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4 articles onhandmade books
learn how to make a bookusing mixed-media techniques
1 collage boards:
a cardboard journalKATIE KENDRICK
2 fabric scraps
& vintage photos:creating treasure bookletsJEN OSBORN
3 get the skinny on
mixed-media booksCHRYSTI HYDECK
4 books with a repurpose
JEANNINE STEIN
presented bycloth paper scissors
1 2
3
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w ho says books are athing of the past? Notus! Handmade books aremore popular than ever, as artists createsmall, personal books using fabric,
recyclables, found objects, photos, and
collage and mixed-media techniques.
From page construction to binding,
weve assembled some of our favorite
handmade book techniques in this free,
downloadable eBook, 4 Articles on
Handmade Books: Learn How to
Make a Book Using Mixed-media
Techniques.
In Creating Treasure Booklets, Jen
Osborn shows you how to pull together
all those fabric scraps, photos, and found
objects you love into little gems. Each
page is machine and hand stitched (or
glued) together to make a mini collage.
Then Jen demonstrates how to bind the
pages together.
In Books with a Repurpose, Jeannine
Stein uses recyclable materials like cereal
boxes, playing cards, and old postcardsto create unique journals. She steps out
4 Articles onHandmade Books:
Learn How to Makea Book Using
Mixed-media Techniquespresented by
Cloth Paper Scissors
ONLINE EDITOR Cate Prato
CREATIVE SERVICES DIVISION ART DIRECTOR Larissa Davis
PHOTOGRAPHERS Larry SteinKorday Studio
Projects and information are for inspiration and
personal use only. Interweave is not responsible for
any liability arising from errors, omissions, or mistakes
contained in this eBook, and readers should proceed
cautiously, especially with respect to technical
information.
Interweave Press LLC grants permission to photocopy
any patterns published in this issue for personal use
only.
the pamphlet stitch she uses to bind the
pages and offers ideas for closures using
vintage buttons, pretty trims, and eyelets.
Katie Kendrick works her magic on the
handmade book by using discarded
cardboard as a base for paint, collage,and journaling in Collage Board Books.
In an unusualand etherealtwist,
Katie binds the pages with cheesecloth
hinges.
Youll Get the Skinny on Mixed-media
Books when Chrysti Hydeck explains
how to turn vertical-format collage pages
into 4" 8" skinny books. Chrysti brings
all sorts of mixed-media supplies to play
as she makes richly layered backgrounds
for each page. Then, she adds papers and
journaling supplies to the party to tell a
story.
In 4 Articles on Handmade Books:
Learn How to Make a Book Using
Mixed-media Techniques,each artist
shows you a unique way to create
a handmade book. But you will also
learn tips, tricks, and techniques for art
journaling, collage, creating backgrounds,
stitching, and composition.Viva la book!
Warmly,
Cate Prato
Online Editor,
Cloth Paper Scissors Today
clothpaperscissors.com
Where mixed mediaartists come to play
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collage boardsa cardboard journal
BY Katie Kendrick
Adapted fromCLOTHPAPERSCISSORS
November/December 2007
what is it about corrugated cardboard that makes one want to hoardand collect it? I know Im not alone here, for since becoming a certified
member of the mixed-media art world, Ive found others who have this conditon.
Ive had a love affair with cardboard boxes for as long as I can remember. Ask
my husband, hell tell you: getting rid of a good box isnt easy for me. It all goes
back to my mother, Im sure. She always, and I mean always, had the perfect
cardboard box for any possible occasion, whenever it was needed: the right
shape, the right size, and in pristine condition. Go out and buy a cardboard
box? Never. Its like putting up applesauce
or canned tomatoes or jam: you put up
cardboard boxes to be used at a future
time, when you need one most. They were
venerated in our house; to throw away a
good box was wasteful, on the verge of
sinful. One should always first try and find
a good use for it, or at least a good home
for it, even if that meant hauling it over to
an aunt or uncle or neighbor who might
someday need a strong, solid cardboard
box. So you see, I have a long and deeply
ingrained history with cardboard. The
material almost feels like family to me, kind
of like some humble, distant cousin, so it
seems only natural and just plain right and
good to want to repurpose it into my
artwork whenever and wherever I can.
For the cover of her journal, Katie layered two piecesof cardboard together for depth, then painted both withgesso and two different shades of blue. With a razorblade, she gouged out some tiny areas, exposing hintsof the brown cardboard, then attached string and glueddown coffee-stained bias tape with transferred text,coffee-dyed cheesecloth, and a vintage silk flower.
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Because of my fondness for and feelings
of familiarity with this material, one of
the ways I enjoy using it is as a surface
for visual journaling. Artwork done
for my pleasure alone, not meant to be
sold, given away, or necessarily even
shared with anyone else. Ambiguious
images and poetry that spring out of
my unconscious while Im creating,documenting my time here in the
present moment, a day in the life.
Pairing cardboard, strong and light
in its nature and history, with the
fragile, delicate, and flowing qualities of
cheesecloth seems like a natural fit, a
combination of yin and yang. This little
journal is not meant to get the heavy use
of a library book, but treated with care,
it will last a good long time, a personal
diary of beauty and grace.
directionscreating the pagesOnce I had laid out the various
cardboard samples Id accumulated for
the project, I quickly realized that all
cardboard is not created equal, which
makes this art material even more
interesting and fascinating. For thisproject, I used a piece of cardboard from
a car windshield screen, a gridded piece
of dressmakers mat, and varying weights
of packing boxes. The heaviest type, used
for shipping appliances and furniture,
is very sturdy and needs no additional
support, even after tearing off the top
layer of paper to expose the corrugation.
The lighter board, commonly used in
grocery boxes, often needs a support
after you tear off the paper top, and in
those instances, I glued a piece of thin
chipboard from a discarded cereal box
onto the surface to firm it up. Cut the
cardboard to size with a cutting tool.
note: I had the best luck using a rotarycutter or an X-acto knife. A box cutteralso worked, but it made a more raggedcut.
1. Randomly tear off portions of the top
paper layer to expose the corrugated
folds. Leave some of the pieces intact
so you have some smoother surfaces
to paint and draw on. Having a mix of
textured and smooth pages makes the
book more interesting, both visually
and tactilely.
2. Paint the page unevenly with gesso,
leaving small areas of cardboard
exposed; brush on the gesso thicker
in some areas, thinner in others.
Applying gesso in this way builds in
shading possibilities for the colors
youll be putting down in future
steps.
3. Paint the page with acrylic paint,
once again leaving some small areas
unpainted. You now have a page that
is mainly a solid color, with small
areas where the cardboard and gesso
are exposed. Let dry.
4. Lay down a stencil on the page and,
using 34 different colors of acrylic
paint (at least 1 of them metallic),
pour a small puddle of each onto
your palette. Load your brush with
the first color and begin painting at
the edge. Each time you load yourbrush, use a different color and
slightly overlap the freshly painted
areas to blend the paints, taking
care to not over-blend, but keeping
some of the individual colors vivid.
Carefully lift the stencil off your page
and let the paint dry completely. If
youre impatient, like I often am, use
a hair dryer to speed up the drying
process.
MATERIALS
Discarded corrugated cardboard
Cutting tool and mat
Razor blade
Goldensoft gel medium (matte)
Acrylic paints (I prefer Golden), fluid
or heavy-body, in your choice ofcolors including titanium white andcarbon black
A few metallic paints (I used Lumiereby Jacquard.)
Baby wipes
Paintbrushes
Stencil
Stabiloblack pencil #8046
Graphite pencil
White and black India inks(I prefer Dr. Ph Martinsinks.)
Watercolor crayons (Caran dAcheNeocolor IIwater-soluble crayonsare my favorite.)
A black and a white gel pen(Uni-ballGel Impact black andUni-ballSigno white are two of myfavorites.)
String, bias tape, trim, or ribbon withprinted words; vintage silk flower;reduced copies of your own original
artwork; text; other ephemera Cheesecloth strips
A roll of 2"-wide cotton gauze
Linen thread and needle
A cup of strong coffee
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note: Instead of letting the wet paint onthe stencil go to waste, turn it over (the
side that was facing up when you paintedis now facing down) and place it ontoone of your blank, gessoed pages. Put amagazine or phonebook page on top ofit and brayer with pressure. When you liftthe stencil youll have a light pattern. Youcan paint your base color over that when
youre ready to do that page.
5. Now is the perfect time to paint
with watercolors. I often choose
1 or 2 colors that are similar or
complementary to my base paintcolor. When using liquid watercolors
or inexpensive childrens watercolors,
brush on a more intense color in
some areas and apply it more diluted
in other areas, using a paint cloth
or paper towel to soak up any excess
color. If you are using watercolor
crayons, color a small area of the dry
page and, using a baby wipe, gently
rub to blend it into the neighboring
colors. When the page is dry, apply
some white ink to the exposed
cardboard areas and some of the
variegated folds. The white ink can
also be applied to areas that are too
loud and need toning down.
6. Coat the intact portions of the page
with a generous layer of gel; no need
to coat the exposed folds. Press thestencil into the gel medium (using
a different area of the stencil this
time). Lift the stencil carefully and
dry the page thoroughly.
Above left: Portions of the top layer ofcardboard were torn away, then the page waspainted with gesso. A piece of plastic lacetablecloth was placed on the gessoed page and
used as a stencil. The stencil was painted overwith four different acrylic paints: two blues andtwo metallics.
Above right: Depth and texture were built up byadding additional layers of paint, paint mixedwith gel medium, watercolors, and glazes.
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7. Dip a bit of paper towel into metallic
acrylic paint and dab it gingerly onto
random areas of the page, taking care
to cover some of the raised areas. Dry
thoroughly. Brush watercolor paint
onto the page using plenty of water,
letting the paint pool around the
patterns and crevices created by the
stencil and gel medium. One of the
advantages of using watercolors here
is you can use a baby wipe to blend or
erase colors you dont like and redo it
with something else. At this stage, I
often paint near the edges of my page
with diluted black watercolor and
rub it into the background, creating
a container to hold whatever I will
put onto the page.
Now the page is ready for journaling: a
quote, a painting, a small printed copy
of your artwork, a photograph, or maybe
a collage. Sometimes the page needs
nothing further; it is simply a statement
in color and texture and you can leave it
at that.
creating the book1. Brew a strong cup of coffee and pour
it into a shallow bowl. Submerge the
cheesecloth and gauze, allow them
to soak for a while, and then wring
them out and dry them. Cut 1" strips
from the cheesecloth.
2. Spread gel medium around all 4
edges of the cardboard page. Fold a
cheesecloth strip lengthwise over the
edges of the page, working it around
the perimeter and slightly into the
edges, leaving strands and overlap
hanging onto the page if desired,
or keep the cheesecloth taut and
straight to the edge.
3. Assemble your pages into their
proper order, pairing them off by
2s. Cut gauze strips the length of
your pages, cutting as many pieces
Katie left the cardboard layers of this page intact and coated the surface with gesso.Then she drew the figure with black India ink and colored it with a combination of acrylicpaints and watercolor crayons. For the facing page, Katie tore away some of the top layerof cardboard in the midsection. She painted the corrugated portion with gesso, followed by three colors of acrylic paint, including metallic silver.
The bare cardboard portion on the left was painted with white India ink and a watercolor wash of black near the edges. The quote was writtenwith India ink.
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as you have pairs. If you have an odd
number, count the single page as a
pair.
4. Apply gel medium to the spineedge of each page in the first pair and
press the cover page (the first page)
into the gauze strip, 12" from the left
edge. Then press the next page into
the gauze strip 12" from the right
edge. Make sure to align the top and
bottom edges before gluing. Prop the
Above: Katie painted the page on the left withgesso, then gave it some texture by pressingscrunched-up paper and round lids of varying sizesinto it while the gesso was wet. The facing pagewas coated with gesso, then more color was addedspontaneously with acrylic paints, watercolors,pencil, and ink. Katie achieved texture and depthby sanding through paint layers, exposing thevarious layers below.
Right: This sample shows how the cheeseclothhinges are attached to the cardboard pages,using gel medium. (This step is done after the pagesare complete; the pages are blank for this sample toclearly illustrate the binding process.)
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pages upright until dry. Repeat with
all the pairs of pages. If you have an
odd number, glue the single page
onto the center of the gauze strip.
5. Fold and layer the cheesecloth to
create a thick base for the spine. Cut
the piece slightly longer than the
length, and 12" wider than the total
width of the stacked pages. Layer a
piece of open-weave fiber mesh in
between the layers of cheesecloth for
added strength. You can find a variety
of mesh in the floral department of
your local craft store. Another option
is to use a discarded woven mesh
place mat and cut a section from it.
6. Line up the first pair of pages just
inside the left edge of cheesecloth,
and hand stitch the gauze strip onto
the cheesecloth spine, applying 23
rows of running stitches vertically,
the full length of each page, for each
pair. Repeat the process for each set
of pages.
tips Old, plastic lace tablecloths, doilies,
and place mats, found at thrift stores
and garage sales, make wonderful
stencils.
Paint strong coffee directly onto
cheesecloth with a paintbrush to spot
stain fabric already attached to your
page.
Use copies of original photographs
and artwork in your journal. You can
enlarge favorite elements or crop
around a central theme.
A piece of cardboard covered withfreezer paper makes a great paint
palette.
Learn more about Katie and her art atjoyouslybecoming.typepad.com.
Above: Katie used apiece of plastic lace tablecloth
as a stencil for many of the pagesin her journal.
Below: A view from the top shows thewonderfully ragged look of the journals
cheesecloth spine and page edges.
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While poking around in a local antique
mall, I came upon a horde of vintage
photographs that really influenced my
art. One of the most inspiring finds
was a collection of local farm childrens
school photos. The moment I caught
sight of them, my brain started doing
cartwheels and all sorts of ideas came
to mind. The result is this little fabricand paper scrapbook in which I created
personalities for each child based on
their outfits and the looks on their faces.
pageconstruction1. Choose the photos you would like to
include in your book. I used
112" 2" black-and-white photos, and
alternated boys and girls on facing
pages. The size of the photos you
choose will greatly influence the size
of your book and the fabric scraps
you pull.
2. Cut out snippets of colorful or
patterned paper and fabric slightly
larger than the photos. I like to
combine materials that have a
big contrast in texture, like felt
and tissue paper. The wonderful
thing about this project is that you
dont need large paper and fabric
scraps, so you can use lots of yourleftovers.
tip: It helps to decide which colorsyoud like to work with ahead of time soyoure not trying to create and choosecolors at the same time. The fewer colors
you use, the easier it is to coordinate itall, but sometimes you just have to letcolor run wild. If you use color photos, youmight let the colors in the photos be yourguide.
3. Layer your photos with the paper and
fabric scraps to work out how youre
going to stitch the pages. I like to
have 3 layers built up before
I start stitching (2 if the
back layer is fabric).
The layering
keeps the
MATERIALS
Childrens school photos
Felt, fabric, blue jean, and paperscraps
Stapler
Decorative pattern papers, tissuepaper, and found papers such aspostage stamps, vintage ledgerpaper, and receipts
Glass beads, charms, colorfulbuttons, chipboard shapes, ribbon
Found objects such as driftwood,peanut shells, fishing lures, keys, nutsand bolts
Rub-ons
Glue: Glue Dots, AleenesTackyGlue, Uhufabric glue, or ScotchQuick Drying Adhesive
Sewing machine
Needle for hand sewing
Heavy-duty thread, such as Dual DutyPlusbutton and carpet thread
Dremeltool, awl, or hammer andnail for making holes
Long skinny items for binding (I usedthings like skeleton keys, safety pins,and tie bars.)
112"-wide lace, 2'
Black pen
White pen (I used a Uni-ballSignogel pen.)
optional
12-gauge wire
Needle-nose pliers
Paintbrush for glue
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thread from pulling through the
paper and tearing your photo when
you pull on the thread; a fabric
backing gives added strength to thepaper.
tip: As you are designing the pages,determine which ones will be right-facingand which will be left-facing; leave a 12"1" margin free of design elements alongthe left side of the right-facing pages foradding your binding element.
4. Once you have determined the layers,
use staples or glue dots to hold them
in place. The staples fit the schooltheme, but can always be covered up
if you dont like the way they look.
note: If you use glue dots instead ofstaples, be sure to use them only in areaswhere you will not be stitching, as gluegums up the needle.
embellishingWhen choosing the embellishments for
this project it really helps to think like
a child. Try to remember the things you
used to collect in that shoebox you hid
under your bed or in the back of your
closet: bottle caps, paper clips, fishing
lures, railroad pennies, etc. Choose
items that are visually and texturallypleasing.
Completed pageswith the bindingin place.
I took a piece of a filmnegative, stapled it to thetop of a photo of a girl sothat her eye looks out thehole, and used my white gelpen to draw a circle andwording to help give me atheme.
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figure 1 figure 2 figure 3
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the glue between the pages so you
dont go overboard and have glue
squirting out the seams.
Make sure that you glue all
the way to the edge, and press both
sides together firmly. Allow the pages
to dry overnight so you dont pull
them apart when pulling the lace
through to bind.
tip: I suggest using glue dots for stickingpaper to paper. For joining to fabric, Irecommend tacky glue, fabric glue, orquick-drying adhesive.
4. Create your covers. I used scrap
felt to construct the front and back
covers. Try turning small pieces of
fabric horizontally and vertically to
create a fun pattern. Embellish the
front and back of the covers with
layers of fabric, paper, and found
elements as desired. Make sure to
leave a 12"1" margin on the inside
(binding edge) of each cover for
adding your binding.
5. With a needle and thread, stitch
a binding element to the inside
(binding edge) of each of the front
and back covers.
binding1. Fold over 14" on the end of the lace
and straight stitch twice, back and
forth, with your machine to hide the
edge of your lace and to keep it from
unraveling. Dont stitch the other
end of the lace until you get to the
back cover.
2. With your front cover facing down,
pull approximately 1" of the stitched
end of the lace under the binding
element. You want the folded side to
be on your right, facing up.(Figure 1)3. Fold the longer end of the lace over
from left to right at the binding
piece. Put your sewing machine
foot up against the right side of the
binding piece with the fold on the
left. Stitch back and forth with a
straight or zigzag stitch 3 times.(Figure 2)
tip: Stitching over your original stitches isa neat trick to help hide any stitches thatarent exactly straight.
4. Lay the cover front-side down on
your work surface. Lay the first page
of the book, right-side up next tothe cover, on the right side. Take the
free end of the lace, loop it over the
binding element, and then bring it
back under the binding element to
create a fold.
5. Making sure you have allowed
enough lace for the pages to lie
open and flat, pin the lace in place.
Put the sewing foot to the left of
the binding piece and sew back and
forth 3 times.(Figure 3)Repeat thisbinding procedure on each page. If
the pages lie flat, and you cant see
anything but the top and bottom ofeach binding piece, youve done it
correctly.
6. Determine how much of the
remaining lace you will need,
including an extra 14" to fold over on
the end, and cut off the rest. Fold the
end of the lace over 14" and stitch.
Finally, pull the lace through the
binding element on the back cover
and stitch it 3 times as you did forthe other pages.
Make a cup of coffee, smile, and enjoy
what youve created.
Learn more about Jen and her art atthemessynest.com.
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get theskinnyonmixed-mediabooks
Adapted fromCLOTHPAPERSCISSORS
July/August 2007
BY Chrysti Hydeck
Using a photographI took of my mothersbeloved horse, Dylan,I wanted to create awhimsical, magicalworld she would haveloved to walk into as
a child. The feelingcontinues on the nextpage, in an underwaterdream world inspired bya childhood love of themovie and story TheWaterbabies, warmmemories, created bymy mother.
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paper. The antiquing gel will stay in
the scratch, making your piece seem
even older.
13. Use drywall tape and mesh as
stencils and paint over them with
metallic paints, applying the design
randomly onto both pieces. Just like
we did with the paper lace, make
prints by placing the painted sides
face-down onto the paper and then
peeling it up. Allow to dry.
14. Following the manufacturer's
instructions, apply webbing spray to
both pieces to unify. Allow to dry.
skinny book
pagesTo turn your fabulous new backgroundsinto skinny book pages, just cut them
to size (4" 8"). Give your page that
SUPPLIES
Skinny book backgrounds
A selection of photographs andimages
Glue or permanent glue sticks
Burnishing tool Tim HoltzDistress Inks
Faber-CastellPitt Artist Pens
An old book you can cut up
An assortment of markers and gel
pens
Permanent ink pad or metallic
leafing pen
KrylonWorkable Spray Fixatif
optional
Gel Medium Charcoal
Embellishments (Such as mulberry
flowers, pressed flowers, gems,
fibers, ribbon, beads)
Walnut ink
Tweezer BeeNonstick Tweezers
Lovelier (left) was inspired by nature and the possibilities an open door,
or window holds. I used dried flowers, and bravely doodled over whatseemed like a perfect page. The risk paid offit turned out lovelier thanbefore. I loved the rich, simplistic feel of the Onward (right) background,and wanted to showcase it by making the translucent tree doodle the mainfocus. I used gray Pitt Artist pens to achieve that effect.
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finished look by inking the edges with
a permanent inkpad or using a metallic
leafing pen.
You can easily create a fabulous pocket
page as well. Simply cut the background
to 8" 8" and fold it in half. Glue, tape,
or sew the bottom and one open side
together, leaving the top of your page
open: Voila! One gorgeous instant pocket
page.
directions1. Carefully look at your painted
backgrounds: what do they say to
you? Maybe you see a mystical sky,
or perhaps a breathtakingly beautiful
autumn day. Are there rolling hills,
or do you see a path? Maybe your
space is broken up by the marksyou made, and a layout is already
designed for you. Regardless of what
it is your pages whisper to you, work
with the design you may not have
realized you had. Dont limit yourself
to one vision; be open to the hidden
possibilities that exist.
2. Choose images that go along with
your vision. I often see children
and animals in elaborate, magical
worlds where they coexist as one. My
photographs often find their way into
my work as well. Doors, windows,
landscapes, and architecture are
all subjects I favor, and they make
stunning heat or gel transfers when I
convert them to black-and-white. Not
only do they add interest, and depth,
but my work becomes yet another
part of my experiences. If you decide
to add a transfer, now is a good timeto do so.
3. Dont worry too much about how the
image works with your background
yet; we can make any image work.
4. Using your favorite adhesive (I like
old-fashioned permanent glue sticks),
place your images onto the paper and
burnish well. If you notice any loose
edges, rub some gel medium over
the image with your finger to ensure
your image stays put.
5. To make the images cohesive with
the background, recolor the images
with markers or paints; tint them
with a Distress Ink pad, or use my
favoriteFaber-Castell Pitt Artist
Pens. These are fabulous, as they
allow the details to shine through.
6. If your images have a broad range of
colors or styles, consider a unifying
element over your entire page:
spatter paint with a toothbrush, spray
walnut ink, or scrape gesso lightly
over the page.
7. Look at your page; do your images
need to be more defined? Does
the white edge of the image stand
out? Use charcoal and rub it in the
crevices of your images to add some
depth. Wipe some away to make it
less defined.
8. Use your gray Pitt Artist pens and
add shadows to your images creating
even more definition and depth. To
prevent smudging, be sure to seal
your page with the Spray Fixatif
when done.
word playI am absolutely addicted to the English
language, to the power of words. The
way they dance off my tongue or pop
off of a page, how they take me to new
places and conjure whimsical images
in my mind. I just cant get enough of
them.
Old poetry books provide me with an
array of delicious words that make my
art come alive. I cut out phrases and
words that grab my attention and play
with them until I get a sentence, phrase,
or an idea I like. Give it a try: snip out
words and phrases that appeal to you, lay
them all out, and rearrange them until
you are happy with your new poem.
Use your favorite adhesive and glue
them to your page. Ive found nonstick
tweezers to be helpful with this. To
make the words blend into your page,
simply repeat the same steps we did with
incorporating images.
get your doodle onWhether your page looks finished or
you feel it needs something more,
pull out your markers and do some
doodling, right over your work. Yep,
right over your work. I know you may be
questioning my sanity right now, afraid
that you'll ruin your work, but thatsnot possible. These doodles and simple
sketches are part of the personalization
process. Just like in accessorizing a
room, its these personal touches that
make it shine. Give it a whirl; try a tree
or a flower or any shape that appeals to
you. If youre afraid of detail, try simply
adding a pattern to the page.
Dont fret about it. If you end up hating
your doodle, just consider it another
interesting layer in your collage, and
work over the top of it. No harm done!
Some of my most interesting pieces were
created this way.
finishing touchesRe-ink the edges of your page and then
begin embellishing, if you desire. I love
adding sparkle with gems or making an
element pop with flower heads or beads.
Sometimes, a simple button and somefibers are enough. Embellish as much or
as little as youd like.
Learn more about Chrysti and her art atalwayschrysti.com.
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bookswitha repurpose
Adapted fromCLOTHPAPERSCISSORS
March/April 2010
BYJeannine Stein
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I always try to incorporate
recycled or repurposed
materials into my work,
whether its making a
journal pocket page out
of a cookie bag or cutting
felted sweaters into flowers.
These notebooks are a product
of that habit. I call them scrap books
because theyre just thatsimple booksmade from scraps of things I have lying
around my home and work space. They
have one signature (group of pages)
hand sewn into the spine and offer
countless variations for covers.
The first book I made had covers
constructed from cereal boxes. Food
packaging is one of my favorite
materials, since the bright colors
and often iconic imagery make for
sensational, eye-grabbing covers. After
making the first one they became
something of an obsession, as I found
more and more things I could recycle
into covers: vintage Bingo cards, cabinet
cards, old postcards, and record album
and CD covers.
I quickly realized this was also a great
way to thin my ever-growing stash.
Items tucked away for just the right
project were now seeing the light of day.
Some pieces werent sturdy enough to
hold their own as covers, so I added heft
by adhering them to same-size pieces of
cardstock
or
decorative file
folders. Small
pieces of book cloth
(paper-backed fabric
often used in bookbinding)
made perfect spines, but after a
while I sought some variety there, too. I
tried scraps of leather and heavy brocade
fabric, and even decorated some book
cloth with rubber stamps.
I often give my larger journals closures
and thought these petite notebooks
deserved them as well so I tried a
number of options. I decided to use
a five-hole pamphlet binding sewn
through the spine, since it sews up
swiftly and neatly secures the inside
pages.
For embellishments, pretty much
anything goes: metal label holders,
photographs,
lace, metal book
corners, brads, even
flowers.
directionsIf youre planning to create severalof these books at a time, make them
assembly-line style: do the covers first,
then the inside pages, then sew the
books all at once. This will streamline
the process.
1. Use the glue stick to glue the
cardstock sheets to the wrong side of
the cardboard and allow to dry.
2. On the back side of the 112" 614"
piece of book cloth, measure1
2" fromboth long edges and draw a line from
top to bottom so the piece is divided
into three 12" columns.
working with recycledmaterials may just be one ofthe most satisfying creative challenges.
To take nothing and make it into
something beautiful and appealing
fulfills the artistic need like nothing
else.
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3. Apply glue up to the line on the left
side of the book cloth and attach the
front cover, front side down, leaving
about a 14" overhang top and bottom.
Do the same on the right side and
attach the back cover the same way,
making sure the covers are aligned.
Press with the bone folder to make
sure the pieces are adhered.
4. Glue the top and bottom flaps, and
fold them over (Figure 1).
5. Glue the other piece of book cloth
and adhere it to the inside of the
spine (Figure 2). Allow to dry and
press flat if necessary. When dry, fold
the covers in half and crease firmly
with the bone folder.
6. On the fold of the reserved sheet of
text-weight paper, and working from
the top of the sheet down, mark12", 1
58", 234", 3
78", and 5". Open
the sheet, carry the marks across
the fold, and then fold the sheet the
other way so the marks are on the
inside.
7. Place the template inside the nested
pages and, holding the pages at a 45
angle, use the awl to punch through
all the pages at each mark. Remove
the template, center it inside the
cover, and punch the holes in the
cover piece.
8. Center the pages inside the cover and
align the holes. Thread the binding
needle with the 24" length of waxed
linen thread and enter the middle
hole (hole #3) from the inside,
leaving a 2" tail. Enter the next hole
up (hole #2) from the outside and
MATERIALS
Two pieces of cardboard334" 558" cut from food packagingsuch as cereal, cracker, or pastaboxes for the covers (Round corners ifdesired.)
Two pieces of cardstock with thesame measurements as the cover
pieces (Round corners if desired.) Two pieces of book cloth,
112" 614" and 112" 512"
15 sheets of text-weight paper, 714"512", folded in half and nestedtogether. Set aside one sheet for thepunching template. (Round corners ifdesired.)
Waxed linen thread, 2-cord or 2-ply(24" for sewing book, 7" for sewingbutton)
14" ribbon, 14"
One 1"-diameter button
Glue stick
Bookbinding awl or paper piercer
Bone folder
Binding needle (a large darningneedle can be used)
optional
Corner rounder
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Figure 1
Figure 2 Figure 4
Figure 5
Figure 3
enter the top hole (hole #1) from the
inside. Pull the threads to tighten,
always pulling parallel to the spine in
the direction of the sewing. Keep the
threads taut throughout.
9. Enter hole #2 from the outside.
Being careful not to split threads
(Figure 3), and skipping hole #3,
enter hole #4 from the inside. Enter
hole #5 from the outside, and hole
#4 from the inside (Figure 4). Enter
hole #3 from the outside, coming
up on the opposite side of the center
thread from the tail thread (Figure
5). Tie the thread ends in a double
knot and trim them to 14".
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note: A seven-hole pamphlet stitch workswell with these books, too. Add two moreevenly spaced marks to the punchingtemplate and sew the binding the sameway as the five-hole pamphlet.
10. For the closure, sew the button to
the front cover using the 7" piece
of waxed linen thread, keeping the
threads loose.
11. Tie the 14" piece of ribbon
underneath the button, wrap it
around the book, and then again
around the button to close.
making booksof different sizes Start by choosing the size of your
covers.
Use these formulas to determine the
size of the inside pages:
For the height, measure the height
of the cover and subtract 18".
For the width, measure from the
spine to the right side (the fore
edge), double it, and subtract12"
34".
When pages nest together, the edges
will start to peek outthis is called
the fore-edge creep, or just creep.
You can leave it like that for a more
handmade look, or trim the ends
flush with a sharp utility knife or
sturdy guillotine-type paper cutter.
closure options Use a button and ribbon closure as
described in step 11.
Attach a hitch fastener to the front
of the book. Attach a small piece of
leather to the back cover with a rivet.
Punch a hole in the leather piece and
slip it over the fastener.
Lace ribbon through two small holes
in the back cover. Wrap the ribbon
around the book several times before
tying a bow in front.
Learn more about Jeannine and her art atjeanninestein.typepad.com.
tipsfor best results For quick results, use a glue stick instead of PVA (polyvinyl acetate, the go-to
bookbinding glue). I found it adhered everything well.
Use two-cord (also called two-ply) waxed linen thread for the binding because itsthin and creates less bulk at the spine. It comes in a variety of beautiful colors.
When using a thicker material for the spine, such as leather or brocade, allow fora wider gap between the covers. The book cloth spines have a 12" gap, but youmay need to expand it to 1" for heavier materials. To cut down on some of thebulk, use book cloth for the inside of the spine. To adhere the leather and brocade,substitute thick craft glue for the glue stick.
If time permits, press the signatures overnight before sewing them. This allows thebook to close more easily. If the book still springs open a bit after its bound, pressagain under weights.
Recycled papers can be used for the inside pages. I interspersed blank pages withold catalog pages, antique ledger paper, security envelopes, and sheet music.Remember that the heavier the paper, the thicker the book. If youre using heavierpaper, you may need to use 11 or 12 sheets instead of 14.