8 1/2" x 11" Book Making · Accordion Books · How-to

What we did last Saturday

Last Saturday a nice crowd joined me for a short accordion workshop, the first of what I hope will be a few months of these free, mini workshops to give us all some more practice with accordion folds.

The time was so short and it went so fast that it almost seemed like it didn’t happen at all. But I know it happened, mostly because I received some sweet notes, and even some photos afterwards.

Next session will be building upon this past one, so if you plan to come, and you missed out, take a look at the handout above.

This Saturday will be the same time -4 pm EST-, same zoom link as last week. I will show up about 10 minutes early if anyone want to chat, then by 2 minutes after the hour, demonstration starts, then zoom kicks us out at 30 minutes after the hour.

Paula Krieg is inviting you to a scheduled Zoom meeting.

Join Zoom Meeting

Meeting ID: 732 8168 5909
Passcode: XBFUX2

Book Art · Box · Zhen Xian Bao

Indigo and Suede, with a Pinwheel Twist Box


This continues my posts about assembling different structures based on the Chinese Thread Book, using different papers. I had thought I was going to be doing the same thing over and over again, with no variations other than using papers with different colors and patterns, but it hasn’t worked out that way.wp-1484682930002.jpg

Here’s where I started using the Stardream Metallic for the cover of the pamphlet on the left. More and more I’m liking how the Stardream paper matches the Chiyogami printed papers.  Notice the style of the little box inside of the pamphlet. After trying out many variations I absolutely loved this little twist box with the pinwheel top.

Pinwheel-top Twist box for Chinese Thread Book, PaulaKrieg
Pinwheel-top Twist box

I think it’s something about the pattern of the Chiyogami paper that made other style box I’ve been making look, well, not so good. Am so pleased to have stumbled upon this way of making the twist box.


Here’s the pinwheel-top box, twisted open.


The second layer rectangular tray is made from a soft handmade paper from India. Underneath the tray is a sleeve made of Stardream paper, which matches the pamphlet.


Big box layer is another handmade paper, but not sure where it was made. I have a stash of this from a place that Elisa Campbell wrote about, Creative Papers, which, sadly, is no longer is business.


The biggest surprise for me was the choice I ended making for the cover of this Thread Book. I tried matching the book with other Chirogami papers, with handmade papers from Dieu Donne and elsewhere. I tried my (faux!) elephant hide paper, and tried matching it with all sorts of cloth.  Then I tried it out with this piece of suede, and it just snapped together. I never thought I use this suede for anything, but it seemed perfect for this project.

I just love how I get to use all these odds and ends of materials!

What’s different, besides the suede, about this particular piece is that it doesn’t suggest a use to me. The first one of this group that I wrote about seems like a valentine waiting to happen, the one after that feels like a gardener’s journal, and the next one I will be writing about feels like a holiday journal. But this one isn’t telling me what it needs to be. Hope someone else can figure it out.

Flip Book

Flip-Book, Take #2

Waxed Thread of Sewing Books
Waxed Thread for Sewing Books

Am still trying to hone in on a way of making flip-books. This means creating templates in my graphics program as well as figuring out how I want to bind the books. There were too many things that weren’t right about the Japanese stab-sewn binding that I’ve already written about, so I thought I would take a look through the internet to see how other people bound their flip books. I found some slam-dunk awesome flip books, but not much inspiration for the treatment of the spine.

Some solutions for Flip-Book Bindings that I found on the Internet
Some solutions for Flip-Book Bindings that I found on the Internet

One site recommended putting a tight rubber band around the pages. I actually love this solution, as it’s so cheap and easy, but it wasn’t the way I wanted to go for the set of books that I’m planning. Another site suggested using a pad of Post-It notes, which actually seems like sort of an expensive way to go, and doesn’t leave much room for error. Also, the use of Post-its invites the distinct possibility that someone will re-appropriate your animation for use as (gasp) Post-it notes.

I tried out using a lighter weight paper, too, which my daughter immediately nixed. She said that the pages moved too fast, and that the book didn’t have the satisfying clicking sound that she likes. Someone on the internet suggested using filing cards for the pages, which I think would work well.  I think I saw at least one flip-book that was bound with those heavy-duty paper clips, which I just discovered are (appropriately) called binder’s clips. I think these would work well, though that re-appropriation problem would again apply. It looked to me like some people used pre-bound books or pads, and some people just held the pages together with one hand while they flipped with the other. Oh,  and a truly heavy-duty staple gun can do the trick too.  All good solutions, but none that enthralled me.

Gathering materials for bookbinding
Gathering materials for bookbinding

I decided to sew again, but to sew a simple 3-hole pamphlet stitch on to a flap. I made the flap out of book cloth. It’s hard to explain the flap in words, but I think the pictures show it well enough.

The flap  and the drilling
The book cloth has one accordion fold in it, and the rest wraps around the spine.

Book Sewn to Spine Piece
Book Sewn to Spine Piece

There, that was simple enough. I’ve actually done something like this with first grade students, but instead of sewing and using cloth, the spine that these first graders used was made of paper,to which we applied a two-hole punch, and used paper fasteners to attach everything together.

Big Bad Dragon storybook
Big Bad Dragon storybook

Here it is!


That was such a great project. But I digress..


Here’s the finished version of my little book. I’m mostly happy with it. I really like the look of the spine. The book works well, makes a good sound, and feels good in my hands. The last page has some writing, explaining what CMYK is. The text reads as follows  (please feel free to suggest edits to this text if I have made any errors, as I still consider this a work in progress. Thank you):

CMYK is like a secret code that printers use to define and mix color.

C: Cyan, bluish values
M: Magenta, reddish values
Y: Yellow, values of yellow
K: Key, values of Black

The range of numbers that follows each letter defines the concentration of CMYK pigment that the printer uses: 100 is fully concentrated brightness, zero indicates the complete subtraction of color.

This flip-book shows 48 of the possible 104,050,401 permutations of CMYK values 0 through 100.

In my last post I included an unlabeled and incomplete animated of a version of the contents of my book. If you’ve seen that post already and still have an itch to see a flip-book in action, take a look at this thoroughly gratifying brilliant creation of Matthew Shilian:

If you are in need of instructions for how to do the pamphlet stitch that I referred to, take a look at http://www.booklyn.org/education/ispamphlet.pdf

More flip books to come…

Book Artists

Book Arts Summer In Salem 2013, Post #3

Announcement cards BASIS 2013There’s one more post about the Book Arts Summer in Salem 2013 that I want to write, even though summer has now given way to autumn. I guess this post is more about making sure I have a record of the show, as seeing it was like going down a rabbit hole…the more I looked in certain directions, the more there was to see.

Broadsides Designed by Shawn Sheehy for Onerios Press
Broadsides Designed by Shawn Sheehy for Onerios Press

For instance, Shawn Sheehy exhibited a number of broadsides which featured the writing of various poets. I knew that there must be more to know about this project, so googled the press that printed the broadsides, Onerios Press,, which led me to the Vamp and Tramp website, which OMG has gathered in one place more presses, artists’ books, miniature books, and broadsides (not mention new arrivals) than I will ever have time to sift through….though I’ve been working at it!

Sheehy notebook
Sheehy Notebooks

Another sort of rabbit hole were these notebooks that Sheehy set out on a table. He invited the viewer to look through them…I wanted to take them home.

Sheehy notebook, open
Sheehy notebook, open

Each page was filled, and I mean filled with notes, drawings, and plans, It was such a treat to have a peek at the inner workings of Shawn’s process of working. One thought that I kept having as I viewed the show was , ‘I wonder how this guy’s mind works?’ and here I actually got the chance to read through what he was thinking and seeing as he worked through ideas.

Carrot or Tree, a turn upside-downable accordion by Cathy Daughton
Carrot or Tree, a turn upside-downable accordion by Cathy Daughton

There are a few more images I want to add in here before I get to the final part of this post. Cathy Daughton made these whimsical, accomplished drawings for an accordion book, which, for me, successfully blurred the distinction between carrots and trees.

BASIS 2013 Susan Bonthron Workshop at North Main Gallery
BASIS 2013 Susan Bonthron Workshop at North Main Gallery

Here’s North Main Gallery full to the brim of participants in Susan Bonthron’s Pesky Bug workshop.  Susan did as much prep for this one workshop than I usually do for a full week of workshops: she wrote and printed up a book about various garden pests, and she created a veritable treasure box of items which we used to  make prints of slimy creatures munching their way through the crops that we evidently plant for their enjoyment.

Images printed for The Pesky Bug Book
Images printed for The Pesky Bug Book

We we each able to print up ten of our gardens’ worst nightmares, ranging from the all too real asparagus beetle  to the tomato horn beetle (a particularly enthusiastic tenant in my husband’s garden) . Fortunately, the booklet that we tipped these pages into provided us with tips for eviction.  It’s not pictured in the photo above, but Susan also included an image of the Fracking Beetle, which has not taken up residence in my backyard, At least not yet.

Now here are the final stars of the show, which I’ve saved for last because I noticed them last. Their names appear just inside of this catalog for the show.

Book Arts Summer in Salem: Veggies, Bugs and Seeds Catalog
Book Arts Summer in Salem: Veggies, Bugs and Seeds Catalog

In little letters, inside of front page,  you can find this line:


The catalog design is such a well done piece that I started looking for more info about  Joe Freedman and Ilisha Helfman. It was such fun looking into the work of this duo! If you want your socks knocked off, check out this blog post written by Nancy Ricciwho visited their studio in Portland Oregon. Links from Nancy’s  post will lead you to a plethora of highly diverse work done by Freedman and Helfman.  But it won’t lead you to Joe’s current (kickstart)   project, his GatorGraph which has nothing to do with alligators, but that’s all I will say about it because I wouldn’t want any understated description of mine deprive you of checking out this brainchild which surely inspires out-of-the box thinking. Oh, and if you are looking at the GatorGraph page and are feeling adventurous, click on the links to the projects that Joe has backed: he has a real eye for ingenious thinking.

Book Arts Summer In Salem 2013 catalog
Book Arts Summer In Salem 2013 catalog, inside

So, thank you Joe and Iiisha for a great catalog, and thank you Ruth Sauer and Ed Hutchins for putting together a memorable show. It’s been a journey. Now, one last look at my favorite piece in the show…

hawn Sheehy's pop-up featured in issue #3 of Vintage Magazine
Shawn Sheehy’s pop-up featured in issue #3 of Vintage Magazine