Documenti di Didattica
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1 3
2 4
1 fabric scraps
& vintage photos:
creating treasure booklets
3 et the skinny on
g
mixed-media books
CHRYSTI HYDECK
4
JEN OSBORN
a look at . . . tunnel books
2
collage boards:
a cardboard journal
KATIE KENDRICK 5 the coptic stitch:
instructions and illustrations
SHARILYN MILLER
And don’t miss Sharilyn Miller’s
Coptic stitch tutorial with step-by-step
instructions and illustrations to get you
How to Make a Book:
binding books in no time. Chances are
that you already have the materials
5 Free Lessons
nearby, so all you need to get started next on Book Making
is this free article! and DIY Book Binding
In “How to Make a Book: 5 Free Lessons presented by
on Book Making and DIY Book Binding,” Cloth Paper Scissors®
h
you’ll discover unique ways to create ONLINE EDITOR Cherie Haas
handmade mixed-media books. As a
andmade books are more popular bonus, you’ll also learn tips, tricks, and
CREATIVE SERVICES
DIVISION ART DIRECTOR Larissa Davis
than ever. Artists are creating techniques for art journaling, collage,
all kinds of books using fabric,
PHOTOGRAPHERS Larry Stein
creating backgrounds, stitching, and more. Korday Studio
recyclables, found objects, photos, and a
Have fun, Projects and information are for inspiration and
variety of mixed-media techniques. personal use only. F+W Media is not responsible
From page construction to binding, we’ve for any liability arising from errors, o missions, or
mistakes contained in this eBook, and readers
assembled some of our favorite handmade should proceed cautiously, especially with respect to
book techniques in this free, downloadable technical information.
eBook, “How to Make a Book: 5 Free Lessons Cherie Haas
F+W Media grants permission to photocopy any pat-
on Book Making and DIY Book Binding.” Online Editor, terns published in this issue for personal use only.
Cloth Paper Scissors Today
In “Creating Treasure Booklets,” Jen Osborn
shows you how to pull together all those
fabric scraps, photos, and found objects you ALL 6 ISSUES
love into creative little gems. Each page is
FROM 2013
collaged and includes some machine and/
p l or e
Ex unlimited possibilities
or hand stitching. Jen also demonstrates a
simple binding.
Katie Kendrick works her magic using
discarded cardboard as a base for paint,
in your art!
collage, and journaling in “Collage Board
Books.” In an unusual—and clever—twist,
Dive into a year’s worth of
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3 CO
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basic to advanced level tips
“hinges.” and mixed-media techniques
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You’ll “Get the Skinny on Mixed-Media
For
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Interr w
Int
Inter wea ers
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Scissors CD Collection!
Books” when Chrysti Hydeck explains how to
This CD
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©2014 use.
F+W MedM ia,
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collage boards
a cardboard journal
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Because of my fondness for and feelings Pairing cardboard, strong and light 1. Randomly tear off portions of the top
of familiarity with this material, one of in its nature and history, with the paper layer to expose the corrugated
the ways I enjoy using it is as a surface fragile, delicate, and flowing qualities of folds. Leave some of the pieces intact
for visual journaling. Artwork done cheesecloth seems like a natural fit, a so you have some smoother surfaces
for my pleasure alone, not meant to be combination of yin and yang. This little to paint and draw on. Having a mix of
sold, given away, or necessarily even journal is not meant to get the heavy use textured and smooth pages makes the
shared with anyone else. Ambiguious of a library book, but treated with care, book more interesting, both visually
images and poetry that spring out of it will last a good long time, a personal and tactilely.
my unconscious while I’m creating, diary of beauty and grace.
2. Paint the page unevenly with gesso,
documenting my time here in the
directions
leaving small areas of cardboard
present moment, a day in the life.
exposed; brush on the gesso thicker
in some areas, thinner in others.
m at e r i a l s creating the pages Applying gesso in this way builds in
• Discarded corrugated cardboard Once I had laid out the various shading possibilities for the colors
cardboard samples I’d accumulated for you’ll be putting down in future
• Cutting tool and mat
the project, I quickly realized that all steps.
• Razor blade
• Golden® soft gel medium (matte) cardboard is not created equal, which 3. Paint the page with acrylic paint,
makes this art material even more once again leaving some small areas
• Acrylic paints (I prefer Golden), fluid
or heavy-body, in your choice of interesting and fascinating. For this unpainted. You now have a page that
colors including titanium white and project, I used a piece of cardboard from is mainly a solid color, with small
carbon black a car windshield screen, a gridded piece areas where the cardboard and gesso
• A few metallic paints (I used Lumiere® of dressmaker’s mat, and varying weights are exposed. Let dry.
by Jacquard®.) of packing boxes. The heaviest type, used
• Baby wipes 4. Lay down a stencil on the page and,
for shipping appliances and furniture,
using 3–4 different colors of acrylic
• Paintbrushes is very sturdy and needs no additional
paint (at least 1 of them metallic),
• Stencil support, even after tearing off the top
pour a small puddle of each onto
• Stabilo® black pencil #8046 layer of paper to expose the corrugation.
your palette. Load your brush with
• Graphite pencil The lighter board, commonly used in
the first color and begin painting at
• White and black India inks grocery boxes, often needs a support
after you tear off the paper top, and in the edge. Each time you load your
(I prefer Dr. Ph Martin’s® inks.)
those instances, I glued a piece of thin brush, use a different color and
• Watercolor crayons (Caran d’Ache
chipboard from a discarded cereal box slightly overlap the freshly painted
Neocolor II® water-soluble crayons
are my favorite.) onto the surface to firm it up. Cut the areas to blend the paints, taking
care to not over-blend, but keeping
• A black and a white gel pen cardboard to size with a cutting tool.
(Uni-ball® Gel Impact black and some of the individual colors vivid.
Uni-ball® Signo white are two of my note: I had the best luck using a rotary Carefully lift the stencil off your page
favorites.) cutter or an X-acto™ knife. A box cutter and let the paint dry completely. If
also worked, but it made a more ragged
• String, bias tape, trim, or ribbon with you’re impatient, like I often am, use
cut.
printed words; vintage silk flower; a hair dryer to speed up the drying
reduced copies of your own original process.
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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Above left: Portions of the top layer of
cardboard were torn away, then the page was
note: Instead of letting the wet paint on color. If you are using watercolor
painted with gesso. A piece of plastic lace
tablecloth was placed on the gessoed page and the stencil go to waste, turn it over (the crayons, color a small area of the dry
used as a stencil. The stencil was painted over side that was facing up when you painted page and, using a baby wipe, gently
with four different acrylic paints: two blues and is now facing down) and place it onto
two metallics. rub to blend it into the neighboring
one of your blank, gessoed pages. Put a
Above right: Depth and texture were built up by magazine or phonebook page on top of colors. When the page is dry, apply
adding additional layers of paint, paint mixed it and brayer with pressure. When you lift some white ink to the exposed
with gel medium, watercolors, and glazes.
the stencil you’ll have a light pattern. You cardboard areas and some of the
can paint your base color over that when variegated folds. The white ink can
you’re ready to do that page. also be applied to areas that are too
“loud” and need toning down.
5. Now is the perfect time to paint
with watercolors. I often choose 6. Coat the intact portions of the page
1 or 2 colors that are similar or with a generous layer of gel; no need
complementary to my base paint to coat the exposed folds. Press the
color. When using liquid watercolors stencil into the gel medium (using
or inexpensive children’s watercolors, a different area of the stencil this
brush on a more intense color in time). Lift the stencil carefully and
some areas and apply it more diluted dry the page thoroughly.
in other areas, using a paint cloth
or paper towel to soak up any excess
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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 acrylic
paints and watercolor crayons. For the facing page, Katie tore away some of the top layer
of 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 written
with India ink.
7. Dip a bit of paper towel into metallic a “container” to hold whatever I will them out and dry them. Cut 1" strips
acrylic paint and dab it gingerly onto put onto the page. from the cheesecloth.
random areas of the page, taking care
Now the page is ready for journaling: a 2. Spread gel medium around all 4
to cover some of the raised areas. Dry
quote, a painting, a small printed copy edges of the cardboard page. Fold a
thoroughly. Brush watercolor paint
of your artwork, a photograph, or maybe cheesecloth strip lengthwise over the
onto the page using plenty of water,
a collage. Sometimes the page needs edges of the page, working it around
letting the paint pool around the
nothing further; it is simply a statement the perimeter and slightly into the
patterns and crevices created by the
in color and texture and you can leave it edges, leaving strands and overlap
stencil and gel medium. One of the
at that. hanging onto the page if desired,
advantages of using watercolors here
or keep the cheesecloth taut and
is you can use a baby wipe to blend or creating the book straight to the edge.
erase colors you don’t like and redo it
1. Brew a strong cup of coffee and pour
with something else. At this stage, I 3. Assemble your pages into their
it into a shallow bowl. Submerge the
often paint near the edges of my page proper order, pairing them off by
cheesecloth and gauze, allow them
with diluted black watercolor and 2s. Cut gauze strips the length of
to soak for a while, and then wring
rub it into the background, creating your pages, cutting as many pieces
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Above: Katie painted the page on the left with
gesso, then gave it some texture by pressing
scrunched-up paper and round lids of varying sizes
into it while the gesso was wet. The facing page
was coated with gesso, then more color was added
spontaneously with acrylic paints, watercolors,
pencil, and ink. Katie achieved texture and depth
by sanding through paint layers, exposing the
various layers below.
Right: This sample shows how the cheesecloth
“hinges” are attached to the cardboard pages,
using gel medium. (This step is done after the pages
are complete; the pages are blank for this sample to
clearly 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.
tips
• Old, plastic lace tablecloths, doilies,
and place mats, found at thrift stores
and garage sales, make wonderful
stencils.
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fabric scraps
vintage photos
&
creating treasure booklets
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While poking around in a local antique 2. Cut out snippets of colorful or m at e r i a l s
mall, I came upon a horde of vintage patterned paper and fabric slightly
• Children’s school photos
photographs that really influenced my larger than the photos. I like to
art. One of the most inspiring finds combine materials that have a • Felt, fabric, blue jean, and paper
scraps
was a collection of local farm children’s big contrast in texture, like felt
• Stapler
school photos. The moment I caught and tissue paper. The wonderful
sight of them, my brain started doing thing about this project is that you • Decorative pattern papers, tissue
paper, and found papers such as
cartwheels and all sorts of ideas came don’t need large paper and fabric
postage stamps, vintage ledger
to mind. The result is this little fabric scraps, so you can use lots of your paper, and receipts
and paper scrapbook in which I created leftovers. • Glass beads, charms, colorful
personalities for each child based on buttons, chipboard shapes, ribbon
tip: It helps to decide which colors
their outfits and the looks on their faces. you’d like to work with ahead of time so • Found objects such as driftwood,
you’re not trying to create and choose peanut shells, fishing lures, keys, nuts
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Completed pages
with the binding
in place.
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1. Add stitching to decorate the page. Examples of partially
finished pages.
Do any machine stitching first. Since
you will be attaching your pages back
to back later, you can stitch with
abandon knowing that everything
will be covered up by the backing
page. It’s best to stick to basic sewing
stitches since you are going to be
adding a lot of other visual elements
to your pages.
booklet
2.
binding object along the left edge to twist a loop at each end of the wire
and stitch the loops in place. (See
construction
of each right-facing page (see the
opening image for example). I tried Figures next page.)
to pick objects that went with my 3. Glue your pages back to back. Use a
At this point you should have a bunch pages: a kilt pin, a skeleton key, paintbrush or your finger to apply
of single-sided pages that need to go an old spring. If you have trouble
adding embellishments
• A Dremel tool really comes in handy for drilling holes, but you can also use a
hammer and nail to make a hole. Hammer the nail in and then pull it out and
you‘ll have a hole to stitch through.
• Be sure to use a sturdy thread when sewing embellishments on by hand. Your
book will get a lot of handling and you don’t want things falling off.
• Colorful, shaped buttons help tell the story. I stuck to the much-loved shapes of
hearts and stars, with a few flowers and trees sprinkled in for variety.
• Add matching bead shapes to help create continuity without over-stimulating the
eye.
• Use the beads and buttons to help tack your layers together and cover
imperfections.
• Basic embroidery stitches are perfect for this project. The blanket stitch, backstitch,
French knots, and Xs are really all you need.
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figure 1 figure 2 figure 3
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the glue between the pages so you
don’t go overboard and have glue binding 5. Making sure you have allowed
enough lace for the pages to lie
squirting out the seams. 1. Fold over 1⁄4" on the end of the lace open and flat, pin the lace in place.
Make sure that you glue all and straight stitch twice, back and Put the sewing foot to the left of
the way to the edge, and press both forth, with your machine to hide the the binding piece and sew back and
sides together firmly. Allow the pages edge of your lace and to keep it from forth 3 times. (Figure 3) Repeat this
to dry overnight so you don’t pull unraveling. Don’t stitch the other binding procedure on each page. If
them apart when pulling the lace end of the lace until you get to the the pages lie flat, and you can’t see
through to bind. back cover. anything but the top and bottom of
each binding piece, you’ve done it
tip: I suggest using glue dots for sticking 2. With your front cover facing down,
paper to paper. For joining to fabric, I
correctly.
pull approximately 1" of the stitched
recommend tacky glue, fabric glue, or 6. Determine how much of the
end of the lace under the binding
quick-drying adhesive.
element. You want the folded side to remaining lace you will need,
be on your right, facing up. (Figure 1) including an extra 1⁄4" to fold over on
4. Create your covers. I used scrap
the end, and cut off the rest. Fold the
felt to construct the front and back 3. Fold the longer end of the lace over
end of the lace over 1⁄4" and stitch.
covers. Try turning small pieces of from left to right at the binding
Finally, pull the lace through the
fabric horizontally and vertically to piece. Put your sewing machine
binding element on the back cover
create a fun pattern. Embellish the foot up against the right side of the
and stitch it 3 times as you did for
front and back of the covers with binding piece with the fold on the
the other pages.
layers of fabric, paper, and found left. Stitch back and forth with a
elements as desired. Make sure to straight or zigzag stitch 3 times. Make a cup of coffee, smile, and enjoy
leave a 1⁄2"–1" margin on the inside (Figure 2) what you’ve created.
(binding edge) of each cover for themessynest.com.
tip: Stitching over your original stitches is
adding your binding.
a neat trick to help hide any stitches that
5. With a needle and thread, stitch aren’t exactly straight.
a binding element to the inside
(binding edge) of each of the front 4. Lay the cover front-side down on
and back covers. your work surface. Lay the first page
of the book, right-side up next to
the 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.
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get the
Adapted from
Cloth Paper Scissors®
July/August 2007
skinny on
mixed-media
books
Using a photograph
I took of my mother’s
beloved horse, Dylan,
I wanted to create a
whimsical, magical
world she would have
loved to walk into as
a child. The feeling
continues on the next
page, in an underwater
dream world inspired by
a childhood love of the
movie and story “The
Waterbabies,” warm
memories, created by
my mother.
by Chrysti Hydeck
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“s
kinny.“ It’s near impossible to escape it. You see it plastered
m at e r i a l s
everywhere…in coffee shops, on denim, gracing the cover of
• Watercolor paper—2 sheets of
magazines, even on billboards. Why, then, should it surprise us when 9" × 12" (120- or 140-lb.)
it makes a grand entrance into our wonderful world of art? Maybe, • Acrylic paints—an assortment
• Paintbrushes
it’s just the bit of “thin-spiration” we need. An elongated, not-so-distant
• Brayer or burnishing tool
cousin of our beloved fat books, the Skinny Book presents us with a
• Winsor & Newton Ink—2 or more
challenging new twist, a very vertical format. Much like a chunky book, colors
these long wonders can be done collaboratively or ventured into alone. • Baby wipes
• Permanent ink pad—black
As with every reinvented style of art, times. Add another layer • Rubber stamps and household objects
the Skinny Book presents us with or take one away. You are to stamp with
refreshing new opportunities. Books guaranteed to get a unique • Old credit card
done collaboratively are an inspiring way piece every time. • Walnut ink spray
to connect with other artists, and often • Gel medium
• Embrace imperfection in
produce treasured keepsakes. Dontcha • Chunky foam stamp
the product, the process, and even
just love possibility? • Paper lace
in yourself. That, my friends, is the
The rules vary per swap, as does the secret to a rich background that holds • Water in a spray bottle
size. Although the books I have done a story all of its very own. • Paper towels
are 4" × 8", I’ve seen them in a 3" × 6" • Webbing spray (a permanent,
• Since we’ll be working with two
format as well. The host of a swap often textured coating)
different pieces of 140-lb. watercolor
sets the rules and the theme, and the optional
paper, you may find it helpful to label
number of participants (players) typically • Gel pens or markers
your papers Piece 1 and Piece 2. Lay
determines the number of pages. Well- • Awl
them out side by side. If you are an
embellished copies or all original pages • Antiquing gel
impatient soul like I am, have your
are usually accepted. • Metallic acrylic paints
heat gun ready to speed up the drying
• Foam brushes
perfectly
time.
• Krylon® Workable Spray Fixatif
• To protect my work surface and
imperfect
• Ruler
stretch my materials even further, I
take a large sheet of watercolor paper • Mesh
• Drywall tape
2-for-1 and place it under the two sheets
I’ll be working on. This allows the • Heat gun
backgrounds paint from any overbrushing, spills,
I am madly, deeply, head-over-five- and drips to become the first layer
I’m an “all original” gal myself; I
inch- stiletto-heels in love with creating in another background down the
have yet to submit copies for my
backgrounds. It is an experience like no road. For even more interest, run the
pages. You just cannot duplicate
other, as there is no wrong or right. All excess paint on your brushes over it.
the thrill of seeing and touching
that exists is fun, carefree play. Anyone
and everyone can do this, and use it as directions an original piece of art. It’s a
small gift that I am happy to give
a starting point for their own creative 1. Choose your base color; bright colors
back to the art community. People
jumpstart. work best. Liberally and quickly
often ask how I manage this
• Experiment with the process; try brush the paint over Piece 1, but do
with my busy schedule, so I am
adding ephemera or images before not allow the paint to fully dry.
sharing some of my secrets with
applying the paint. Change the order 2. While the paint is still wet, place you today.
of the steps, or do them multiple Piece 2 face-down onto Piece 1.
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Firmly brayer or burnish the pieces randomly onto both pieces of paper.
together, then pull back and peel Allow to dry.
them apart quickly. (It’s okay if some
note: Be sure to clean your stamp right
of the paper sticks and tears; it adds away or wipe it off with a baby wipe so
more depth and character.) Let the you don’t damage it.
paint dry on both pieces.
8. You’ll need to work quickly here,
3. Brush at least 2 colors of the Winsor
so have both pieces side by side.
& Newton Ink over Piece 2, covering
Starting on Piece 2, lay a length of
it entirely. (Don’t worry about brush
paper lace over your background
strokes showing, the wiping will
paper and use it as a stencil. Brush a
blend them.)
neutral-colored paint over the entire
Allow the ink to sit on the paper for length, covering most of the paper
2–3 minutes, and then wipe it off lace. Vary the pressure of your brush
Piece 2, Step 2
with a baby wipe. The acrylic paint to achieve different results.
acts as a resist, so vary the pressure
9. While the paint is still wet, carefully
as you wipe. Rubbing harder over
peel the paper lace off of Piece 2
the acrylic paint allows more of the
and lay it painted-side down onto
color to show through, while light
Piece 1. Press down firmly with
pressure gives it a subtler look.
your hand or brayer, then pull back
Where the ink saturates the plain
paper, I just apply minimal pressure, quickly to reveal the lace print. Do
as the harder you wipe on the ink, this in random spots all over Piece 1,
the duller it will become. (Recycle until no more paint transfers. (Some
by setting aside those colorful of the paper lace may rip and stick to
stained baby wipes to dry for another your paper; this is a happy accident
project.) Allow to dry. that I just love the look of.) Allow to
dry.
4. Stamp both pieces with your favorite
10. Brush a liberal coat of fluid acrylic
background stamp using black
or craft paint entirely over Piece
permanent ink. Cover the entire
2. Yes! The entire piece! Do not
Piece 2, Step 3 (above) and Step 8 (below) piece, varying pressure as you
allow to dry. Quickly spritz with
stamp—the more imperfect your
water. You want water droplets
impression, the better!
here, not a super-damp mist. The
5. Pick a few different colors of acrylic actual drops of water are what give
paint and apply a small amount of this the look we’re aiming for. Let
the first color to the end of an old it sit 2 - 3 minutes, then blot any
credit card. Using the card, scrape heavy puddles lightly with paper
the paint in various spots on both towels. Now, place Piece 1 front-side
pieces of paper. While the paint is down against Piece 2 and brayer or
still wet, repeat this process using burnish these together, then pull
the other colors. Allow to dry. apart. Continue to blot and wipe off
6. Spritz both pieces with walnut ink excess paint on Piece 2 with paper
and allow to dry. towels, or continue to use Piece 1 to
lift the paint.
7. Mix your base color paint with a dab
of gel medium and paint it directly 11. Make your mark! Have fun with
onto a bold chunky stamp. Stamp your own ideas and playful
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experimentations— there is no all the better. If it smudges a bit? Above: Piece 2, Step 10 (top)
and Step 12 (bottom)
right or wrong. Need a jumpstart? Pure bliss!
Here are some of my favorite mark-
• Stamp both pieces using acrylic Upper left: “A Work in Progress” • 4" × 8"
making techniques:
paints with random objects (e.g.
• Using a ruler and gel pens, draw hand-carved stamps, cotton
12. Makerandom scratch marks on both
random lines and patterns onto swabs, marker lids, bubble wrap,
pieces with an awl. Rub antiquing
both pieces of paper. If the pen corrugated cardboard, rubber
gel into the scratches using your
doesn’t leave a continuous mark, bands wrapped around a block of
finger or a foam brush. Lightly wipe
wood, etc.).
off any extra gel that gets on the
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paper. The antiquing gel will stay in
the scratch, making your piece seem
even older.
skinny book
pages
To turn your fabulous new backgrounds
into skinny book pages, just cut them
to size (4" × 8"). Give your page that
supplies
• Skinny book backgrounds
• A selection of photographs and
images
• Glue or permanent glue sticks
• Burnishing tool
• Tim Holtz® Distress Inks
• Faber-Castell® Pitt Artist Pens
• An old book you can cut up
• An assortment of markers and gel
• pens
• Permanent ink pad or metallic
• leafing pen
• Krylon® Workable Spray Fixatif
“Lovelier” (left) was inspired by nature and the possibilities an open door, optional
or window holds. I used dried flowers, and “bravely” doodled over what • Gel Medium
seemed like a perfect page. The risk paid off–it turned out lovelier than
before. I loved the rich, simplistic feel of the “Onward” (right) background, • Charcoal
and wanted to showcase it by making the translucent tree doodle the main • Embellishments (Such as mulberry
focus. I used gray Pitt Artist pens to achieve that effect.
• flowers, pressed flowers, gems,
• fibers, ribbon, beads)
• Walnut ink
• Tweezer Bee® Nonstick Tweezers
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“finished” look by inking the edges with place your images onto the paper and or an idea I like. Give it a try: snip out
a permanent inkpad or using a metallic burnish well. If you notice any loose words and phrases that appeal to you, lay
leafing pen. edges, rub some gel medium over them all out, and rearrange them until
the image with your finger to ensure you are happy with your new poem.
You can easily create a fabulous pocket
your image stays put.
page as well. Simply cut the background Use your favorite adhesive and glue
to 8" × 8" and fold it in half. Glue, tape, 5. To make the images cohesive with them to your page. I’ve found nonstick
or sew the bottom and one open side the background, recolor the images tweezers to be helpful with this. To
together, leaving the top of your page with markers or paints; tint them make the words blend into your page,
open: Voila! One gorgeous instant pocket with a Distress Ink pad, or use my simply repeat the same steps we did with
page. favorite—Faber-Castell Pitt Artist incorporating images.
Pens. These are fabulous, as they
directions allow the details to shine through. get your doodle on
1. Carefully look at your painted Whether your page looks finished or
6. If your images have a broad range of
backgrounds: what do they say to you feel it needs something more,
colors or styles, consider a unifying
you? Maybe you see a mystical sky, pull out your markers and do some
element over your entire page:
or perhaps a breathtakingly beautiful doodling, right over your work. Yep,
spatter paint with a toothbrush, spray
autumn day. Are there rolling hills, right over your work. I know you may be
walnut ink, or scrape gesso lightly
or do you see a path? Maybe your questioning my sanity right now, afraid
over the page.
space is broken up by the marks that you'll ruin your work, but that’s
you made, and a layout is already 7. Look at your page; do your images not possible. These doodles and simple
designed for you. Regardless of what need to be more defined? Does sketches are part of the personalization
it is your pages whisper to you, work the white edge of the image stand process. Just like in accessorizing a
with the design you may not have out? Use charcoal and rub it in the room, it’s these personal touches that
realized you had. Don’t limit yourself crevices of your images to add some make it shine. Give it a whirl; try a tree
to one vision; be open to the hidden depth. Wipe some away to make it or a flower or any shape that appeals to
possibilities that exist. less defined. you. If you’re afraid of detail, try simply
8. Use your gray Pitt Artist pens and adding a pattern to the page.
2. Choose images that go along with
your vision. I often see children add shadows to your images creating Don’t fret about it. If you end up hating
and animals in elaborate, magical even more definition and depth. To your doodle, just consider it another
worlds where they coexist as one. My prevent smudging, be sure to seal interesting layer in your collage, and
photographs often find their way into your page with the Spray Fixatif work over the top of it. No harm done!
my work as well. Doors, windows, when done. Some of my most interesting pieces were
landscapes, and architecture are created this way.
all subjects I favor, and they make word play
stunning heat or gel transfers when I I am absolutely addicted to the English finishing touches
convert them to black-and-white. Not language, to the power of words. The Re-ink the edges of your page and then
only do they add interest, and depth, way they dance off my tongue or pop begin embellishing, if you desire. I love
but my work becomes yet another off of a page, how they take me to new adding sparkle with gems or making an
part of my experiences. If you decide places and conjure whimsical images element pop with flower heads or beads.
to add a transfer, now is a good time in my mind. I just can’t get enough of Sometimes, a simple button and some
to do so. them. fibers are enough. Embellish as much or
Old poetry books provide me with an as little as you’d like.
3. Don’t worry too much about how the
image works with your background array of delicious words that make my alwayschrysti.com.
yet; we can make any image work. art come alive. I cut out phrases and
words that grab my attention and play
4. Using your favorite adhesive (I like
with them until I get a sentence, phrase,
old-fashioned permanent glue sticks),
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Adapted from
a look at...
Cloth Paper Scissors®
January/February 2013
tunnel books
by Chrysti Hydeck
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2. Starting with the first page of the 6. Repeat steps 4 and 5 until all but the 3. Skip 2 panels and then add the next
book, cut or tear a large hole leaving last page have been traced and cut. page, making another sandwich by
a frame of paper around the edge. Usually the position of the cut-out inserting the second page between
elements (top, middle, bottom) varies the next 2 panels. Continue until you
3. Place this frame face down on a
from page to page so that all of the have all the pages glued in place with
second page and trace the opening
elements can be seen front to back. the cover on the front of the book.
lightly with a pencil.
4. Using the pencil line as a guide, put it all together note: If you’d like to add more pages
you simply need to add more panels to the
draw a design with a slightly smaller The accordion-folded sides should be accordion-folded sides. This can be done
opening just inside the first pencil facing each other with the end panels by gluing two accordion sides together to
line, add any decorative elements (I pointed towards the center of the book. make them longer
used trees and hearts.), and cut along
1. Glue the backdrop to the last panel of alwayschrysti.com.
the new pencil line.
both of the accordion sides.
5. Place the second page face down on
2. Glue the second-to-last page between
a third piece of paper and repeat the
panels 5 and 6, creating a sandwich.
above step.
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The Coptic Stitch
Instructions and Illustrations
t
by Sharilyn Miller
hese instructions illustrate how to bind books
using a Coptic Stitch.
1 2 3 4
1. First, create a paper 2. Using a ruler and pencil, 3. Measure along this line 4. Use a bookbinding needle
template for punching holes measure in from one edge and draw a dot every ¼"–½" or an awl to punch a hole
in the covers for binding. about a ½" and draw a line. or so. at each mark. I typically
Measure and cut out a scrap punch holes on a self-healing
paper piece the same size and cutting mat, but an old
shape as the covers. wooden cutting board will
serve as well.
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Preparing the covers 1. 2.
Preparing
the signatures 1.
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Coptic stitch tutorial 1. 2.
7. 8.
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through the hole, from the outside of 9. 10.
the cover to the inside. Pull the thread
through, bringing the thread to the
right.
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17. 18.
Binding the
last signature
1. Place the last signature on top of the
bound signatures and place the front
cover on top of it with all the holes
lining up.
3. 4.
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5. 6.
11. 12.
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14. Tie a small overhand knot in the 13. 14.
thread inside to secure it and trim the
thread.
Sharilyn Miller is an artist, instructor,
and author of 11 books, including the
Arty Jewelry series.
sharilynmiller.blogspot.com.
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