I couldn't find the link that I originally intended to share with you here on my blog so I decided to write them out for you. Any book can be created using this simple method and I often use standard text weight paper for the interior pages and cardstock folded in half for the covers, although any variety of paper will work with it.
Begin by taking an 8.5"x11" sheet of paper and cutting it in half on the 11" side, making two pages 5.5"x8.5" Determine the desired number of pages, keeping in mind if using this size, you can get two sheets from one sheet. After cutting, fold each of the pieces of text paper in half along the 8.5" side forming a 4 1/4" x 5 1/2 pages. Tuck one sheet inside the of the others, so you create a small booklet.
Cut your cardstock for the covers in the same manner using an 8.5"x11 sheet. Fold the cover just as you did the text pages (it may have to be scored to crease well or can be creased using a bonefolder.) Next, place it on the outside of the text pages, or insert your text pages into it's folded interior.
Open the booklet and on the middle page of the book, along the folded trough, use a pencil to mark three spots. Place a small pencil marked dot in the center of the page, and if you're using 8.5 x 11 paper, place one dot 1.5" from the top of the book (the head) and one dot 1.5" from the bottom (the tail).
Holding the book together firmly by the left hand side, use a pin tack or an awl to pierce holes through all the pages and the cover at the location of each of the dots.
Using a piece of thread or embroidery floss (all 6 strands are fine but I prefer to separate them using only 3 strands) and begin stitching. You'll start on the outside fold of the covers coming in from the outside into the center hole on the inside of the folded crease, leaving a 3" tail on the outside of the pamphlet. From the inside center hole go up to the hole you created 1.5" from the head of the book coming from the inside and working towards the outside covers. From this point go all the way to the 1.5" hole placed from the tail of the pamphlet working from the outside cover to the inside of the folded crease once again. From here, take the thread to the center hole from the inside and bring back out to the outside covers once more. Note: I like to create a small twisting motion capturing the previous threads, so that when I have finished stitching, I have one thread on both sides of the long thread that runs along the outside center of the spine. Now, tie both ends into a simple square knot. Admire your pamphlet stitched book or booklet!
If you have used a paper that is a different size by 8.5 x 11", then adjust the holes that are near the head and the tail, so that they are evenly spaced between the middle hole and the end of the book. You can do this by cutting a small piece of paper the height of the book, folding it in half once, opening it up, and then folding from both the top and the bottom to the center fold you first created. It will evenly space your hole placement every time!
Cathy Highland © 2006
Also, if you decide to use any of these tutorials. Please respect my copyright and include it on any and all documents and printed materials. I don't mind sharing so I tend to create these tutorials using a Creative Commons License. You can find more about it here: http://creativecommons.org/ and happy creating!
Monday, June 26, 2006
Why create books?
Most of us have read books the majority of our lives, but have you ever stopped to consider the uses for them? Daily we use a variety of books...... address books, calendar style books, storybooks read to our children or grandchildren, phone books to look up telephone numbers, books to be read for entertainment, research, how to's and tutorials, as well as learning. We probably even take them for granted somewhat. Books also come in a variety of sizes, styles, and even bindings and each provide a different purpose in our lives. Everything form a brouchure to a pamphlet to a magazine to a bound book is available on the market today.
Anyways, I chose to get into creating handmade books for a variety of reasons. One I desired to learn how to, and secondly, I loved the possiblities they opened up for me using my artwork within them.
Simple brouchures can demonstrate a project or a technique in high stlye. Pamphlets can be visual or textual and offer a variety of purposes. One purpose with the mixed media world of artists is to use them as Friendship books, Gluebooks, and/or a Deco. A deco is a small handmade book usually used in a collaboration with other artists, passed from one artist to another for artwork to be created in it and shared with the remaining participants before being returned to the original created. Normally a theme will be created by the originator for others to follow. Such collaborations are known as round robins in the mixed media and altered book arts world, and circle journals or journeys in the scrapbooking circle, however the result is the same. One difference between a collaboration of this sort and a swap of a certain created item is often in the fact that all the pages are not created identical to the first one, making each a treasure to behold. Artist note: I don't mean to state that all artist swaps are accomplished by creating identical items for each person.... some are and some aren't; it mainly depends upon what the people involved in the swap have decided upon and/or what a swap hostess may propose.
Anyways, getting back on the subject here, I am often asked, "why I create books?" and my answers always vary. I use them for a variety of things so I'll list here, it isnt' meant to be an all-inclusive list, just some food for further thought:
Dairies and personal journals
Visual Journals
Art Journals
Address Books
Artist Portfolios
Collections of written materials such as quotes, poems, and short stories
but the number one reason I create them is simply this: I love creating them, binding them, and decorating within them either before or after their creation!!!! See, that was easily explained. {*big smiles}
Anyways, I chose to get into creating handmade books for a variety of reasons. One I desired to learn how to, and secondly, I loved the possiblities they opened up for me using my artwork within them.
Simple brouchures can demonstrate a project or a technique in high stlye. Pamphlets can be visual or textual and offer a variety of purposes. One purpose with the mixed media world of artists is to use them as Friendship books, Gluebooks, and/or a Deco. A deco is a small handmade book usually used in a collaboration with other artists, passed from one artist to another for artwork to be created in it and shared with the remaining participants before being returned to the original created. Normally a theme will be created by the originator for others to follow. Such collaborations are known as round robins in the mixed media and altered book arts world, and circle journals or journeys in the scrapbooking circle, however the result is the same. One difference between a collaboration of this sort and a swap of a certain created item is often in the fact that all the pages are not created identical to the first one, making each a treasure to behold. Artist note: I don't mean to state that all artist swaps are accomplished by creating identical items for each person.... some are and some aren't; it mainly depends upon what the people involved in the swap have decided upon and/or what a swap hostess may propose.
Anyways, getting back on the subject here, I am often asked, "why I create books?" and my answers always vary. I use them for a variety of things so I'll list here, it isnt' meant to be an all-inclusive list, just some food for further thought:
Dairies and personal journals
Visual Journals
Art Journals
Address Books
Artist Portfolios
Collections of written materials such as quotes, poems, and short stories
but the number one reason I create them is simply this: I love creating them, binding them, and decorating within them either before or after their creation!!!! See, that was easily explained. {*big smiles}
Creating a stab bound bookbinding.......
Creating a stab bound book is one of the easiest ways to create a book, at least for me. It is actually an easy book for a beginning bookbinder to learn, although it maybe not the most simplest. {The simplest is probably a single pamphlet folded and bound, but I'll provide you a link to one of those later --- compliments to my dear friend, Suzanne.} but for now, let's discuss some stab bound books.
Stab-bound books are also known as Japanese Stab Bindings. If you do a google search for them, you'll discover an array of examples created with various binding styles. Experimentation is one of the main keys to them. First and foremost, I think I should mention that a Stab-bound books size is one of the most important factor in the pre-determining process, as a variety of sizes can be created, almost with any book really once you learn the basics of bookbinding.
Anyways, I tend to start by creating mini-books while learning then moving on to creating bigger ones after I have mastered the skills. Doing this saves me both time and effort and each are just as precious as the next once completed.
Okay, have you chosen a size of one you'd like to create? Or do you want me to suggest one? LOL! I know some paper artists desire specifics so I'll suggest one here in the event that someone desires to use this as a tutorial to create their first one. Let's make a 3" length x 5" width one.
As with any bookbinding project you'll ever begin, you'll first determine the type of binding, then the size, and then the amount of pages you desire. Some books will include the front and back covers while others will not, but it is really up to you. For those who desire to use my suggestions, let's not include the front or back covers. You will need to cut 2 extra 3"x 5" sheets later for them.
First, I try to determine the purpose of the book.... Do I want to include a poem or illustrate one? If so, I try to break the poem down into smaller more manageable sections or paragraphs. Then, I count so that I will know how many paragraphs will I need? For those of you, my readers who desire a straight tutorial, I'll suggest using this poem. I used it myself in a tag style book I created years ago, and still to day enjoy reading it. Here it is:
As the dawn of each morning peers into your life, there lies a path to follow.
Delicate whispers can be heard if you listen to the sound of your soul.
If you listen closely to your soul, you will become aware of your dreams that are yet to unfold.
You will discover that there lies within you a voice of confidence and strength
that will prompt you to seek and live a dream.
Within the depths of your mind, the purpose and direction of your life
can be determined by listening intently to the knowledge that you already possess.
your heart, mind, and soul are the foundation of your success and happiness.
In the still of each passing moment may you come to understand that you are capable of reaching a higher destiny.
When you come to believe in all that you are and all that you can become there is no cause for doubt.
Believe in you heart, for it offers hope.
Believe in your mind, for it offers direction.
Believe in your soul, for it offers strength.
But, above all else, believe in yourself and your dreams.
The poem is written by Leslie Neilson, and is one of my favorite affirmations. I hope you will find it useful in your life as well as I have in mine. Okay, do you see all the double spacing {or breaks in the poem? I hope it will publish correctly.... anyways, each line should end with either a comma or a period, if that helps, or be separated by a single line.} Next, you'll need to determine if you desire it to be one sided or double-sided. For the tutorial, let's use double sided, since that is the way I designed my tag book and I can more easily follow along with it. By seeing the poem broken down, I can determine that I'll need 8 pages, using one for the artist's credit. If you desire single sided, you'll need 16. Everyone will need two additional sheets of 3"x 5" sheets for the front and back covers, for a total of 10 pages if double-sided and 18 if single sided. Can you envision how I determined that?
Next, you need cut all the desired number of pages and the two covers. You can make your covers using colored cardstock or whatever you desire to use or make the covers and pages the same. For my tag book, I simply used tags and colored papers for my covers but it is really up to you.
Now, we need to determine the actual binding side. Stab bound books can be created with the binding along the left side or along the top. For the tutorial, let's use the left side and make a margin of 3/4" of an inch. You can either score this margin in or lightly draw it in with pencil. It is important to keep this marginal space clean and free from any artwork or 3D embellishments or they will interfere with binding later. Draw another line lightly in pencil 1/4" to the right of the margin line, you can erase it later, and use this line as a guide for the actual writing of the poem. Your writing should begin along this second line as we'll later bind the book using the 3/4" one. Got it?
Once all your pages are cut to the 3"x5" size, your margins are mark, and your handwriting line is established on each page, begin to write out the poem if you desire to use your handwriting, or copy and past the text into a Word document, arranging it to fit on the pages and print it out. If you print it, you'll need to trim and then paste each line onto each page in the fashion you chose previously {single sided or double-sided} utilizing the number of pages you decided upon. For those following the tutorial, let's write it so I won't waste time with the process of setting up the word document and such. You'll put one line on one side if doing double sided the next line will be on the backside of one page. If doing it singularly, you'll have one line per page. Clear as mud? LOL!
Okay, once the poem is written out, stack the pages beginning from the first line of the poem to the last page which should be the artist, Leslie Neilson. Add your front cover to the stack, then pick the entire stack up and lay it on the back cover and set it aside.
Now, we'll determine the placement of the holes that will be placed on the 3/4" line. In this step, I want to use a scrap piece of paper, any will do, text weight or whatever you have handy. Cut it to a 3" x 1 1/2" size. The 3" should run vertically and the 1 1/2" horizontally across. Use your pencil and determine the 3/4" placement across the top of the 1 1/2" side and make a light mark. Now, fold this in half lengthwise to end up with a 3" x 3/4" sheet. Still with me?
Now we will determine the placement of the holes for the actual binding by unfolding the sheet and re-folding top to bottom on the 3 inches. The first hole will be the middle hole you'll create. Open the fold back up, and pay special attention here. I want you to re-fold the paper first from the top to the line created in the center by the previous fold. Unfold this and repeat this step using the bottom of the paper, bringing it up to the center fold again. Open it up.
At this point, you should have a 3" by 1 1/2" piece of paper with a long vertical fold at the 1" mark on the 3/4" side of the paper. There should be 3 creases in the 3" side of the paper, the first 1/4th of the length, the second at the halfway mark, and the third at the 3/4 section. If you didn't achieve this, start over using another piece of paper. This step is important for the hole placement for binding. Are you ready to move on?
Okay, if did the steps above correctly, I want you to use a hole punch and punch holes where the vertical line of the fold on the 1 1/2" side intersects each of the folds you created in along the 3" side.
You should end up with a piece of paper that contains 3 holes down the center of it at the 3/4" margin we pre-established for the binding with the same positions noted above for the 3" side only centered in the 3/4" trough. If you made it this far, congratulations! Give yourself a pat on the back! We're almost ready for binding.
Now, I want you to use this as a hole placement guide on your actual book pages. You can do this one of two ways, either by individual pages or by the entire project. Let's act professionally and do the entire thing, it is quicker and easier actually. Pick up the book in the same fashion that it was set aside, front cover, all the papes, and lastly the back cover. Tap it on the table along the left side of the 3" side to jig all the pages together. You can place a binding clip on the right side so the pages won't slip while you work to create the holes for the binding process, if you desire. I tend to do this still!
Once you jigged your pages together, knowing that both covers and pages are straight, have your binder clip in place, I want you to use the paper with the hole placement in it as a guide and line it up top and bottom over the left edge of the book structure. In the 3/4' trough that runs from the top of the book to the bottom, I want you to punch a hole all the way through the book in all the preset holes we previously created. Important note: If you used a ruler at this point the holes would be lined up 3/4" in from the left margin of the book from top to bottom at the 3/4" spot, the 1 1/2" and 2 1/4".
Now, we are ready to begin the actual binding process! Many things can be used to bind the book, embroidery floss, ribbon, jute, string, fun stronger fibers.
Before you begin binding any sewn book, you need to determine the length of the binding used. A general rule of thumb to use is.....{drumroll, please.......LOL!} to count the height of the book in inches + the number of holes +1. In our tutorial, we have 3" height + 3 holes +1 which = 7" as you can see, if you've seen a stab bound book, that isn't going to work. Why? that process will only work with a book with two holes!
Another way to be certain you have enough of a binding material, is to wrap the book's length wise 4 times. Well, if our book is 3" it would take 6" to wrap it once. 6" x 4 times = 24" of binding material. Since we've 3 holes the two hole method won't work, so cut your binding material of choice to 24".
Beginning from the back of the book, working with the top hole, thread your binding material up through to the front cover. Be sure to leave about a 3" tail to tie off to at the end of the binding process. Do not knot it now. Bring the binding material up over the front cover towards to top edge of the book cover and back up through the top hole. Your binding material should be on the top of the book coming out of the 3/4" hole. Now, take it off to the left side of the same hole and wrap it down underneath the back cover and bring it up one last time through the same 3/4" hole. Again, you should have your binding material coming up through the top of the book's cover and through the top hole, you should also have at this point a snug loop over the top of the book and over the spine of the book in the top hole. Now, go down the 1 1/2" center hole from the top of the book working towards the bottom and wrapped around the spine, bring the binding material up through this hole from the back of the book to the front once again. You should see two spine wrapped hole at this point, the top and the center. Now, take your binding material down to the bottom and final hole. Go down through it front to back. Once on the back side, bring it back up to the front side of the book and down through the bottom hole again. You should have added a loop over the bottom of the book and are coming out of the 1 1/2" bottom hole. Now, take the binding material once again and bring it out to the left side of the book, up over the front cover and back down through this hole once again coming out the back. You may struggle a bit to get the binding down through the hole again but keep working it. Now, take the binding material you end up with and tie it off centering it with the tail in step one on the backside of the cover. Congratulations! You've just created your first Japanese Stab bound book!!!!
Now, are you ready to experiment with a bigger book? Go right ahead, you know the basics. Feel free to add more holes as long as you create an odd number of them you can use the same binding as above. All the center holes will bind the spine while the top and bottom binds both the top and bottom of the book as well as the spine. Happy creating and bookbinding!
Stab-bound books are also known as Japanese Stab Bindings. If you do a google search for them, you'll discover an array of examples created with various binding styles. Experimentation is one of the main keys to them. First and foremost, I think I should mention that a Stab-bound books size is one of the most important factor in the pre-determining process, as a variety of sizes can be created, almost with any book really once you learn the basics of bookbinding.
Anyways, I tend to start by creating mini-books while learning then moving on to creating bigger ones after I have mastered the skills. Doing this saves me both time and effort and each are just as precious as the next once completed.
Okay, have you chosen a size of one you'd like to create? Or do you want me to suggest one? LOL! I know some paper artists desire specifics so I'll suggest one here in the event that someone desires to use this as a tutorial to create their first one. Let's make a 3" length x 5" width one.
As with any bookbinding project you'll ever begin, you'll first determine the type of binding, then the size, and then the amount of pages you desire. Some books will include the front and back covers while others will not, but it is really up to you. For those who desire to use my suggestions, let's not include the front or back covers. You will need to cut 2 extra 3"x 5" sheets later for them.
First, I try to determine the purpose of the book.... Do I want to include a poem or illustrate one? If so, I try to break the poem down into smaller more manageable sections or paragraphs. Then, I count so that I will know how many paragraphs will I need? For those of you, my readers who desire a straight tutorial, I'll suggest using this poem. I used it myself in a tag style book I created years ago, and still to day enjoy reading it. Here it is:
As the dawn of each morning peers into your life, there lies a path to follow.
Delicate whispers can be heard if you listen to the sound of your soul.
If you listen closely to your soul, you will become aware of your dreams that are yet to unfold.
You will discover that there lies within you a voice of confidence and strength
that will prompt you to seek and live a dream.
Within the depths of your mind, the purpose and direction of your life
can be determined by listening intently to the knowledge that you already possess.
your heart, mind, and soul are the foundation of your success and happiness.
In the still of each passing moment may you come to understand that you are capable of reaching a higher destiny.
When you come to believe in all that you are and all that you can become there is no cause for doubt.
Believe in you heart, for it offers hope.
Believe in your mind, for it offers direction.
Believe in your soul, for it offers strength.
But, above all else, believe in yourself and your dreams.
The poem is written by Leslie Neilson, and is one of my favorite affirmations. I hope you will find it useful in your life as well as I have in mine. Okay, do you see all the double spacing {or breaks in the poem? I hope it will publish correctly.... anyways, each line should end with either a comma or a period, if that helps, or be separated by a single line.} Next, you'll need to determine if you desire it to be one sided or double-sided. For the tutorial, let's use double sided, since that is the way I designed my tag book and I can more easily follow along with it. By seeing the poem broken down, I can determine that I'll need 8 pages, using one for the artist's credit. If you desire single sided, you'll need 16. Everyone will need two additional sheets of 3"x 5" sheets for the front and back covers, for a total of 10 pages if double-sided and 18 if single sided. Can you envision how I determined that?
Next, you need cut all the desired number of pages and the two covers. You can make your covers using colored cardstock or whatever you desire to use or make the covers and pages the same. For my tag book, I simply used tags and colored papers for my covers but it is really up to you.
Now, we need to determine the actual binding side. Stab bound books can be created with the binding along the left side or along the top. For the tutorial, let's use the left side and make a margin of 3/4" of an inch. You can either score this margin in or lightly draw it in with pencil. It is important to keep this marginal space clean and free from any artwork or 3D embellishments or they will interfere with binding later. Draw another line lightly in pencil 1/4" to the right of the margin line, you can erase it later, and use this line as a guide for the actual writing of the poem. Your writing should begin along this second line as we'll later bind the book using the 3/4" one. Got it?
Once all your pages are cut to the 3"x5" size, your margins are mark, and your handwriting line is established on each page, begin to write out the poem if you desire to use your handwriting, or copy and past the text into a Word document, arranging it to fit on the pages and print it out. If you print it, you'll need to trim and then paste each line onto each page in the fashion you chose previously {single sided or double-sided} utilizing the number of pages you decided upon. For those following the tutorial, let's write it so I won't waste time with the process of setting up the word document and such. You'll put one line on one side if doing double sided the next line will be on the backside of one page. If doing it singularly, you'll have one line per page. Clear as mud? LOL!
Okay, once the poem is written out, stack the pages beginning from the first line of the poem to the last page which should be the artist, Leslie Neilson. Add your front cover to the stack, then pick the entire stack up and lay it on the back cover and set it aside.
Now, we'll determine the placement of the holes that will be placed on the 3/4" line. In this step, I want to use a scrap piece of paper, any will do, text weight or whatever you have handy. Cut it to a 3" x 1 1/2" size. The 3" should run vertically and the 1 1/2" horizontally across. Use your pencil and determine the 3/4" placement across the top of the 1 1/2" side and make a light mark. Now, fold this in half lengthwise to end up with a 3" x 3/4" sheet. Still with me?
Now we will determine the placement of the holes for the actual binding by unfolding the sheet and re-folding top to bottom on the 3 inches. The first hole will be the middle hole you'll create. Open the fold back up, and pay special attention here. I want you to re-fold the paper first from the top to the line created in the center by the previous fold. Unfold this and repeat this step using the bottom of the paper, bringing it up to the center fold again. Open it up.
At this point, you should have a 3" by 1 1/2" piece of paper with a long vertical fold at the 1" mark on the 3/4" side of the paper. There should be 3 creases in the 3" side of the paper, the first 1/4th of the length, the second at the halfway mark, and the third at the 3/4 section. If you didn't achieve this, start over using another piece of paper. This step is important for the hole placement for binding. Are you ready to move on?
Okay, if did the steps above correctly, I want you to use a hole punch and punch holes where the vertical line of the fold on the 1 1/2" side intersects each of the folds you created in along the 3" side.
You should end up with a piece of paper that contains 3 holes down the center of it at the 3/4" margin we pre-established for the binding with the same positions noted above for the 3" side only centered in the 3/4" trough. If you made it this far, congratulations! Give yourself a pat on the back! We're almost ready for binding.
Now, I want you to use this as a hole placement guide on your actual book pages. You can do this one of two ways, either by individual pages or by the entire project. Let's act professionally and do the entire thing, it is quicker and easier actually. Pick up the book in the same fashion that it was set aside, front cover, all the papes, and lastly the back cover. Tap it on the table along the left side of the 3" side to jig all the pages together. You can place a binding clip on the right side so the pages won't slip while you work to create the holes for the binding process, if you desire. I tend to do this still!
Once you jigged your pages together, knowing that both covers and pages are straight, have your binder clip in place, I want you to use the paper with the hole placement in it as a guide and line it up top and bottom over the left edge of the book structure. In the 3/4' trough that runs from the top of the book to the bottom, I want you to punch a hole all the way through the book in all the preset holes we previously created. Important note: If you used a ruler at this point the holes would be lined up 3/4" in from the left margin of the book from top to bottom at the 3/4" spot, the 1 1/2" and 2 1/4".
Now, we are ready to begin the actual binding process! Many things can be used to bind the book, embroidery floss, ribbon, jute, string, fun stronger fibers.
Before you begin binding any sewn book, you need to determine the length of the binding used. A general rule of thumb to use is.....{drumroll, please.......LOL!} to count the height of the book in inches + the number of holes +1. In our tutorial, we have 3" height + 3 holes +1 which = 7" as you can see, if you've seen a stab bound book, that isn't going to work. Why? that process will only work with a book with two holes!
Another way to be certain you have enough of a binding material, is to wrap the book's length wise 4 times. Well, if our book is 3" it would take 6" to wrap it once. 6" x 4 times = 24" of binding material. Since we've 3 holes the two hole method won't work, so cut your binding material of choice to 24".
Beginning from the back of the book, working with the top hole, thread your binding material up through to the front cover. Be sure to leave about a 3" tail to tie off to at the end of the binding process. Do not knot it now. Bring the binding material up over the front cover towards to top edge of the book cover and back up through the top hole. Your binding material should be on the top of the book coming out of the 3/4" hole. Now, take it off to the left side of the same hole and wrap it down underneath the back cover and bring it up one last time through the same 3/4" hole. Again, you should have your binding material coming up through the top of the book's cover and through the top hole, you should also have at this point a snug loop over the top of the book and over the spine of the book in the top hole. Now, go down the 1 1/2" center hole from the top of the book working towards the bottom and wrapped around the spine, bring the binding material up through this hole from the back of the book to the front once again. You should see two spine wrapped hole at this point, the top and the center. Now, take your binding material down to the bottom and final hole. Go down through it front to back. Once on the back side, bring it back up to the front side of the book and down through the bottom hole again. You should have added a loop over the bottom of the book and are coming out of the 1 1/2" bottom hole. Now, take the binding material once again and bring it out to the left side of the book, up over the front cover and back down through this hole once again coming out the back. You may struggle a bit to get the binding down through the hole again but keep working it. Now, take the binding material you end up with and tie it off centering it with the tail in step one on the backside of the cover. Congratulations! You've just created your first Japanese Stab bound book!!!!
Now, are you ready to experiment with a bigger book? Go right ahead, you know the basics. Feel free to add more holes as long as you create an odd number of them you can use the same binding as above. All the center holes will bind the spine while the top and bottom binds both the top and bottom of the book as well as the spine. Happy creating and bookbinding!
What does all this have to do with creating an Artist's journal?
If you remember my reply in the original thread that started this entire process, I made a comment about desiring to begin an artist's journal but did not desire to be limited by the types of paper available to me. I want to use a variety of papers, some lightweight for drawing and sketching, some heavier for my Golden's fluid acrylics, some watercolor papers for watercolored backgrounds and sketches, and yes, even some vellums! I can simply imagine them being added over a watercolored scene and using a slick writer pen on the vellum as an overlay to journal on.
Since I one day desire to bind this in a book for a finished artist's journal, the items I previously mentioned will assure me a good quality book when the project is completed. I believe one aspect of this is that it will make this a wonderful adventure for me is I won't be limiting myself to the mediums I desire to use and in the ways that I desire to use them. I also think it will add to the visual quality of my artist journal once completed and bound together..... a mix of papers, mediums, and techniques!
Having a pre-determined size of paper to use will assist me greatly as I can create what I want, how I want and still be able to bind it whenever I feel the time is right. I'm almost certain that this won't be the first book the book I'll create this way as I am already loving the idea! But one thing that I will need to consider further is the type of binding because I'll either need to leave a margin of it or create signatures for it. Would you like to discuss some options? Come on, let's go.....
Since I one day desire to bind this in a book for a finished artist's journal, the items I previously mentioned will assure me a good quality book when the project is completed. I believe one aspect of this is that it will make this a wonderful adventure for me is I won't be limiting myself to the mediums I desire to use and in the ways that I desire to use them. I also think it will add to the visual quality of my artist journal once completed and bound together..... a mix of papers, mediums, and techniques!
Having a pre-determined size of paper to use will assist me greatly as I can create what I want, how I want and still be able to bind it whenever I feel the time is right. I'm almost certain that this won't be the first book the book I'll create this way as I am already loving the idea! But one thing that I will need to consider further is the type of binding because I'll either need to leave a margin of it or create signatures for it. Would you like to discuss some options? Come on, let's go.....
What about the paper's grain?
In my previously post, I briefly touched on the subject of a paper's grain. Those just starting in the paper arts and bookarts, or heck, even those involved in the paper arts and bookarts as a beginner may not fully understand what it is, how it even applies to creating with paper, why it is important, and how you can determine it.
For me personally, I didn't even discover that paper had a grain and why it was important to me until I began in creating books by hand. So, I'll discuss that here for others to learn and discover.
What it paper grain?
Remember the fibers used in the papermaking process that I mentioned in the previous post, the cotton rag and wood pulp used in the papermaking process? The direction of those fibers assist to determine the paper grain which can be one of the most important aspects in acheiving a perfect fold or the desired appearance of a tear within a sheet of paper.
During the process of making paper, the paper grain is the direction that those fibers within a piece of paper are pointed. It will either be toward the long end of the sheet or toward the short side of the sheet as only a few of the fibers will run in the opposite direction and are able to provide any resistance to the folding mechanism. The more fiber a sheet of paper contains the more resistence will be felt when folding and/or tearing and the lower the quality of the fold or the tear.
But, first let's discuss the direction a bit more. Understanding it will increase your understanding when creating with paper where folds are important. Direction of the grain is usually mentioned by three terms: parellel, purpendicular, and diagonal.
Paper that is folded parallel to the grain of the paper will fold much more cleanly, resulting in a crisp, clean, and straight fold. The parallel grain will produce a much cleaner and neater fold because the paper fibers (grain) are running in the same basic direction as the fold.
When a fold is applied perpendicular to the grain of the paper, the resulting fold may have a ragged appearance. Perpendicular grain produces a ragged fold because all of the fibers are folded at one time creating resistance to the folding action. The ragged appearance of the fold is especially noticeable when folding heavier stocks of paper or torn, it will also result in a jagged appearance and the paper will not tear in a nearly straight line.
For handmade paper, the direction of the grain can be found quite easily. Bend the paper gently first lenghtwise, then gently widthwise. The fold that offers the least amount of resistance or is folded more easily will be parallel to the grain of the paper. The paper will also tear more easily when torn parallel to the grain and result in a more even straight tear. For the machine made cold-press and hot-press papers, the grain usually runs perpendicular to the curve of the roll, or parellel to the edge of the paper.
It is important to know this when desiring to create cards books by hand and in bookbinding because you desire for an optimal level of strength to prevent warping. The grain of the paper must be parellel with the spine of a book, and the grain of all the paper must go in the same direction. It is extremely important because as the paper expands when exposed to humidity it will expand perpendicular to the grain. If the grain in the books signatures and/or book block, endpapers, and book boards used for the covers of the book and all the papers used to cover them, are facing the same direction, the expansion will only cause slight curving normally occuring as the glues used in it a book's creation shink the fibers of the papers.
If the grain is not all in the same direction, the expansion will be in multiple directions, causing extreme warping of your card if you're layering in a layer inside for a more polished appearance of in that of a handmade book.
Now that I know what paper grain is, why it is important, how do I determine it?
There are some simple test you can use to determine the paper grain direction and some of the results you'll achieve:
For me personally, I didn't even discover that paper had a grain and why it was important to me until I began in creating books by hand. So, I'll discuss that here for others to learn and discover.
What it paper grain?
Remember the fibers used in the papermaking process that I mentioned in the previous post, the cotton rag and wood pulp used in the papermaking process? The direction of those fibers assist to determine the paper grain which can be one of the most important aspects in acheiving a perfect fold or the desired appearance of a tear within a sheet of paper.
During the process of making paper, the paper grain is the direction that those fibers within a piece of paper are pointed. It will either be toward the long end of the sheet or toward the short side of the sheet as only a few of the fibers will run in the opposite direction and are able to provide any resistance to the folding mechanism. The more fiber a sheet of paper contains the more resistence will be felt when folding and/or tearing and the lower the quality of the fold or the tear.
But, first let's discuss the direction a bit more. Understanding it will increase your understanding when creating with paper where folds are important. Direction of the grain is usually mentioned by three terms: parellel, purpendicular, and diagonal.
- Parellel - runs in the same direction and do not intersect or cross over one another, in papermaking this is the horizontal range and runs acrossed the shorter side of a standard sheet of paper {the 8 1/2" side},
- Purpendicular - runs at a right angles to the plane of the horizon; a vertical line or direction, and in papermaking is straight up and down on the long side of a standard sheet of paper {the 11" side},
- and Diagonally, running across from corner to corner; normally the upper left right corner to to lower left corner although it can be discovered vice versa.
An important note: Very few papers will have a diagonal grain and mostly only those that are created by a handmade paper artist who desire the paper to be so created with a certain purpose in mind such as for orgami.
Why it is important?Paper that is folded parallel to the grain of the paper will fold much more cleanly, resulting in a crisp, clean, and straight fold. The parallel grain will produce a much cleaner and neater fold because the paper fibers (grain) are running in the same basic direction as the fold.
When a fold is applied perpendicular to the grain of the paper, the resulting fold may have a ragged appearance. Perpendicular grain produces a ragged fold because all of the fibers are folded at one time creating resistance to the folding action. The ragged appearance of the fold is especially noticeable when folding heavier stocks of paper or torn, it will also result in a jagged appearance and the paper will not tear in a nearly straight line.
For handmade paper, the direction of the grain can be found quite easily. Bend the paper gently first lenghtwise, then gently widthwise. The fold that offers the least amount of resistance or is folded more easily will be parallel to the grain of the paper. The paper will also tear more easily when torn parallel to the grain and result in a more even straight tear. For the machine made cold-press and hot-press papers, the grain usually runs perpendicular to the curve of the roll, or parellel to the edge of the paper.
It is important to know this when desiring to create cards books by hand and in bookbinding because you desire for an optimal level of strength to prevent warping. The grain of the paper must be parellel with the spine of a book, and the grain of all the paper must go in the same direction. It is extremely important because as the paper expands when exposed to humidity it will expand perpendicular to the grain. If the grain in the books signatures and/or book block, endpapers, and book boards used for the covers of the book and all the papers used to cover them, are facing the same direction, the expansion will only cause slight curving normally occuring as the glues used in it a book's creation shink the fibers of the papers.
If the grain is not all in the same direction, the expansion will be in multiple directions, causing extreme warping of your card if you're layering in a layer inside for a more polished appearance of in that of a handmade book.
Now that I know what paper grain is, why it is important, how do I determine it?
There are some simple test you can use to determine the paper grain direction and some of the results you'll achieve:
- the folding test - When you are folding a small sheet of paper you will notice that it folds more easily and smoothly when the fold is parallel to the grain. When it is folded against the grain, or purpendicular to it, the crease will show small fiber particles that are broken or in the process of breaking and the end result will make an unsatisfactory fold, jagged in appearance.
- the moisture test - moisture is applied to one corner of a sheet of paper by just dampening it. It will immediately start to curl in one direction either up and down or across. The direction of the curl will indicate the paper grain direction.
- the bending test - I mentioned this one in the section above only with handmade paper and it is the one I use the most often. You simply bend the paper without actually creating the actual folded crease in the paper. Thicker papers are best tested by bending them in both directions and with some more expensive artists papers where you don't desire to create a fold in them. One direction will offer a considerably more noticible resistance than the other. Parallel to the grain direction is discovered where there is the lest amount of resistance against the grain.
- the tearing test - in this test a sheet of paper is actually torn in either a horizonal or in a vertical direction. The tear pattern will be straight when parallel to the grain and jagged when across the grain. I use this one if I'm creating a collage where I desire a torn edge to begin with.
Once I've established the direction of the paper grain in my larger sheets of paper and before I roll them for storage in my studio, I mark each sheet of paper using a pencil and lightly mark in an double ended arrow which will later indicate the paper grain. This saves me some time later when I pull those paper for use in either cardmaking or bookbinding. I just simply use the bending method for smaller sheets. You'll just have to trust me on this one and try it out for yourself but I can assure you that by determining the direction of the paper's grain, you will be much more happier in your paper art adventures. {*smile and I hope you discovered this information useful in your papercrafting.}
Art Journals, Visual Journaling, and Choosing the right papers
Recently there was a thread on the 2P's stamping board regarding creating Art Journals and Visual Journaling --- you can find the original thread here: http://www.twopeasinabucket.com/mb.asp?cmd=display&thread_id=1827932 {should you desire to read it.}
Anyways, in many ways it got me to thinking about starting yet another art journal for myself. The majority of my life, I've journal in journals and if you read the previous thread you may have read where I stated half of my life is in note written pages, as I work to re-organized my studio, I realized that could not be truer! I've a few piles of loose sheets of paper to go through at some point and time, I'll need to organize them but for now, I'm desiring to begin a new art journal for myself.
One of the drawbacks is that I love to create in a variety of mediums, so the paper that I choose definately is affected by the medium of choice at any givin' time. I don't like to pre-establish anything that will limit the medium that I desire to create in so I thought maybe I should write up something that others may find useful about what affects my decision making process of which papers to use.
First and foremost, is the medium that I choose to use... whether it is a colored pencil drawing, acrylic paint, watercolors, the paper itself or a technique I desire to create greatly affects my choice. Other factors that determine the base upon which I work is whether the paper itself, how it is manufactured and produced, and whether it is handmade {by me or others or even purchased}, mould-made, or machine-made. Understanding each of the process of papermaking assists me greatly and it should you as well. If you are already a paper arts artist, crafter, or whatever you desire to title yourself, you have probably already decided upon a paper to use at some point whether you made that decision unconsciously or consciously, but regardless, here are some interesting points to make note of. For me is just as exciting as creating upon its surface! Let's do some exploring of the different types of papers.....
Anyways, in many ways it got me to thinking about starting yet another art journal for myself. The majority of my life, I've journal in journals and if you read the previous thread you may have read where I stated half of my life is in note written pages, as I work to re-organized my studio, I realized that could not be truer! I've a few piles of loose sheets of paper to go through at some point and time, I'll need to organize them but for now, I'm desiring to begin a new art journal for myself.
One of the drawbacks is that I love to create in a variety of mediums, so the paper that I choose definately is affected by the medium of choice at any givin' time. I don't like to pre-establish anything that will limit the medium that I desire to create in so I thought maybe I should write up something that others may find useful about what affects my decision making process of which papers to use.
First and foremost, is the medium that I choose to use... whether it is a colored pencil drawing, acrylic paint, watercolors, the paper itself or a technique I desire to create greatly affects my choice. Other factors that determine the base upon which I work is whether the paper itself, how it is manufactured and produced, and whether it is handmade {by me or others or even purchased}, mould-made, or machine-made. Understanding each of the process of papermaking assists me greatly and it should you as well. If you are already a paper arts artist, crafter, or whatever you desire to title yourself, you have probably already decided upon a paper to use at some point whether you made that decision unconsciously or consciously, but regardless, here are some interesting points to make note of. For me is just as exciting as creating upon its surface! Let's do some exploring of the different types of papers.....
- Handmade papers - usually available in both large and small sheets and normally created by highly skilled craftsmen or handmade paper artists using natural or speciality fibers, particularly cotton and/or linen flax and various other materials that are used to impart a special characteristic to the paper. Most handmade papers have an often irregular surface that many find appealing to their artwork. Inclusions may be added and often consist of dried floral petals and a variety of greenery, seeds, torn newspaper print, glitter, and tinsel as well as a variety of other flat objects. Although the handmade papers can be a bit more expensive they are usually some of the most beautiful sheets you'll ever see.
- Mould-made papers - have a random distribution and often a thicker arrangement of fibers but are moulded using a high speed cylinder mould machines that stimulate the appearance of the handmade paper process. Generally, these sheets are more durable under intense use.
- Machine-made papers - have a surface texture that is more mechanical in nature than the handmade or mould-made and are normally less durable. They make great papers to draw and sketch on due to their smooth regular textures but do not make the mistake that these will have the same durability or appearance and feel of the handmade or mould-made papers.
Several factors that effect papers, especially the machine-made ones are the ingredients used to create the papers themselves. Two common ingredients are cotton rag and wood-pulp so I'll discuss both of them.
Cotton rag is normally made using the longest fibers and some of the highest quality fibers. Some of these paper can last up to a hundred years and can generally handle intense use. Heavy erasing and re-working show minimal signs of wear and tear upon their surfaces and the cotton used in this process is normally torn or beaten into indivudual fibers within a vat and by beaters to create a thick consistency of the pulp used to create and mould this paper.
Another ingredient is cellulose, a wood pulp, that produces a lesser quality of paper than the cotton rag does. Containing wood pulp creates yet another factor to consider for the paper artist as it contains a high-acid content of paper on the ph scale that will eventually effect the paper breaking it down over time. The yellowing that you see in newspaper print or in construction paper is a great example. It is a result of the acidity of the wood pulp. Lignin contained within the wood pulp also plays a role in the acidity of the paper yet tends to add some strength to the process of papermaking. The good news is that buffers, such as calcium-bicarbonate, can be added to the process to produce an acid-free cellulose paper like many of the acid-free printed papers and cardstocks available today.
Other papers offer a mixture of the two, cotton rag and wood-pulp in pre-determined amounts. It simply depends upon the paper mill and the proces and type of paper they desire to produce at a given time.
Sizing of a paper is also another concern, but something the beginning paper artist may not fully understand. Sizing is a material, such as gelatine, casein, starch, or a rosin that is added to the papers to make the surface of the paper less absorbant so that paints and other artistic mediums do not absorb deeply into the fibers of the paper. There are two ways in which sizing can be added to the paper-manufacturing process, internal and external. Internal sizing is when any of the above mentioned materials are added while the paper is in a liquid state, commonly known as pulp. External sizing is when any of the materials are added to the surface of the paper after the paper has been manufactured from the pulp and is dried. Like the cotton rag and wood-pulp mentioned above, some mills will use a combination of internal and external sizing.
So what does that mean to you? Generally, the more a paper is sized and depending upon the material used to size the paper, the harder the paper will become and the more durable it will be against reworking, scrubbing or scumbling. Sizing also effects the grain of a paper, whick I'll discuss more in a bit, but for now let's look at the paper's surface texture.
There are three different methods that result in different textures in papermaking and each produce a different visual and workablity effect. Those processes are known as rough, coldpress, and hotpress processes.
- Rough - is when the surface of the paper has a prominent surface texture or tooth that you can visually see. Think watercolor or sketch paper here, that surface is created by the natural result of papermaking process in which the paper is allowed to dry without smooching or pressing.
- Cold-press - is when the surface of the paper has a moderate amount of surface texture or tooth. It is a result of pressing the wet paper during the process to smooth the paper slightly. Cold-press papers are the most common choice of papers by the paper artist due to the surface texture.
- Hot-press - is when the surface of the paper has a smooth texture and little or any tooth to the surface. Most smooth and coated cardstocks are hot-pressed although some with textures may be created using a cold-press method as well. This process is created by the passing over the freshly made paper through heated cylinders or rollers during the papermaking process. Watercolors used on hot-press watercolor papers are more loose and difficult to control, yet produce some beautiful blended effects and this paper is excellent for drawing and sketching upon with charcoals and colored pencils.
After the above process is completed the paper is then dried. The drying process also varies by the paper being produced some are hung to air-dry and others are kiln-dried during the papermaking process. Then the weight of a paper is determined. Generally, the paper is cut into large sheets, normally a 22"x30" sheet, and measured by the weight of a ream {500 sheets}. For most artist's papers weights include 60, 80,90,140, 200, 260, and 300 pounds. Heavier weight papers are normally thicker and will withstand more water application without buckling , curling, or warping and can be handled much more often and withstand more abuse than a lower weight and thinner paper can.
Now that you know the processes, ingredients, and methods used to create the various papers, how each handles differnent artistic mediums, does that affect the paper you'll used in your paper art creations?
Well, it does me, especially if I desire to create an artist's journal that I love! I don't want to set any limits to the mediums that I have at my disposal such as acrylic paints, watercolors, colored pencils, pens, inks, and chalks. Nor do I desire the paper to be effectd the techniques or methods I'll use in creating an artist's journal. I desire to work with a variety of papers, everything form printed papers, smooth cardstocks, textured cardstock, drawing and sketch papers, vellums, and watercolored sheets.
The size of the journal that I'll create is also a consideration for me. Since this will be my first artist journal created in this fashion, I believe I'm going to start out using a standard half sheet size, measuring 5 1/2"x 8 1/2". You did know that a standard paper size is 8 1/2" x 11", didn't you? {smiles}
Our adventures......
I really don't know where to start to tell you about the wonderful day Don and I had yesterday. After I updated my blog with the previous post, I set out to getting ready to greet the day by getting around to my shower and getting dressed. While I was in the shower, Melvin, an older co-worker of mine and a friend of Don's dropped by.
It was great to see Mel once again, he is such a character. If you imagine an old age hippie, you've got a visual of Mel, LOL! He is about average height, small built, loves blue jeans, T-shirts, and flannel shirts. He's got the prettiest blue eyes, and a smile that can light up any room, and a beard, filled with grey, and approximately 5" long and a bit scraggly-looking but a personality that speaks volumes. After finishing up, I made us a fresh pot of coffee while Don got Chaos outside, and we all headed out to sit on the rear deck.
Mel's working at a new job in a stone quarry in Upper Sandusky, Oh now and seems to enjoy it a lot. We chatted about old times at DMI, other co-workers we enjoyed, who we've seen recently and who we haven't, and our grandchildren. Mel has a wonderful 9 yr. old grandson who secretly had a crush on me when we rode back and forth to work together at DMI in Delaware. After work we'd often pick him up so he could spend time with his grandpa and grandma and he's often sit on my lap on the return trip home; he always had a smile for me as we chatted about anything and everything. Mel often teased him about Don getting jealous because he was sitting on my lap, LOL! Anyways, we had a great visit and I know he'll be back soon as he'd love to see Amber and Alexxis. I tried to call her but after a late night with Alexxis, both of them were still asleep; maybe next time they'll make it over.
Shortly after saying good-bye to Mel, Don and I headed out to the Mansfield Antique and Flea Market. I managed to find some great buys. I purchased an entire box of rick rack and ribbon for $2.00 and the gentleman threw in a cute little vintage bird I had in my hands. We browsed through a lot of outdoor booths enjoying the sunny day.
A lot of the vendors returned from the previous month's show but the one I desire to see didn't. Lots and lots of antiques..... from kitchen wares to tools, to odds and end pieces were everywhere. We browsed through one building and I swear I feel in love with an antique arts and crafts table. It was beautiful aged oak and was sturdy after all these years. I shied away from the $285 price tag, though. Don did grab the guys business card so we could visit his store in the area.
We walked and wondered some more and I discovered a beautiful iron footed bowl in an oval shape with two small handles on each side. The asking price was $8.50, the girls said she'd take $7 for it when we counter-offered. I cannot wait to fill it with my newly twirled-around popsicle stick ribbons and in my studio!!!
We purchased some fresh fruit, bananas and peaches, and veggies: viadalia onions, green peppers, and tomatoes and on our way out, I purchased a leather coin purse and a new tote bag.
From there we drove to Belleville where we stopped to browse in two antique stores. The first one was simply amazing! Old vintage wallpaper graced the walls, Victorian furnishings, and a variety of antiques filled odd nooks and crannies. Many vendors consign space within the store and I purchased an old vintage nightgown with lace trim on the hemline and around the neckline for $6 and a little blue bird. I'm not certain what type of glass it is but I loved its streamline design. I'll take some photographs soon.
In the second store, we browsed and browsed some more, had a great conversation with the store owner, and left without a thing in our hands.
Our next stop was in Butler, were we stopped into a convenience store for some cold drinks before driving on over into Lexington where we stopped for dinner at Bader's. We dined on a hot and cold buffet and brought two delicious pieces of red raspberry pie home to snack on later in the evening.
From there we stopped at Mohician Adventure to play a round of putt-putt golf. It seems no matter where we are, if there is a putt-putt golf around, Don and I almost always manage to squeeze in a game! Afterwards, we headed west and homeward bound.
A quick trip into Galion for a brief stop at Dennis and Sheila's. When we arrived no-one was home but the house was left standing open so I assumed Sheila had ran up to the grocery store. Tired and weary, we decided not to wait around and drove on home.
Upon arriving home, we got Chaos back inside, played with for a bit throwing his ball, then relaxed a bit in front of the TV eating our raspberry pie before retiring for the night. It was a beautiful day all in all, filled with laughter and delight!
It was great to see Mel once again, he is such a character. If you imagine an old age hippie, you've got a visual of Mel, LOL! He is about average height, small built, loves blue jeans, T-shirts, and flannel shirts. He's got the prettiest blue eyes, and a smile that can light up any room, and a beard, filled with grey, and approximately 5" long and a bit scraggly-looking but a personality that speaks volumes. After finishing up, I made us a fresh pot of coffee while Don got Chaos outside, and we all headed out to sit on the rear deck.
Mel's working at a new job in a stone quarry in Upper Sandusky, Oh now and seems to enjoy it a lot. We chatted about old times at DMI, other co-workers we enjoyed, who we've seen recently and who we haven't, and our grandchildren. Mel has a wonderful 9 yr. old grandson who secretly had a crush on me when we rode back and forth to work together at DMI in Delaware. After work we'd often pick him up so he could spend time with his grandpa and grandma and he's often sit on my lap on the return trip home; he always had a smile for me as we chatted about anything and everything. Mel often teased him about Don getting jealous because he was sitting on my lap, LOL! Anyways, we had a great visit and I know he'll be back soon as he'd love to see Amber and Alexxis. I tried to call her but after a late night with Alexxis, both of them were still asleep; maybe next time they'll make it over.
Shortly after saying good-bye to Mel, Don and I headed out to the Mansfield Antique and Flea Market. I managed to find some great buys. I purchased an entire box of rick rack and ribbon for $2.00 and the gentleman threw in a cute little vintage bird I had in my hands. We browsed through a lot of outdoor booths enjoying the sunny day.
A lot of the vendors returned from the previous month's show but the one I desire to see didn't. Lots and lots of antiques..... from kitchen wares to tools, to odds and end pieces were everywhere. We browsed through one building and I swear I feel in love with an antique arts and crafts table. It was beautiful aged oak and was sturdy after all these years. I shied away from the $285 price tag, though. Don did grab the guys business card so we could visit his store in the area.
We walked and wondered some more and I discovered a beautiful iron footed bowl in an oval shape with two small handles on each side. The asking price was $8.50, the girls said she'd take $7 for it when we counter-offered. I cannot wait to fill it with my newly twirled-around popsicle stick ribbons and in my studio!!!
We purchased some fresh fruit, bananas and peaches, and veggies: viadalia onions, green peppers, and tomatoes and on our way out, I purchased a leather coin purse and a new tote bag.
From there we drove to Belleville where we stopped to browse in two antique stores. The first one was simply amazing! Old vintage wallpaper graced the walls, Victorian furnishings, and a variety of antiques filled odd nooks and crannies. Many vendors consign space within the store and I purchased an old vintage nightgown with lace trim on the hemline and around the neckline for $6 and a little blue bird. I'm not certain what type of glass it is but I loved its streamline design. I'll take some photographs soon.
In the second store, we browsed and browsed some more, had a great conversation with the store owner, and left without a thing in our hands.
Our next stop was in Butler, were we stopped into a convenience store for some cold drinks before driving on over into Lexington where we stopped for dinner at Bader's. We dined on a hot and cold buffet and brought two delicious pieces of red raspberry pie home to snack on later in the evening.
From there we stopped at Mohician Adventure to play a round of putt-putt golf. It seems no matter where we are, if there is a putt-putt golf around, Don and I almost always manage to squeeze in a game! Afterwards, we headed west and homeward bound.
A quick trip into Galion for a brief stop at Dennis and Sheila's. When we arrived no-one was home but the house was left standing open so I assumed Sheila had ran up to the grocery store. Tired and weary, we decided not to wait around and drove on home.
Upon arriving home, we got Chaos back inside, played with for a bit throwing his ball, then relaxed a bit in front of the TV eating our raspberry pie before retiring for the night. It was a beautiful day all in all, filled with laughter and delight!
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