Handmade Journals: The Book of Winter Shadows | Linda Matthews | Skillshare

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Handmade Journals: The Book of Winter Shadows

teacher avatar Linda Matthews, Digital & Mixed Media Textile Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

16 Lessons (1h 32m)
    • 1. Introduction

      1:59
    • 2. How to Distress the Edges of Paper

      4:59
    • 3. How to Paint the Journal Pages

      7:15
    • 4. How to Paint Fabric for the Journal Cover

      7:39
    • 5. How to Overpaint a Photo: Winter Tree

      7:10
    • 6. Gathering Inspiration

      2:31
    • 7. Setting Up the Pages

      3:30
    • 8. Developing a Visual Language

      8:41
    • 9. Telling a Visual Story

      14:35
    • 10. How to Make a Mini-Journal

      2:43
    • 11. How to Make the Signature Hole Templates

      4:23
    • 12. How to Make Non-Solder Bezels

      5:26
    • 13. How to Make the Journal Cover

      9:33
    • 14. How to Attach the Signatures

      7:42
    • 15. Finishing the Cover

      1:26
    • 16. Journal Flip Through

      2:27
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About This Class

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Learn how to make a themed journal that tells a story. Create your own Book of Winter Shadows using your own images and photos as a way to tell the story of winter and all the shadows that this season brings. Winter can be applied not only to the season of nature, but also to our own wintery feelings – a time when we look deep within to where our own internal shadows lie. Learning to express those feelings through art and journaling often has a healing effect, as the heavy energies of those shadows are lifted from our soul and transformed onto the pages of our journal.

You can find the supply list by accessing the "Projects & Resources" link on the menu above.

If you enjoyed this class, check out my other classes
https://www.skillshare.com/user/lindamatthews

And make sure to visit my website for more free creative journaling tutorials and resources
https://www.creativeartnsoul.com/

Meet Your Teacher

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Linda Matthews

Digital & Mixed Media Textile Artist

Teacher

I’m a full time digital and mixed media textile artist, designer and teacher and I love nothing more than sharing what I’ve learned as a way to encourage and inspire the creative spark in others. If you love to tell your story using images and words, visit me at www.www.CreativeArtnSoul.com

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Transcripts

1. Introduction: Hi, I'm Linda Matthews and in this class I'll be showing you how to make the book of winter shadows, which is a stitched mixed media journal made using words and images, fabric and stitch and other elements of mixed media. The Book of Shadows is not only a journal about the season of winter as it relates to nature, but also as it relates to our internal winter. When sometimes we might feel adrift or a little lost and lonely. Although these shadow feelings are a natural part of life, I found that by using creative art channeling processes, it helps to channel and transform the stale energy of these small feelings of loss and regret into something beautiful that touches the heart. During the class, you'll learn how to paint the journal pages and paint the fabric for the cover. And you also learn how to overpay photos. Learn how to create your own visual language as a way to telling you a story using words, images, and symbols on the pages of a stitch. Media gentle. And finally, learned how to assemble your channel using a Creative finding technique. I'll also be showing you a creative way to make non sold a Bessel's that can be used as labels for your journal. So rather creative projects. If you've always wanted to learn how to create a journal that tells a visual story. I'm sure you'll love this class. 2. How to Distress the Edges of Paper: The best talk of paper to make pages for mixed media journals is mixed media paper. This type of paper is suitable for use with pencils, pins, molecules, light washes of acrylic paint and watercolour and collage. I also find this paper suitable for sewing on by machine or hand, and also for gluing on fabric collages and embellishments. These mixed media pads are not that expensive to buy and the page is large enough to make good size folder General pages. To get started, you first need to decide on the size of your journal pages. Mychannel is going to be five inches wide by eight inches high. So I'm gonna make the page is slightly smaller so that they fit snugly inside the cover. I'm cutting these pages 9.5 inches wide by 7.5 inches high. So when folded, They are a quarter-inch shorter in width and a half inch shorter in height, which gives a quarter-inch ions at the top and bottom. You can cut the pages stride. However, I like the edges of my journal pages to be distressed. And you can do this in several ways. My favorite method of distressing the edges of journal pages is to first make creases on the mixed media paper that are the same size as the cut pages would be. So for these pages, the size is 9.5 inches wide, 7.5 inches high. Use a creasing tool under ruler to make straight creases and then bend the edges of the pipe or backward and forward to make sure that the crease as well defined. Then using a water brush pen, a lot of water along each of the creases. Water brush pen is a handy tool to have. It has a brush on one end and you can fill it with water. It's perfect to use when traveling and painting with watercolors or even other types of paints. If you don't have a water brush pen, you can also apply the water using a small paint brush. Make sure you apply a good line of water and then allow it to soak into the paper for several minutes. Once the water is soaked through the paper, terror Y the edges but gently pulling the paper away in small sections. So don't tear the paper in a forward motion, pull it away in a horizontal motion. The paper should easily, because the water helps to weaken the fibers. This causes the edges to feather and it creates a softly distress stage along the journal pages. To finish, fault the page in half and using a bone folder, Micah, good, crease down the center. An alternative way to distress the edges of paper is to use the paper distressing tool. This tool has a circular blade which is set deep inside the casing. So when you run the edge of the paper across the blade, it slightly shreds it and distresses it. Instead of using a distressing to, you can easily do the same type of thing by running the blade of a small pair of scissors across the edges of the paper. 3. How to Paint the Journal Pages: Carlos, effective since subtle ways and can be used to advantage when telling his story. For a story of summer, you might use warm colors such as oranges, reds, and yellows. These colors make you feel bright and happy and warm all over. For the pages have this winter theme journal. I'm using a blend of colors, mostly from the cool side of the color wheel, which altogether evoke a feeling of wintering coldness, but with a touch of warmth and swell. So when you look at the pages, you get a sense of the feeling of winter. I'm using mainly neutral colors, such as fighter and cream. And Payne's gray, which is a lovely blue gray color and comes from the cool side of the color wheel. I'm also using several colors from the warm side of the color wheel, such as Brown and Oka. These colors that contrast as well as a touch-up warmth and earthiness. And our visual reminder that winter isn't always just about the cold weather. Contrast, such as lighten dark, or down bride is an important part of the visual presentation. It helps to tell a story that is interesting and alive instead of one that is Darwin's lifeless. So when choosing colors to use in your journal, demand full of what sort of feeling you want to evoke. Or white collars feel right for the type of story you want to tell. When painting the pages of a journal, I like to use the same colors throughout. This, this helps to make the journal look more cohesive. To get started with painted journal pages. Since paid Light Code of Jesse on each side of all the pages. If you're using mixed media paper, this step isn't really necessary as this type of paper is suitable for light washes of paint. However, I found that a code of Jesu helps to strengthen the paper, which makes it stronger if adding stitching directly to the pages and more supportive when glowing fabric and paper collages. You only need a very light code and it doesn't take long for the gesture to dry. Once dry, you can then paint the pages. When painting the pages, you could use a phone paintbrush, but I sometimes like the bristles strokes that are one inch flat paintbrush makes. So this is a good alternative paintbrush for painting pages. It's not necessary to paint the pages perfectly or even to paint the entire page. Think of this step simply as a way to put some color on the page. Additional painting, stamping and market-making can be made during the storytelling and embellishing steps. Later in the process, I like to paint interesting shapes and Marx using different colors. And I tried to make each page different. One stride. The painted pages will become the canvas for a story. And each page will offer a spark of inspiration which you can expand upon using fabric, can stitch, and collages and embellishments. So when painting, I tried to work spontaneously and intuitively and try not to over think things. For this particular journal, I've painted 20 pages on both sides. When folded, this will make IT single pages. This gives me lots of pages to choose from. So if I don't like some of the pages, I can discard them or even use them in another channel. Okay. Okay. Okay. Okay, good. 4. How to Paint Fabric for the Journal Cover: This journal is designed to have a rigid cover. So I'm using two pieces of chip board for the front and back cover. Chip board is thick cardboard, but it's easy to cut using a ruler and a Stanley noise. And you can even some Throw it using a sewing machine. If you don't have any chip board, you can alternatively use thin corrugated cardboard. Or you can even glue two or three sheets of cereal or pizza box cardboard together. Before making the journal cover, you first need to determine the size of your journal. This journal can be made at any size. However, I've chosen a size of seven inch by five inch. So I've cut to pieces of chip water size for the front and back cover. It's not necessary at this point to know the thickness of the journal because the spine will be made separately and then joined to the covers during the last steps of assembly. The outside cover of this channel is made using hand painted fabric. So you need to count HOTAIR. Two pieces are quite February. It's one inch wider in width and height than the chip board pieces. I've used white Muslim fabric. However, any sort of white fabric will do. Also makes sure twine out any wrinkles. The outside cover will eventually be glued and sewn to the chip board during the final stages of assembly. The fabric for the inside cover will be made in a different way. So it's not necessary to prepare it at this point. The outside cover for this journal is painted using acrylic paints. So to prepare the fabric for painting, you first need to apply an even code of gestures. You could paint on the jess, So using a paint brush or a foam brush. But I find it easier sometimes to use a palette knife. Using the palette knife ensures that need and coverage is applied. Acrylic paints are used in order to make the fabric slightly stiff, which also strengthens it. And it also gives the fabric of visually interesting appearance. So when painting on the gesture makes sure that the entire surface is covered. This it makes it easy to paint the fabric and to ensure that the paints mixin blend together without soaking through the fibers. One suggests a stride. Now paint the fabric pieces using acrylic paints. The Jessup has made the fabric stronger and slightly more rigid while still being flexible. I'm using the same colors as I used to paint the journal pages so that everything looks cohesive. The paint should go on very easily over the jet so surface so you can mix them, blend the colors without any problems. If the paint is too thick, simply dip the tip of your paint brush into some water and thin it out to a better consistency. With mixed media painting, there's no right or wrong way to do things. Simply start painting. When I paint him this, why I like to think I'm making an abstract painting using column and brush strokes to convey emotion and feeling. So first laid down some neutral colors and then add a bit of this in a bit of that until I start to like the way things look, the worst that can happen is that you don't like the way it turns out. In which case you can either paint over it or throw it in the trash and start again. Once you're happy with the way the fabric looks, decision painted photo on top to get a sense for how things will look once the front cover is assembled. I'm pretty happy with the way the slopes, so I'm gonna stop there. In a similar way. You can also paint pieces of fabric that will coordinating Keller and can be used to embellish the pages of your journal. However, instead of painting the fabric first with Jess, so as we did for the cover, by simply with the fabric through with water, then paint the fabric with acrylic paints. The water helps the paint to spread more evenly and the fabric will end up being a little stiff, but not quite as much as you get when using just so you could use fabric paints. However, I find it more convenient to use the same acrylic paint for everything. Particularly when using fabric in mixed media or applications. When painting pieces of fabric using water, or use a plastic sheet protector underneath, which makes it easy to move the fabric and place it elsewhere for drawing. The fabric simply peels right off. Then you can simply want the plastic claim and reuse that. 5. How to Overpaint a Photo: Winter Tree: I normally like to manipulate my photos using Photoshop. However, sometimes I like to use painted photos, which are fun and easy to do. If you don't think you're very good at painting, the ANOVA painting photos will open a whole new world for you. Whenever painting photos, you don't need to be a great artist or even an artist at all. It's almost like painting by numbers, except without the numbers. Because the colors in detail already filled in for you. And all you need to do is paint over the top to make it look like it's hand painted. And if you don't like the way the photo turns out, simply throw it away. Pretty New Photo and start again. To get started with over painting photos. Just print the image onto a piece of card stock and then cut it out, leaving about a one inch border all the way around. The border allows you to extend the paint over the edge of the photo. And then once the photo is painted, you can trim the border away. The image needs to be permanent and waterproof. So you need to print using a laser printer or an inkjet printer with permanent inks. And generally we print these types of images on my color laser printer, which gives a decent enough print and works well for over painting. For this particular photo, I've chosen a fairly monochromatic photo in shades of black and gray. This is the photo that I'll be putting on the cover of my journal. So it represents the theme of when to shadows. My journal sizes five inch wide by 80 inches high, and this image is four inch wide by six inches high. This leaves me enough room to add some additional embellishments around the outer edges of the photo. Once it's attached to the Cabo. You can choose any size photo for the front cover. If you're not sure what sides to choose, then print the photo in several different sizes, then you can decide which one looks best. I printed this photo in four different sizes, but in the end, I liked this size the best. I planed to only paint in some color around the outside edges of the tree. And we had some darker shadows. With all the photos that I paint. I start first by blocking out the background area. I found it best when blocking out areas of photos to first paint the area with a layer of Jesu. The ISO helps to provide a stable surface when painting on card stock so that the top layers of paint don't seep through and walk the paper too much. And because JSON is opaque, it also helps to block out the background completely. I locked to block out the background using short strokes painted at different angles. Just because I like the overall effect. With this particular photo, I'm not going to paint the tree. I'm only going to paint in the background. The tree is quite intricate, and I think that trying to paint those small branches would ruin the overall affect. Someone painted. So around the outside edge and kind of blending the painting toward the tree with my finger. If I, we're planing to paint the tree, however, I would do it using fairly transparent paints, such as Golden fluid paints or even slightly watered down acrylic paints, using transparent pints when painting The main focus area of a photo allows the image underneath to show through while still giving the impression of being painted. You'll learn, said I'm not trying to be perfect with my painting. I liked my painted photos to be slightly distressed, which I think makes them look more interesting. For this painted photo, which I'll be using on the front cover of my journal. I'm using neutral colors of white, cream, and several Brown's. I only want to add a bit of distressed painting to the background area so that the photo blends into the cover fabric, which I'll also be hand painting using these colors. After the JSON has dried, the background can be painted using acrylic paints. For this background, all I'm intending to do is to paint a vignette around the edge of the photo to highlight the tree. Nothing in nature is ever one single color. When putting photos, use several colors and blend or mix them together to create shadows. And if the paint is too thick, you can add a small amount of water to the paintbrush which helps to spread the paint around? Yeah. Okay. 6. Gathering Inspiration: The first step in creating the story for your journal is to gather together some inspiration. Inspiration comes from many different sources and will emerge in different ways as you progress through the story. However, to get started and get in the mood, I like to first gather together some practical things. I always use fabric and my journals. So I keep a small books of Fabric scraps. And I also pull out some logic pieces in the colors that I'm using to make the journal. For this journal, I'm using soft, cool colors such as Whites, Greys, and blues. I also pull out my box of life scraps because I also like to use lice in my journals. For me, it adds a touch of softness and femininity. Or use paper scraps such as teabag paper and other types of interesting papers. And are also gather together a collection of beads and charms and threats in colors that are likely be using. The final things I gather, our images and words that relate to the type of story I'm telling. For the theme of when to shadows. I'm combining the story of winter as the season of nature, together with the wind to shadows that I sometimes feel inside. Such as times when I feel lonely or misunderstood. I keep boxes of pictures that are teh from old magazines. Before I don't have a good range of photos in my stash that relate to my theme. I also saw some online from free photo websites and sometimes I even purchased them. Along with boxes of images. I also keep small boxes of words and phrases that are tailored for magazines. When using a specific theme, such as winter. I also go online and find poems and articles that I like that relate to the theme. And then print them out on to copy paper and select the words and phrases that resonate. I use these words and phrases along with my own to embellish the pages and give emphasis to the storyline. This gathering collecting process is a ritual that I always use Before I begin a new project. And it acts as a signal of sorts that sets in motion my creative process. 7. Setting Up the Pages: When assembling the pages for my story journals, I like to use fabric strips sewn down the centerfold of each double-page. The fabric strips are used as a form of page embellishment. But more importantly, they help to strengthen the page and prevent accidental tearing when sewing the pages to the cover. First, make sure that the pages are well crease down the center and that they fold over easily in both directions. Because it's difficult to use pins. I like to use the glue stick to halt the fabric strips in place while soloing. For these types of general pages are used to fabric strips per page. I tear the strips approximately one to 1.5 inch wide with the length of the fabric strips the same height as the page will slightly longer. To attach the strips, simply run a line of glue down the centerfold on each side of the page, then press the fabric strips in position. You don't need to use a lot of glue as this is just a temporary hold. If it happens that you don't like one side of a double page where you want to rotate it in a different direction, you can easily remove or rearrange the pages. Simply cut the double page in half so that you have two single pages. Then replace or reposition them. Then using small pieces of masking type, type the pages together on one side. Apply some glue down the center and press the fabric strips implies finally, using a sewing machine. So the fabric strips to the pages. You can get creative with your sewing using straight was exact stitches or even decorative stitches. If using white thread, I sometimes like to turn it down by stamping over it using an ink pad. This also adds a bit of staying to the fabric to make it look. 8. Developing a Visual Language: Developing a visual language is not as difficult as it sounds, and it can be easily achieved by applying urine personal meaning to things such as images, box, and symbols. Regardless of whether they already have a universal meaning. The meaning that you give to something. It's always going to be more important than a universal meaning. For example, I made this page by first considering the circular stitching that I sewed onto the page. For some reason, it reminded me of dancing in a circle. When considering this in relation to the theme of the journal. It then made me think of dancing in a circle underneath a winter moon. I don't know that anyone would actually ever wanted to do this, but it was my first impression and I think it would make an interesting story. So then I applied a meaning to the stitching that each stitch represented a step in the dance going round and round in circles. The painted circular design on the page also helps to give the appearance of motion. To represent the moon. I needed a circular object, so I found the Speak button that had nice warm glow to it, just like the moon. So now my button becomes a winter moon. To complete the design, I added a piece of Shia fabric underneath the Moon, both to add contrast as a design element and also to represent the darkness of the evening. Looking at the page with these abstract elements honored, you might not have an understanding of the story. So adding a few words helps to bring it to life. And even though an observer might not fully understand your meaning, it's easy to get a sense of it. Sometimes having only a sense of things makes it appear more mysterious. And the observer can then apply their own meaning toward recognizing and your story, a part of their own story as well. I like stitching directly onto the pages to create interesting shapes that I can later use as part of the design. And because I used to sewing machine to stitch on this page on the reverse side, the stitches are also visible. In this case, I once again have several rows of stitch circles, but no real story attached to them. When I find myself in this situation by lambda intuition to take over. And in this case I was compelled to wipe my box of words. And they weren't taught was the phrase pops of the soul. The color on this page is quite light. So I use some paint to highlight the circles and add emphasis and visual movement to the roads of stitching. It says that you're going to take a look at that. One of the reasons that I like to paint abstract designs on my journal pages during the preparation stage is that they often offer a spark of inspiration for a story. At first glance, this particular page brought to mind the windows in my home when I was a child. There was old fashioned type Windows with the wooden session. I felt that the page design didn't need any other embellishment other than some lines from a favorite poem. Images and more recently understood and help to convey a story in a less abstract way. To me, this picture evokes a feeling of surrender, which is what the season of winter is all about. It's a time when the weather gets colder and nature risks and becomes a little more withdrawn. Or perhaps there's something else going on. And the waiting is for personal situation to pass. The story that this page tells them is mostly implied by the way that the observer chooses to translate it. This next picture also evokes a feeling of quiet contemplation. Perhaps one of patient waiting for the winter to be over. Again, the message is a little ambiguous and the interpretation is really left up to the observer. Being slightly cryptic with images and words allows us to share a personal story that has meaning for us without giving away private details. Marx can also be used as part of a visual language. And mark making is simply the act of making an intentional mark on something using some sort of tool. In this example, I'm using this mark making comb tool with some acrylic paint to create vertical rows of small white marks. The embellishment at the bottom of the page is a metal finding that has the shape of a snowflake. To balance the overall design, I'm adding some vertical white dots on the upper part of the page to represent snowfall. In this respect, mock making can be used attention as both a design element as well as a visual symbol, which contributes in some way to the story. Once I had finished making these marks are realized that the white paint was not very opaque. So we went over them with a white gel pen, which helped them mocks to become more visible. On these pages are really loved. The paint marks that reminded me of a winter storm and the wind blowing things this way in that. I didn't want to interrupt the overall design by adding obtrusive elements. Instead, I chose to add some paint splatter to represent snowflakes as I might appear in a stroll. To make splatter, Marx simply dilute some acrylic paint with lots of water until it's quite runny. Then tap the paintbrush of your finger so the splat its land on the page and irregular patterns. Marks can be added to a page before they are assembled or during the design process as an element of design or as an element of visual language. These platters were added as white who had some interests to the top part of the page, which looked a little bit a visual language. It helps if you can think of things in an abstract way. I like to have fun creating my own language by applying new meaning to everyday things. Were paint splatter as become snowflakes, stitches become steps. Circular shapes become the moon pathways, or even the circle of life. When developing your own visual language, don't take it too seriously and enjoy it and have fun. 9. Telling a Visual Story: Each page in your journal should tell part of the whole story. It doesn't have to be complex or complicated, but it should relate to the overall theme. And the visual elements on your journal page or the things that helped tell the story. So the first step is to lay out the design using images or words or abstract design. So Marx, once we've gathered the elements of the story, the only question I ask is, what can I do to make this look interesting? In this example, I'm using an image and a phrase, surrender to this time. A choice that phrase, because winter is the time of surrender where we should enjoy the slow pace of life that season offers. And the image relates to that feeling. However, I like to embellish my images using fabric and lay scraps and usually some hints stitching. So in order to more easily attach an assemblage like back to the general page. I find it easier to first glue and stitch the pieces together onto a piece of terawatts stabilizer, and then glue the whole thing to the page. I move the pieces around until I'm happy with the way things look. Then I glue and sew them altogether. For gluing fabric and lace, use fabric glue or a craft Greg glue or glue stick, which has a stronger grip than a standard glue stick. This will ensure that things weren't fall apart during assembly. For this image, I sowed around the edges using my sewing machine. And I touched a small scrap of lice with a few stitches. Once everything is sewn glued in place, carefully tear away the excess stabilized from around the outside edges. Now the photo is ready to be glued onto the page. Use crops strength or a glue stick, which will ensure that the photo was glued on permanently and white fall off. This photo of a wind chill leaf touch to the page in the same way, although it has slightly different embellishments. The story of this page is told simply as a way to appreciate the beauty of nature in the winter time. And the fabric underneath were first son to a piece of terawatts stabilizer, and then it was glued onto the page. The story of this page is dancing under the winter moon. The buttons symbolizes the moon, and the fabric underneath symbolizes the darkness of the night. The machine stitching that circles around the moon symbolizes the dance. And the circular shape of the paint on the page ads movement to the story. The story of this page reflects the quiet nature of winter as a time for slowing down and perhaps a time for reflection. Attach this image in a different way by saying it directly onto the journal page using my sewing machine. This means that the stitches show through on the other side of the page. And this stitching can then be used as a design element of that page. The overall tone of this image was to dock. So I wanted it up a little by adding some white paint around the edges. As much paint, a little to blended in. On the reverse side of the page the stitches are showing, and in this case a soda rectangular shape. So basically it can be used as a frame. I found a metal finding that had the shape of a snowflake. So I used it together with some fabric scripts for embellishment to create a simple story that honored the beautiful and intricate shapes of snowflakes. Let's look at that. Every page has to tell a story. Some pages can be saved as place holders for journalling part of the story at a later time. I tend to work intuitively and for some reason I felt the urge to include this piece of lice When I stitch the center binding so that it ran across the page horizontally. So I ended up embellishing these two pages with some fabric scripts and buttons with the intention of using them as placeholders for a story at a later time. I often use the number three as well as sets of three things as the symbol. The number three can mean lots of different things, such as past, present and future. Life and death, beginning, middle and end, and body, mind and soul. So even though I have no story in mind at present, I expect that sometime down the track, the story will unfold in its own way. Okay? Okay. Once you've completed a page, you can add a tab to the edge of the page to embellish it, were to create a special Bookmark. Simply use a scrap of fabric or even to fold it over the edge of the page and hence so in place with a few stitches. Good. Okay. 10. How to Make a Mini-Journal: Many journals can be used as a way to expand upon a story. What a whole special memory. This mini Journal carries a memory of my grandmother who went to Rosas. Inside is a piece of US teabag paper, a scrap of fabric and a scrap of lice. The fabric has arose print on it, which sparked the memory. I included the tea bag paper because it's also another of my favorite memories of her sitting at the kitchen table drinking tea. For the cover by USDA piece of printed caught stopped that I had in my stash and folded it into quarters. I painted some white acrylic paint on the outside just to add some cow. I found a piece of lice to put on the outside of the cabin and stamped on some ink stain to age it. On the inside. I led the US teabag paper and the Fabric scraps with the lights on the outside of the cover. And then sewed all relates together with a simple pamphlet stitch. To finish off the mini journal, I left a long thread tile and attach to small k charm to the end of it. Then we rep to strip of fabric around the outside for a tie. Include a large piece of lice to the journal page. And so to strip of fabric with a few buttons down the side for embellishment. I touched a small loop of thread to the top of the Mini journal and used one of the buttons as a hang up. 11. How to Make the Signature Hole Templates: Making template guides for the signature holes will ensure that your signature is a soon in evenly inaccurately. There are two different template guides needed, one for the signatures or the pages and one for the cover. To make the page hole guide template. Cut a piece of paper two inches wide by the length of the General page. Then fold the paper length wise and make a crease along the center. The folded edge of the paper makes it easy to insert into the fold of the signatures to ensure that the marks for the holes are at currently positioned. To calculate the position of the holes, you first need to decide on the number of holes that you need. And this journal, I'm using three holes. One at the top and bottom, one inch in from the edge, and one in the center. Using a Sharpie, accurately mark the position of the holes along the San decrease of the paper. The whole should be equally spaced between the mock city change. To make the template for the cover. First stack all the signatures together with the chip board covers on the outside. Then measure across the width of the spine. The width of the spine on my journal is 13 quarter inches. Cut a piece of paper, the length of the chip board cover, and the width of the spine. Then add half an inch to the width. The extra half inch on the width is a one-quarter inch pounds for the front and back covers. This clearance will allow the canvas to foldover without squashing the front and back pages. Using a Sharpie, draw lines along the length, one line along each side, one-quarter inch in from the edge. This is the additional allowance for folding the covers and this is where the first and last signatures will be sown. Then draw additional lines at equal distances from each other, one for each of the remaining signatures. More gentle has for signatures. So I need to add another two lines for a total of four lines. Using the template for the signatures as a guide for lines across the width at the same positions. Most template has three sets of holes. So I need to Mach one across the center and then one at the top and bottom. Once the lines are drawn, mark dots at each of the cross points. 12. How to Make Non-Solder Bezels: Non-solid or Bessel's are relatively quick and easy to make using only a few supplies. Vessels are perfect to uses. Frames for small labels are images, as well as other types of decorative embellishments that can be used in your journals or rather cropped projects. There are several different methods of making non sold or Bessel's using fairly thick metals. However, I like to use this odd emboss metal sheet. This type of metal sheet can be used for in bossing another types of craft projects. And I found that it's perfect for making Bessel's. It's thick enough to keep its shape and hold the resin, but soft enough to easily bend and even cut with a pair of citizens. As well as some metal sheet. You also need a pair of nodes, craft playas, a small pair of scissors, a creasing tool, or a small tool that can be used for bending the metal sheet. And somehow it's risen. I like to use the ice risen plunger because it's easy and convenient to use. And this new measuring needed to make a Bessel that you can use as a frame for the name of your journal. Just print out the words onto a piece of copy paper or card stock and cut it out. The size of this label is three-quarter inches high by two inches void. I've also stamped some distressing onto the paper to make it look a little aged. Mixed cut a piece of metal sheet. I've cut this piece, went on a quarter-inch high by 2.5 inches wide. This gives me an extra quarter inch all the way around so I can fold the edges over to make a 1 eighth inch rain stage. However, you can adjust this measurement if you want a deep abyssal. I like to fold the edges of the metal sheet over twice in order to make the thick edge and also to conceal the sharp edges. Use a ruler into to alter, make a crease and folding in each of the edges. I'm making a quarter-inch fault along each side. Then I'll fold the edges over again to make a 1 eighth inch raid stage. Once the edges a Christian folded, use a small pair of scissors to snip into the edge at each of the corners. Then carefully fold the edges up using a pair of pliers. Once the edges are folded up, fold the extensions over to the inside and press with a pair of pliers. To prepare the ice risen. Press the plunger with both thumbs into a small mixing cup, and stare for two minutes. Then let the mix just sit for five minutes to allow the bubbles to release. Once the resin is ready, simply poured into the Bessel and spread it out with the stirring stick. Once poured, Leave It to sit for about eight to 12 hours. On this puzzle, it looks like I didn't spread the resin evenly. And there are a couple of bubble marks showing for the Bessel that I made for my channel. I scrunched the metal before I made the Bessel. And then when the rest of them had said erupt some dark brown paint over the surface to make it look aged and battered. 13. How to Make the Journal Cover: The cover is made by first showing all the pieces to make the outside cover, then adding the lining in one piece. Ghetto together you'll supplies the completed journal pages, two pieces of painted fabric and two pieces of chip board or cardboard for the front and back cover. And you reach printed onto cod stock of fabric. And the words, The Book of winter shadows printed onto a copy paper fabric and a small piece of foam stabilizer such as pylon, craft fuse or decor bond for the spine. I'm going to use this piece of fabric that are found in my stash, which I made by overprinting on a gel played. The fabric is stitched to a piece of felt which makes it more stable. If your fabric is thin, you may want to, so all glue aligning toward or even add a layer of felt as I have. You'll also need one piece of fabric and felt for the lining and small buttons or beads for attaching the signatures to the spine. And finally, some Fabric scraps and other embellishments to decorate the front cover. Started making the journal cover. You first need to calculate the width of the spine. Stack the signatures together with the chip board covers on the outside. The songs of the covers should have already been calculated when you decided on the sides of the pages. And the countless should have already been cut from shipboard or thick cardboard. For each of the signatures, I've stacked to double pages together, which when folded over, gives me a total of eight pages. Because my pages are fairly bulky, I find that to double pages per signature or just the right size for me. However, you can choose to read more or even less if you prefer. I've also chosen to use for signatures to make this journal, which gives me a journal that's not too bulky when I hold it, you can add more or less signatures as you prefer to make a journal that's just the right size for you. Once the signatures and covers a stack together measure across the width of the spine. The width of the spine for this journal is about 13 quarter inches. This is going to be a semi rigid spine made from firms stabilizer to give it some structure and to make it easy to solve, you will need to cut to pieces of stabilizer the same height as the chip board covers, and the width of the spine plus a half inch. The extra half inch of this measurement gives a quarter-inch allowance at the front and back. So when you close the covers, there will be enough clearance so that the covers don't squash the front back pages. You also need to cut one piece of fabric the same height as the fabric for the outside cover, and two inches wider than the stabilizer. The other two inches of this measurement allows for a one-inch overlap onto the front and back of the Kelvins. This measurement can be adjusted as preferred. Diffusible stabilizer pieces together so that you have an extra thick piece which will provide additional support for the signatures. Then using some fabric glue or strong cropped glue, glue the stabilized section to the wrong side of the fabric for the spine. Makes sure the stabilizer is centered between the edges. Before sewing the pieces together. It's always a good idea to check first to make sure everything looks okay. So pinned together the front and back fabric pieces to the spine. Then insert the chip board covers on the signatures. If any changes made. Now's the time to do it. As you can see, my fabric pieces need to be trimmed by about half an inch long LI inside edges so that the cover fits better. Once you've made any necessary adjustments. Now it's time to embellish the caval. I'd like to play around with different types of arrangements until I'm happy with the way things look. For the front cover or using a painted photo of a winter tree, some Fabric scraps and buttons. I've also made a small embellishment for underneath the Bessel label using a small crystal rep, tin rusted wire with a glass bead. If you didn't want to use a Bissell, you could alternatively print the words onto a piece of copy paper or card stock and glue them onto the image. For the Thai closure, I'm using some hand dyed ribbon and I'm going to so some lights down both sides of the spine. On the back is a simple design using some Fabric scraps and I'll add some hands touching to these before I attach them. I sold each of the sections directly to the Kaba using my sewing machine. Regardless of how you decide to embellish the Kaba, at this point, you need to. So the spine section to the front and back covers. I did this during the last step when I attached the lace pieces. And so through all the layers at once. I've also left off the chunky embellishments, which I'll glue on lost once everything is assembled. The next step is to glue the chip board pieces to the fabric covers. You can use a strong craft or tacky glue, but make sure to apply an even coat of glue before attaching. I'm using a spray glue, which is more convenient. Once the glue is applied, align the chip board pieces along the edge of the interfacing on the spine, leaving a small gaps so the covers can fold over easily, then press in place and allowed to dry. To prevent damage to any embellishments on the kava. Place a towel underneath to act as a soft surface. Once the chip board covers are in position, you can add the lining, cut a piece of felt just large enough to cover the chip board covers, then cut a piece of fabric the same sizes the Kaba. I've actually cut my lining slightly larger because I want the edges of learning to show on the front and act as a frame against the white covers. Then sent to the felt on aligning and glue and place. I've used spray glue, but you could also use crop glue or even feasible webbing. The lining now needs to be sewn to the cover. If it's difficult to use pins than simply use some bind Eclipse to hold everything in place. Now carefully so the cover and the lining together around the outer edges, close to the edge of the chip board. You should be able to easily feel with your fingers. With the edge of the chip board is, as you saw. You also need to sew down the edge of the spine on both sides. 14. How to Attach the Signatures: To attach the signatures to the cover, you first need to transfer the hallmark kings from the templates to the spine of the cover and the signatures. Using a bookbinding all or large embroidery natal punch holes through the whole template to correspond with the dots on the template. Position the template for the spine on the inside of the cover along the spine. And using a Sharpie monkey H dot. Because my fabric is stock, I'm using a white marking pen so I can more easily see the markings. After you've transferred the markings used to punch holes through the fabric. This will make it much easier to certain signatures. Do the same with the signature template and mark each point along the center of each set of signatures. For this particular general Kaba, the signatures will be sewn into the spine and held in place by a row of small buttons or beads on the outside. The buttons or beats are attached at the same time as the signatures of. So this looks a little quote on the video because I had to keep things in the frame. However, this is quite an easy process. Cut and length of bookbinding thread will strong hand embroidery thread about twice the length of the signature. Open the signature, and starting at the top hole on the inside, push the needle through to the outside, leaving about a three to four orange thread tile. Then through the top hole in the spine. On the outside of the spine, it's right. A bead or a small button onto the needle. I'm using round the beat cap underneath. But you could use any type of beat or button. I found it easier when doing this particular method, not to try to sew back through the same hole, but just slightly Next toward. It seems to help to prevent the thread from getting caught up and tangled. Once the needle is back through to the inside. Toy secure or not. Then through the same process, through the next TO throw to the outside to the inside, stitching not into the same hole, but just next chore. Okay. And the pics, when you reach the final hole, once you bring the thread back through to the inside toilet, often a secure naught, then continues sewing each signature in the same way. Okay. 15. Finishing the Cover: After the signatures have been so nice, you can now add any other chunky taught embellishments to the cover, such as bezels and charms. I'm going to add a Bessel with the name of the journal on it. Plots have been if chain and some crystals at the ends of the chain to the cover to make sure it didn't come loose. And I'm going to glue the Bessel and crystalline using a strong glue. It's just that simple. 16. Journal Flip Through: Okay. So these are the kids. And it's a system that is fixed.