and other individuals involved in horseback riding, as the design allowed for ease of movement and flexibility when mounting or riding a horse.

The umanori hakama were not only practical for riding but also served as a functional yet elegant garment, embodying the balance of form and function typical in Japanese clothing. By incorporating this style into Ink's character design, Comyet likely intended to evoke themes of mobility, agility, and strength, while subtly referencing Japanese martial traditions and the samurai ethos. This choice enhances Ink's overall aesthetic, highlighting his dynamic, action-oriented nature, suggesting that his character is both rooted in tradition and capable of fluid, graceful movement.

The hakama was not merely a functional garment but also a powerful symbol of social status, loyalty, and the samurai's role in Edo society. While the hakama was predominantly worn by samurai, it also found its place in the wardrobe of scholars, priests, and members of the aristocracy, who wore it as part of their ceremonial dress.

Furthermore, Comyet has explained that Ink's outfit and appearance were partially inspired by the clothing worn by samurai, as depicted in ukiyo-e prints from the Edo Period of Japan. Ukiyo-e, which translates to 'pictures of the floating world,' was a popular genre of woodblock prints and paintings that flourished from the 17th to the 19th centuries, showcasing scenes of everyday life, landscapes, kabuki actors, and beautiful women. However, samurai were also common subjects of these prints, often portrayed in full regalia, highlighting their status and discipline.

(this line of text was found within old versions of Ink's FAQ post, mainly from 2020-2021)

In these ukiyo-e representations, samurai are frequently depicted wearing a distinctive combination of garments, including elaborate kamishimo (formal attire worn by samurai), hakama (wide trousers), and haori (a kimono-style jacket worn over the kimono), along with ornate accessories such as sashes and swords. These samurai were often shown in dynamic poses, suggesting a sense of power, grace, and readiness for battle, which reflected their societal role as both warriors and landowners.

Ukiyo-e representations of samurai often carried deeper meanings beyond their visual impact. Samurai in these prints were more than just warriors; they were cultural icons, symbols of virtue, duty, and sacrifice. Some prints portrayed samurai in the context of popular stories or historical events, such as famous battles or legendary acts of heroism. For example, the prints often depicted samurai as loyal retainers or leaders fighting for justice, reflecting the ideal of bushidō, the samurai code of ethics, which emphasized virtues like loyalty, courage, and respect.

(Ukiyo-e art made by Katsukama Shun'ei, Edo Period)

During the Edo period, the hakama was an important garment worn by the nobility as part of their formal attire, complementing other traditional outfits of the time, such as the noshi and kariginu, a sleeveless jacket with distinctive, sharply defined shoulders. These garments were designed to symbolize the status and refined taste of their wearers. The hakama, with its wide, flowing silhouette, was highly functional and practical, allowing for ease of movement while maintaining an air of elegance.

On another note, Ink's design is not the only aspect influenced by Japanese culture; the musical themes associated with him also draw significant inspiration from traditional Japanese music, as described by Comyet. The incorporation of these musical elements into Ink's character enhances the depth and cultural resonance of his persona, creating a multi-layered experience that ties his abilities, appearance, and thematic representation to a broader cultural context.

A predominant theme associated with Ink that highlights his deep inspiration from traditional Asian styles is one called 'BrushWork.' This musical theme, featured in the popular series Underverse, plays a crucial role in reflecting Ink’s connection to East Asian culture, particularly through its use of the shamisen, a traditional Japanese stringed instrument, and a flute. The choice of the shamisen in this composition is significant, as it evokes the soundscape of Japan, with its distinct, plucked tones often associated with traditional music, storytelling, and performance arts.

The shamisen is a core instrument in genres such as kabuki (a traditional form of Japanese drama) and bunraku (puppet theater), where it is used to underscore the emotional intensity and narrative depth of the performances. In BrushWork, the shamisen helps set the tone for Ink’s character, enhancing the theme of 'brushwork' through its fluid, emotive sound.

Honorable mention: The instrumental video for ''Soulless Heart'', features an artwork that is inspired by traditional sumi-e (ink wash painting), a Japanese art form renowned for its elegant brushwork and minimalistic yet profound depictions of nature. This particular artwork, which accompanies the music, was created by the talented artist @/sakuramochi64, whose style reflects the delicate balance and graceful simplicity typical of sumi-e paintings.

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Sources

1.National Museum of asian art (materials & techniques. Ink section)

2. Asian Brushpaper (an-overview-of-chinese-ink-history)

3. Wikipedia (wiki Hakama-pants+Shamisen)

4. Aikido Journal (Hakama-101)

[enemyforklift]

Dog and cat made from natural ink (mostly oak galls oak leaves and alder cones LOL)

[postoctobrist]

have you ever used iron gall ink for calligraphy? It's what medieval scribes used to write on parchment. On of my previous hyperfixations was copying Anglo saxon manuscripts with using accurate materials, and i loved to tell people how they made the ink and parchment. It's made from gallic acid, extracted from fermented oak galls, and iron (ii) sulphate, aka copperas or Green vitriol, which is leached from iron pyrite. I don't know the chemistry but when they dry on parchment they react together to produce very dark, sharp and permanent marks. I made it once with oak galls I'd collected from various walks. Copperas is more commonly used as a lawn fertilisers today so it's easy to get online. I also made and used feather quills, which take a bit of practice, and you kind of have to sharpen as you go to keep the end sharp, but they can make beautiful letters once you get the hang of it.

I literally have a bottle of Rohrer and Klingner Scabiosa on my desk in front of me right now

[gaylittleguys]

rawr

[zhalfirin-binds]

Details of my bind of A princess of Mars

Since I kept making small mistakes. Starting with the wrong printing format, then forgetting to adjust the sewing so I could trim (I did not plan for margins quite as large as they are... ). The backing turned a bit wonky too. So I decided I'd try some new things on this book.

I wanted to use the interference colours I have with a different base coat. They come out best with a black or dark ground colouring. Before I used oak gall ink, because that was what I had (and I love to watch the magic happen when it turns from translucent blue to black), but iron, in whatever form, is the last thing you want in a book because it will rust and damage the paper over time.

So I did some testing with a few different inks to check for effect and smudging and eventually switched to a china ink.

The one I got has a really nice black with a slight gloss to it. That should have tipped me off, but I kept going and just painted the edge with the interference colour acrylic ink just to watch how it gathered in the lowest part (I did the front edge with the curve first) and took forever to dry. Trying to help that with a hair dryer only needed me up with a pattern of tiny ripples. When I opened the book I could see the paint had been too thick in some parts and flaked off a bit. I diluted and kept painting, with way better results, eventually, but it's still not completely even on the front edge (the picture here is the 3. or 4. result... I was just tired to keep going at that point). The top and bottom edge look fine though.

Covering the case was a bit of an adventure too for a few reasons. I wanted to avoid and gaps... but first I failed to accurately estimate the stretch of my different papers then I forgot to consider the overlap and figuring out which part should overlap which was a challenge. I went of the green layer that wraps all around the case as top layer so it could cover all pointy edge I had not covered yet. The pointy bits are always the most likely to take damage or get loose. So I had that taken care off. I still have a small spot on the backside that's not the layer it's supposed to be, but it blends in well enough with the other colours.

Another thing that I did not think of was, when I cut the onlays was how overlapping would impact the shape. the yellow was supposed to be a nice slanting hill in the foreground... well, I would have had to keep that in mind for the overlapping toplayer.

I also thought about titling the cover and even got as far as test titling with copper, gold, creme, red and brown (the line between creme and brown, that's red, I know it's turned invisible, bu it is there). None of the results made me overly happy though so I skipped it.

Last thing, but I'm not sure whether it's a mark of the construction or the hinge is too small, the backing not sufficient, is the opening angle of the covers. It opens alright, but when I push the cover a bit down it drags the text block along and it looks like there's too much tension on it to me. I'll have to see for my next binds if I can optimise that.

I liked the spread out design enough to make it a picture for my wall ^^

[halcyonwrld]

— EVERLASTING PROMISE

PAIRING. Kim Dahyun x Fem!Reader

After a persistent princess tracks you down through meetings with a few of the local village’s herbalists, she has the gall to request your presence, in search of some of your more… magical pursuits. You set up a place and time just so she’ll leave you be, but find yourself waiting for her there out of pure curiosity. (1K)

TAGS. royal!au, fantasy!au, forced marriage, bittersweet angst, witch!reader who's just fed up with everything

“You clean up nicer than I expected.”

With that, you set down your mug with a sour grimace, the fresh brew on your tongue going stale as your mood.

Muffled thunder rages overhead, nearly drowned out by a bout of laughter around you. You open your eyes. Take in the sight of dripping lashes, a neat collar around the throat, and squared shoulders— all fine until you notice a flash of silver rings as pale hands rise to adjust the neckline of a shoddy cloak.

“And you hardly know a thing about subtlety,” you snap in retort.

She was practically asking to get caught.

Dahyun gawps, stammering on her words, “Hey- if you must know, subtlety is practically my middle name! It just.. slipped my mind that it was meant to rain tonight, is all…” Her explanation goes flat under your unamused glare, her last sentence coming to a quiet, embarrassed drawl. You imagine her with feathers, all of them fluffing up as she tries to recover, leaning towards you to hiss, “I might’ve fared better if I didn’t have to abandon my horse to travel on foot. This terror hole is nearly impossible to find, it could’ve taken—”

You hold up your hand, stopping the princess dead in her tracks.

“Spare me the even bigger headache and make this quick, please.” You stifle a wince as the chatter in the tavern swells once more, rubbing at your temples. “There are things I have to tend to.”

“Fine. I need a love potion.”

You scowl. “No.”

“I knew you would-” her face drops, “wait, w- what do you mean no?”

You pick up your mug again to drown your laughter in ale. “It means it’s not happening, princess.”

“Don’t call me that.”

“Or what? You’ll tell on me?”

Dahyun reaches her hand into her jacket, fear visibly seizing her into motionlessness as a subtle blue aura begins to dance around your fingertips. Your voice lowers considerably. “This isn’t your pretty little castle, sweetheart, no one’ll be answering your cries of distress if you try anything stupid.”

Under the faint haze of torchlight, Dahyun swallows.

Still, she pulls the object out of her coat pocket.

It’s just a scroll.

You ignore her trembling hands as she flattens the page onto the rickety oak in front of you. It's a lengthy thing. Written neatly in inks darker than nights like these. Your eyes skim back and forth.

These… these are papers for her marriage. If she wants them, this means—

Your heart plummets.

The silence on your end must make her anxious, her body practically vibrates as she blurts out, “I know- I know they’re illegal. But I need this.”

You swallow. “For you, or him?”

“Myself.”

You don’t know if that makes it better or worse.

“...Why would you marry someone you don’t love?” you ask, keeping your voice carefully measured. Not overconcerned, but not too careless either.

“If it’ll aid in my favor, I’ll have you know this wasn’t my decision either.”

The way she breaks your stare betrays her casualty about it all, but that doesn’t stop her from shrugging. Her lips purse. Brows furrow.

Like a flash of lightning, the moment is over as quick as it happened. Those dark eyes are back on you again. Her stare resolute. “But… everyone has a part to play.”

Everyone has a part to play.

Where have you heard that from before?

Shaking your head, you stand swiftly, taking your lantern in hand. “I’m sorry, but I’m not risking everything just so that you can live out your happy ending.”

And you leave.

Princess or not, it was silly for her to come to you. Everyone knew love potions were forbidden. Folktales and parables told countless stories about them. How they quickly turned love into obsession. Turned the simplest of men into something cruel. Nearly unfeeling.

Part of you couldn’t deny her courage, you supposed, but another part of you abhorred her presumptuousness. Immediately assuming you’d say yes. Approaching you in the first place. Saying she had an offer you couldn’t refuse. Like hell you couldn’t.

You’re a few feet from the backdoor when you hear her call.

Ignoring her, you step into the rain, letting the door shut behind you. Serves her right for wasting your time on a night like this, where the moon is full and the opportunity for harvest yields higher than usual.

“Wait!”

You're pulled back by your wrist.

“Please, I’ll give you anything you long for! Access back into the town, jewels, herbs, a spot in the castle, however much money it takes-”

You yank your arm away, glaring at her from underneath your hood. “You don’t even know what you’re asking for.”

“I know I don’t want to spend the rest of my life in misery!”

“Don’t we all,” you snark.

“Look, I know that my parents exiled you. But you should know better than anyone that not everyone happens to align with the likes of them or their ideals!” she yells over the rain. “I- I seriously want to change the way things are. But I need it to be perfect, anything but and you can bet someone just as bad as them will be sitting up on that throne! And they might do worse than banish and imprison.”

You stare at her with wide eyes, so shocked you speak before your brain even has time to catch up, “They teach you that in princess school?”

Dahyun crosses her arms with a pout, muttering, “That’s not a thing.”

You turn to hide your smile, “If you say so.”

You only get a few paces away to reenter the woods when you realize you don’t hear any movement behind you. Turning around, you find Dahyun still standing there. Her posture reeks of defeat. Shoulders slumped. Lantern dangling to the ground. Head low. All of the rain like a vicious fog, only adding to her somber image.

“You coming or not, princess?” you call.

Dahyun looks up with wide eyes, as if not having heard you the first time. Unable to take a win, it seems. You roll your eyes, lifting your lantern and gesturing with your head as if to say come on. The way her face lights up is a magic of its very own.

You turn back forward.

“We still have a lot to discuss, privately,” you say once she reaches your side, making sure your tone leaves no room for discussion. Not out here. Even the woods have ears.

“You won’t regret this, I promise,” she breathes out.

That makes you clench your jaw. The last time a royal promised you something, it’d ended in disaster.

After all, you would know best, since you were the first Kim Dahyun ever promised to marry.