Every one of these astonishing and original projects will redefine your idea of how a book should look. No simple rectangles here, but one-of-a-kind volumes folded like an accordion; shaped and themed, with windows and envelopes; thickly sewn and decoratively woven; dressed in "wedding netting" for a bride; and made out of paper bags. There are even containers for protection and display, and they can enhance the meaning of a book's text. Along with advice on paints, inks, stencils, transfers, and distressed covers, you'll find fun ways to make collaborative books, including ones to create with a child.
Everyone has a story to tell--so make your own book to tell it with! From the scissors that snip the pages to the glues and stitches and ties that bind them; from elaborate compound structures with pockets to multiple signatures in a thick, sewn volume, here are the techniques you need and the styles you want. Cut and fold pages in a simple accordion, or hide a second book inside. Create pop-ups, fan, and slot-and-tab books. Construct handscrolls and hanging ones, soft- and hardcovers, even portfolios and boxes. Hundreds of illustrations and diagrams will guide you, and dozens of striking pictures will seize your imagination! The author lives in Berkeley, CA. 128 pages (all in color), 8 1/2 x 10. NEW IN PAPERBACK
Examining nineteenth-century British hymns for children, Alisa Clapp-Itnyre argues that the unique qualities of children's hymnody created a space for children's empowerment. Unlike other literature of the era, hymn books were often compilations of many writers' hymns, presenting the discerning child with a multitude of perspectives on religion and childhood. In addition, the agency afforded children as singers meant that they were actively engaged with the text, music, and pictures of their hymnals. Clapp-Itnyre charts the history of children’s hymn-book publications from early to late nineteenth century, considering major denominational movements, the importance of musical tonality as it affected the popularity of hymns to both adults and children, and children’s reformation of adult society provided by such genres as missionary and temperance hymns. While hymn books appear to distinguish 'the child' from 'the adult', intricate issues of theology and poetry - typically kept within the domain of adulthood - were purposely conveyed to those of younger years and comprehension. Ultimately, Clapp-Itnyre shows how children's hymns complicate our understanding of the child-adult binary traditionally seen to be a hallmark of Victorian society. Intersecting with major aesthetic movements of the period, from the peaking of Victorian hymnody to the Golden Age of Illustration, children’s hymn books require scholarly attention to deepen our understanding of the complex aesthetic network for children and adults. Informed by extensive archival research, British Hymn Books for Children, 1800-1900 brings this understudied genre of Victorian culture to critical light.
Ways to begin - Paper - Measuring - Scoring - Adhesives - Circle accordions - Flags - Side bindings - Sewn signatures - Folds and twists - Covers and closures - Sorting.
There is a story on the sidewalk, waiting to be picked up. Unlikely objects such as broken fences, plum pits, discarded papers, and pigeons seen on walks in Berkeley, New York, and Santa Monica are the basis for these twenty-six tiny stories and their accompanying photographs. Often humorous and occasionally sad, these mini-fictions take on daily life from odd angles. Curious characters witness confusing and surprising events and misplace words and friends. Sometimes the picture inspired the story, sometimes the story called for the picture. You walk by a story every day. Now you can pick one up.
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