Book Binding

how to make a book
free lessons on book making

and diy book binding
presented by cloth paper scissors ®
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
COL
MIXE L A G E
Katie binds the pages with cheesecloth

201
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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
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F+W MedM ia,
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turn vertical-format collage pages into skinny bit.ly/CPS2013CD

books. Chrysti brings all sorts of mixed-
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media supplies into play as she creates richly ma
d IIm
nd age: An
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ndre Molly
Lemast
Backgrou er
layered backgrounds and then adds collage Jane Moo
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and journaling to tell a story.

And who doesn’t love the charm of a tunnel
book? In “A Look At . . . Tunnel Books,” you’ll
get simple, step-by-step instructions for
this enchanting book structure. Keep your
handmade book for yourself, or give it as a
special gift.
How to Make a Book: Lessons on Book Making and DIY Book Binding clothpaperscissors.com
©F+W, A Content + eCommerce Company 2
collage boards
a cardboard journal
w hat is it about corrugated cardboard that makes one want to hoard

and collect it? I know I’m not alone here, for since becoming a certified
member of the mixed-media art world, I’ve found others who have this conditon.
I’ve had a love affair with cardboard boxes for as long as I can remember. Ask
Adapted from my husband, he’ll tell you: getting rid of a good box isn’t easy for me. It all goes
Cloth Paper Scissors®
November/December 2007 back to my mother, I’m 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. It’s 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 pieces

of cardboard together for depth, then painted both with
gesso and two different shades of blue. With a razor
blade, she gouged out some tiny areas, exposing hints
of the brown cardboard, then attached string and glued
down coffee-stained bias tape with transferred text,
by Katie Kendrick coffee-dyed cheesecloth, and a vintage silk flower.
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
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
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
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.)
as you have pairs. If you have an odd

number, count the single page as a
pair.
4. Apply gel medium to the “spine”

edge of each page in the first pair and
press the cover page (the first page)
into the gauze strip, 1⁄2" from the left
edge. Then press the next page into
the gauze strip 1⁄2" from the right
edge. Make sure to align the top and
bottom edges before gluing. Prop the
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 1⁄2" 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
Above: Katie used a
the cheesecloth spine, applying 2–3 piece of plastic lace tablecloth
rows of running stitches vertically, as a stencil for many of the pages
in her journal.
the full length of each page, for each
Below: A view from the top shows the
pair. Repeat the process for each set wonderfully ragged look of the journal’s
of pages. cheesecloth spine and page edges.
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 with

freezer paper makes a great paint
palette.
joyouslybecoming.typepad.com.
fabric scraps
vintage photos
&
creating treasure booklets
g rowing up, art was my constant companion. It continued to keep

me company throughout my angst-ridden teenager years, but when
I went to college, I chose to focus on other things. When my children were
young, art started to slowly creep back into my life, but it still wasn’t in my
daily thoughts. When we moved to rural Michigan, it came charging back
into my life in a most unexpected way. Art was no longer just an activity
to pass the time. Rather, it was something amazing that opened up my
imagination and creativity.
Adapted from
May/June 2010 by Jen Osborn
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
page colors at the same time. The fewer colors

you use, the easier it is to coordinate it
and bolts
• Rub-ons
construction all, but sometimes you just have to let

color run wild. If you use color photos, you
might let the colors in the photos be your
• Glue: Glue Dots®, Aleene’s® Tacky
Glue®, Uhu® fabric glue, or Scotch®
1. Choose the photos you would like to Quick Drying Adhesive
guide.
include in your book. I used • Sewing machine
11⁄2" × 2" black-and-white photos, and • Needle for hand sewing
3. Layer your photos with the paper and
alternated boys and girls on facing • Heavy-duty thread, such as Dual Duty
fabric scraps to work out how you’re
pages. The size of the photos you Plus® button and carpet thread
going to stitch the pages. I like to
choose will greatly influence the size • Dremel® tool, awl, or hammer and
have 3 layers built up before
of your book and the fabric scraps nail for making holes
I start stitching (2 if the
you pull. • Long skinny items for binding (I used
back layer is fabric).
things like skeleton keys, safety pins,
The layering
and tie bars.)
keeps the
• 11⁄2"-wide lace, 2'
• Black pen
• White pen (I used a Uni-ball® Signo
gel pen.)
optional
• 12-gauge wire
• Needle-nose pliers
• Paintbrush for glue
Completed pages
with the binding
in place.
thread from pulling through the

paper and tearing your photo when embellishing under your bed or in the back of your
closet: bottle caps, paper clips, fishing
you pull on the thread; a fabric lures, railroad pennies, etc. Choose
When choosing the embellishments for
backing gives added strength to the items that are visually and texturally
this project it really helps to think like
paper. pleasing.
a child. Try to remember the things you
tip: As you are designing the pages, used to collect in that shoebox you hid
determine which ones will be right-facing
and which will be left-facing; leave a 1⁄2"–
1" margin free of design elements along
the left side of the right-facing pages for
adding your binding element.
4. Once you have determined the layers,

use staples or glue dots to hold them
in place. The staples fit the school
theme, but can always be covered up
“I took a piece of a film
if you don’t like the way they look. negative, stapled it to the
top of a photo of a girl so
note: If you use glue dots instead of that her eye looks out the
staples, be sure to use them only in areas hole, and used my white gel
where you will not be stitching, as glue pen to draw a circle and
gums up the needle. wording to help give me a
theme.”
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.
2. Choose your embellishments and

attach them to your page with a
needle and thread or glue. Add
enough to create interest, but don’t
let them detract from the photos.
tip: I almost always do a dry run to work

out size issues and to avoid extra holes. together (back to back) to create
Once you‘ve made a hole in paper it’s
your double-sided book pages.
there to stay.
1. Lay out your pages, organizing
3. Add any desired writing and doodling them as right-facing or left- finding long, skinny binding objects,
with a black pen and/or a white gel pen. facing. you can make your own with
With a needle and thread, add a 12-gauge wire. Use needle-nose pliers
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.
figure 1 figure 2 figure 3
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.
get the
Adapted from
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
“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.
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
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
paper. The antiquing gel will stay in
the scratch, making your piece seem
even older.
13. Usedrywall 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
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
“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),
Adapted from
a look at...
January/February 2013
tunnel books
t he tunnel book is a fun alternative to standard book making. Each creation

sets the stage, whether literal or abstract, and engages the viewer as an
audience member rather than a reader.
create the sides 3. tip: To fold an accordion with the

most accuracy, start by folding the
1. Cut 2 pieces of paper as tall as you
paper in half and then fold each of
want the finished tunnel book and
those halves in half again. Continue
at least twice as long as the desired
in this manner until the entire strip
book depth.
is folded, reversing the folds when
note: If you want exact measurements, necessary.
play with pieces of scrap paper to
determine your own customized pattern build the scene
pieces.
1. Cut at least 4 panels for the pages of
the book. I used 5 panels for each of
2. Fold the long strips of paper
these two examples. The last panel
accordion style.
in the book is traditionally uncut,
providing the backdrop for the book.
by Chrysti Hydeck
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.
The Coptic Stitch
Instructions and Illustrations
t
by Sharilyn Miller
hese instructions illustrate how to bind books
using a Coptic Stitch.
Note: Before stitching, you will need to punch materials

holes in the covers and signatures of your book. for coptic stitch
• Waxed linen
The beginning of this article includes basic thread
instructions for making a hole template and • Bookbinding
needle
preparing the covers and signatures for binding.
If you already have your holes punched, go directly materials
to the Coptic Stitch tutorial. for making a book
• Scratch paper • Paper
and pencil for • Bone folder
Making a hole template template
• Covers
note: When using the Coptic binding method to bind your book, • Scissors
you may use as many holes as you like for stitching. It makes no • Ruler
difference whether it’s an even or odd number of holes for this • Awl
binding. For the sample, I measured in from one edge ½" and then
marked dots every ¼" three times. I measured down ¾", then
marked every ¼" three times again. I repeated this one more time
with the last hole ½" from the edge of the paper.
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.
Preparing the covers 1. 2.
1. Place the paper template on the front

cover, with the holes along the left-hand
side. Use an awl to punch holes through
the cover at each marked spot.
2. Place the paper template on the back

cover, this time with the holes along the
right-hand side, and again use an awl to
punch holes through the cover at each
marked spot. Set both covers aside for now.
Preparing
the signatures 1.
1. Use paper suitable for bookbinding

(i.e. it can be folded without cracking).
Cut or tear as many pages as you prefer,
making them twice the width of the cover
and slightly smaller than its height.
2. Fold all the papers in half. Use a bone

folder to press along the fold.
3. Folded pages can be used as-is for

signatures, or you can nest 2–3 folded
pages inside each other to create each
signature. Stack them neatly with all
folded edges on one side. 4. 5.
4. Use a ruler and pencil to make tiny

tick marks along the folded edge of one
signature, matching the measurements
used on the hole template.
5. Place the marked signature on top of

the stack of remaining signatures. Use
the marks to guide you as you run the
pencil up the edges of all the signatures.
A straightedge will help keep the marks
lined up.
6. Now that the hole placements have

6. 7.
been marked on the folded edge of each
signature, use an awl or a bookbinder’s
needle to poke a small hole through
each one, from the inside of the fold out.
Take care not to poke very large holes.
7. Restack the signatures as before, and

you’re ready to bind the book.
Coptic stitch tutorial 1. 2.
1. Cut 6' of waxed linen thread, and

thread the bookbinding needle. Place the
back cover on the worktable facedown
with 1 paper signature on top of it, all
holes lined up and facing you.
2. Starting on the left-hand side of the

signature, poke the needle into the first
hole in the signature, from the inside
going out.
3. Pull the thread through, leaving a 2"

tail inside the folded pages.
3. 4.
4. Bring the needle to the outside of
the book cover, and poke the needle up
through the pierced hole in the cover, to
the right of the thread. Pull firmly.
5. Bring the needle to the left and

run it behind the thread loop, with the
needle tip facing right.
6. Pull tight. This creates a knot.
7. Run the needle back into the first

hole on the left in the paper signature,
this time poking the needle into the
signature from the outside.
5. 6.
8. Pull the thread all the way through.
Move to the right and poke the needle
through the next hole, from the inside.
Pull the thread through to the outside.
9. Take the needle to the outside of

the cover as before. Poke the needle up
7. 8.
through the hole, from the outside of 9. 10.
the cover to the inside. Pull the thread
through, bringing the thread to the
right.
10. Placing the needle to the left of

this stitch, point the needle to the right.
Run it behind the thread loop, needle
tip facing right. Pull tight. This creates
a knot.
11. Insert the needle back into the

second hole on the left in the signature,
this time poking the needle in from
the outside.
11. 12.
12. Continue this process through
to the last hole in the first signature.
However, to end it you will now insert
the needle into the first hole from the
outside, on the right in the second
signature.
13. Pull the thread through. Poke the

needle out through the next hole on the
left in the second signature. Pull the
thread through.
14. Run the needle right to left around

the bottom stitch. Pull the thread 13. 14.
through.
15. Poke the needle, from the outside

in, through the same hole in the second
signature. Pull the thread through.
16. Poke the needle out through the

next hole on the left in the second
signature. Pull the thread through.
Continue until you reach the last hole
on the second signature.
17. When you reach the last hole, poke

the needle out and pull the thread as
before. Loop the thread from right to left 15. 16.
17. 18.
behind the stitch on the first signature.

Pull the thread through.
18. Return the needle into the third

signature, poking the needle from the
outside to the inside.
19. Continue with the same stitching

method as before, but this time loop
around the second signature’s stitch.
20. Repeat this binding pattern until

you’ve attached all the signatures except
the very last one. 19. 20.
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.
2. Poke the needle down through the

last hole at the end of the cover. Pull the
thread through.
3. Loop through the previous stitch as

before and pull the thread through. 1. 2.
note: So far, the last paper signature
has not yet been attached to the book.
4. Poke the needle into the

corresponding signature hole and pull
the thread through.
5. Poke the needle out of the next

signature hole.
3. 4.
5. 6.
6. Loop the thread around the

previous stitch.
7. Poke the needle down through
the next hole in the cover and pull the
thread through.
8. Loop around the most recent stitch.

9. Poke the needle back into the same
signature hole. Pull the thread through.
10. Poke the needle out through the

next hole in the same signature and pull
7. 8.
the thread through.
11. Continue with this binding pattern.

When you reach the last hole in the
book cover and its signature, follow the
same method.
12. End by poking the needle into the

very last signature hole, pulling the
thread through.
13. Weave the thread through the
stitched threads inside the book and pull
firmly but not too tightly.
9. 10.
11. 12.
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.
To see the full instructions for coptic

stitched book, check out Sharilyn’s,
“Coaster Covers” in Pages, Summer
2013 at shop.clothpaperscissors.com.

Book Binding

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how to make a book

free lessons on book making

Katie binds the pages with cheesecloth

the 2013 Cloth Paper

Discover all the possibilities:

turn vertical-format collage pages into skinny bit.ly/CPS2013CD

and journaling to tell a story.

w hat is it about corrugated cardboard that makes one want to hoard

For the cover of her journal, Katie layered two pieces

as you have pairs. If you have an odd

4. Apply gel medium to the “spine”

5. Fold and layer the cheesecloth to

6. Line up the first pair of pages just

• Paint strong coffee directly onto

• Use copies of original photographs

• A piece of cardboard covered with

g rowing up, art was my constant companion. It continued to keep

page colors at the same time. The fewer colors

construction all, but sometimes you just have to let

thread from pulling through the

4. Once you have determined the layers,

2. Choose your embellishments and

tip: I almost always do a dry run to work

13. Usedrywall tape and mesh as

14. Following the manufacturer's

t he tunnel book is a fun alternative to standard book making. Each creation

create the sides 3. tip: To fold an accordion with the

Note: Before stitching, you will need to punch materials

1. Place the paper template on the front

2. Place the paper template on the back

1. Use paper suitable for bookbinding

2. Fold all the papers in half. Use a bone

3. Folded pages can be used as-is for

4. Use a ruler and pencil to make tiny

5. Place the marked signature on top of

6. Now that the hole placements have

7. Restack the signatures as before, and

1. Cut 6' of waxed linen thread, and

2. Starting on the left-hand side of the

3. Pull the thread through, leaving a 2"

5. Bring the needle to the left and

6. Pull tight. This creates a knot.

7. Run the needle back into the first

9. Take the needle to the outside of

10. Placing the needle to the left of

11. Insert the needle back into the

13. Pull the thread through. Poke the

14. Run the needle right to left around

15. Poke the needle, from the outside

16. Poke the needle out through the

17. When you reach the last hole, poke

behind the stitch on the first signature.

18. Return the needle into the third

19. Continue with the same stitching

20. Repeat this binding pattern until

2. Poke the needle down through the

3. Loop through the previous stitch as

4. Poke the needle into the

5. Poke the needle out of the next

6. Loop the thread around the

8. Loop around the most recent stitch.

10. Poke the needle out through the

11. Continue with this binding pattern.

12. End by poking the needle into the