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Among my friends, I am the Photoshop go-to person.  I’ve been using the program for a very long time and feel extremely fortunate that I can generally get design work done using the program without thinking about what tools I need to use to get that work done.  Even so, learning the program was a long time in the making, and the learning never ends. In fact, I will never, ever fully understand that program because it’s an ever-evolving bottomless pit of possibilities which I feel compelled to at least try to understand or otherwise become antiquated in a nano-second.

In that effort to stay on top of the changes, I was a beta tester for Photoshop CS5 (yes, it is now permissible to say so).  It has some impressive new features that I’m still experimenting with (did I mention the learning is never ending?).  One of the best instructors I’ve had in helping me learn is Deke McClelland.  While I’ve taken various classes with him over the past decade through Photoshop World, I was also aware of him years prior because he wrote a book on Canvas, one of the first programs I used to design with.  In other words, that boy has been around for a long time, and his knowledge and ability to share his knowledge in written form and through the classroom has helped me tremendously over the years.

Many people email me asking for Photoshop book recommendations, and there are several I like.  However, Deke’s one-on-one series is particularly good, especially for those needing a good foundation on which to quickly build on.  It’s why I’m happy to share that  his one-on-one series has a new title: Adobe Photoshop CS5 one-on-one published by Deke Press/O’Reilly.  If you haven’t read an earlier Photoshop book in this series, this is an excellent one to start with.  Not for the faint of heart, this is a heavy book, both in physical weight and depth of information. It is  full color printed on 460 glossy pages.  It is not inexpensive, retailing at $49.99 – and that’s without a DVD ($32 on Amazon, click the book link).  But if you’ve been toying with the idea of taking a Photoshop class, or if you upgraded to CS5 are feeling a bit overwhelmed, this book is worth every penny and then some.  If you take the time to sit down and go through it chapter by chapter, set up as lesson by lesson, you can learn a great deal from an incredibly knowledgeable teacher (plus you can develop your biceps with it).  With the book, you also have online access to images and videos to accompany each chapter.

I love when people buy my book and tell me how much it has helped them.  But if you have that book (hint, hint) and want to go beyond the basics of Photoshop, consider this book.  And if you’re about to write me asking for a Photoshop book recommendation, here it is.

I have several new books that I think would make a good addition to one’s stash — especially the beginner.   Funny enough, the first is from “Stash – fabric arts for a handmade lifestyle,” which is a new range of books from C&T Publishing.  According to C&T, “Stash was formulated to respond to the quickly expanding handmade movement and the desire to get “back to basics” by creating unique and inspired fiber arts.”

“Me and my sewing machine, a beginner’s guide” by Kate Haxwell.  This book is something I wish was available when I had sewing in school many years ago.  It’s written in a no-nonsense, straight to the point manner and is a great introduction to sewing.  The book gives chunks of information on one or two page spreads with clear illustrations and photos.  Nothing is overwhelming, and a particular type of instruction can be quickly found and understood.

The main sections of the 128 page softbound book are My Sewing Machine, which goes through the parts of a machine — nothing technical, just what you need to understand — accessories, tools, and other basics.  Seams Simple covers a variety of seams, such as mock French, French, open, mock open, and so on.  Next is Hemmed In.  And as you probably guessed, it illustrates a variety of hemming techniques.  That is followed by Fasten Up, which covers various zippers, closures, and buttonholes.  Around the Corner, has info on making different types of smooth curves.  On the Edge offers various edge treatments such as basic bindings and scallops.  Fancy That includes pleats, ruffles, adding lace, applique, and so on.  It finishes with a projects chapter.  I like the cute handkerchief-hemmed skirt, it seems perfect for a summery bathing suit cover-up.  There is a front and back flap that I found myself using as a place marker.  If you’re going to use the book a great deal, consider bringing it  to a store, such as Staples or Kinkos, to have a spiral spine inserted into the book.  This will help keep it flat when needed.

While the book touches on patchwork and applique, this is not a quilt book.  Rather, this book is exactly what it says it is: a beginner’s guide to sewing  It’s clear, concise, and will give someone starting out — such as a person turned on to sewing as the result of watching Project Runway — the confidence to venture into the world of sewing.  You won’t find things like setting in a sleeve or adding a lining, but you will find a solid foundation on which to grow.  It’s also a solid reference for anyone who knows how to sew, and its clean layout makes it attractive to all age groups.  I’d like to one day see a companion book.  Could a “me and my sewing machine – beyond the basics” be in the future?  The book retails for $22.95

Next up is Linda Johansen’s Fabric Dyer’s Dictionary: 900+ Colors, Specialty Techiniques, The Only Dyeing Book You’ll Ever Need! While I don’t think it’s the only dyeing book you’ll ever need (as there are other good ones out there), it certainly is an excellent one to start with and a good color reference.

The meat of this 95-page, softbound book is over 900 color recipes to use for dyeing fabrics.  Johansen’s  process puts fabric, solution, and dye into a zip lock bag; those bags then sit in a plastic dish washing tub and eventually result in whatever range of colors you’re after.  While using zip lock bags for dyeing isn’t new, the information is presented in a straight forward, structured method that is easy enough for anyone to do, even an absolute beginner.  The beginning of the book is six pages of the basics, including what color dyes to buy.  The recipes are for dyeing 1/4 or 1 yard pieces, but there’s nothing to stop you from doing some math and putting more dye, solution, and fabric into a jumbo zip lock bag.  The meat of the book is the recipes, things like muted yellow, dark to light and muted yellow to muted purple complementary cross.  It concludes with seven pages of specialty dyeing techniques, such as rolling fabric on a rope, painting with thickened dye, and dip dyeing.

Years ago when my friend Cathy and I were dyeing fabric on a regular basis, we bought a large variety of Procion MX dyes.  The color names were luscious — seafoam, grape, amethyst, wisteria, mist gray — and the list went on, as did our collections of dyes because it seemed we needed them all.    Paging through Johansen’s book, I can see examples of the very colors we created .  Yet all of the colors in her book are made from no more than 11 dyes — three clear primaries, three muted primaries, three clear secondaries, and two blacks.  That is it.  From these colors her recipes result in over 900 colors.

I have friends who have taken extensive dyeing classes to learn how to weigh and mix dyes for exact colors.  They come away with a fantastic reference book of swatches and complete confidence in the knowledge they can create any color they’d like.  While this book may not be a reference filled with actual swatches, many will find having some 900+ color prints with the noted recipe of how that color was acheived well worth the $24 price.

by Kathryn Schmidt, AQS Publishing, 80 pg.

The theme throughout Kathryn Schmidt’s Rule-Breaking Quilts is escaping from the quilt police and freeing yourself to break the rules.  “They tried to sentence me to a lifetime of tradition, but I ran from the rules and escaped … I’m here to help you make your way to the same type of freedom.”  There are no templates or patterns, but rather instructions for a variety of “stack-slash-and move” and “easy-curvy-sewing” techniques that are explained in chapters with titles such as “cell block walls” and “major crimes.” The book comes across with a very friendly, tongue-in-check, feel that is very much geared to helping traditional quilt makers take the step toward creating with more spontaneity.

Stacking, free-form rotary cutting, and reassembly is certainly nothing new, and there have been different takes on it over the years.  I have seen some stunning quilts made with this method, and in some very prestigious shows.  While the quilts in the book do not intimidate the reader,  the variety of methods explained have the potential to make those show-stoppers.  Beginners will like that Kathy keeps it simple using 6 fabrics.  Non-beginners should  see the potential when thinking of using more fabrics, such as a variety of graduated color runs , accent colors, and so on, and combining techniques.

Considering the topic is “rule-breaking” quilts, I expected a more quirkly layout other rather than its structured, two-column one .  Even so, this book contains some of the best instructions I’ve seen on free-form piecing.  This is a good book for any traditional quilter wanting guidance in learning to let go, or any “art quilt” maker looking for clear instruction on free-form piecing.  It’s also an excellent book for quilt shops to stock, especially when offering classes on the topic.

I love this book!  I found it by happy accident and immediately bought it. It’s a collaboration by ten authors, each responsible for one of ten categories: art 101, the philosophy of art, art through the ages, profiles in art, a picture’s worth 200 words, art from the inside out, art around the world, unexpected art forms, artistic oddities, and step-by-step exercises.

Each day has a one-page nugget of art information to ponder. The book start with, what else, day 1:  The Elements of Art. Day 2: What is Aesthetics? and so on.  You certainly don’t need to read it in order.  Flipping through to Day 166: This is London, young British artists of the 1980s and 1990s.  Day 251: Using an Underpaiting.  Exploring the Initial Layer of Paint.  Day 316: Taking Art to the Streets.  Many days also have questions to ponder.  Day 232: Perception and Reality.  One question to ponder: When you analyze  a piece of artwork, are you analyzing its objective reality or just your subjective experience of it? Hmmm… I’ll have to think about that one.

The book is hardcover, with the cover art printed directly on the color rather than just the dust jacket (which I prefer).  It’s full color, nice quality paper, and includes a ribbon bookmark to hold your place.  It’s a comfortable size and feels good in my hands. The book is also very reasonably priced: $22.95 and less from Amazon.

It puts me in the mind of The Intellectual Devotional series.  Each book in that series include seven topics that rotate, one each day of the week (one per day) for 52 weeks.  If you haven’t seen that series, check it out.  There are various titles on culture, American history, and so on. You can learn more about this title: The Intellectual Devotional: Revive Your Mind, Complete Your Education, and Roam Confidently with the Cultured Class here.

Wow, 2010.  A new year.  A new decade.

These past few days, maybe weeks, I’ve been in an almost manic cleaning mode.  Some evenings I was up silly late, like 4-5 a.m., cleaning and tossing and cleaning more.  Maybe it’s some subconscious thing to clean and clear and make way for the new decade.

I’ve also been hard at work on a new art quilt.  The quilting should be finished tomorrow, the finishing on Saturday.  Then I’ll have it – the first completed work of the new year, new decade. I spent months working on this design within Photoshop, and then a lot of time on it with color pencils, pastels, and some paints.  I always know when I did a lot when I begin second-guessing and entertaining the notion of tossing it all. I’ve been close a couple times, and I’m not even sure I like this thing.  But I’m carrying on. The piece is another in my illusions series.  Maybe the last – a bridge from one decade into the next.

There are a pile of journals from this decade that I’ve been paging through.  It’s amazing how much stuff has gone on in these past years — the people I’ve met, places I’ve traveled to, things I’ve accomplished.  While I have kept journals since being a teenager (and I am sorry that I tossed many of those early journals in the garbage some years back), after my dad died in 2000 I stopped for a while.  I started up again in mid-2001.   I was tempted to photograph a pile of the journals to add here, but it’s after 3 a.m. and I should get some sleep.

Oh, good book alert: Visual Poetry, a Creative Guide for Making Engaging Digital Photographs, by Chris Orwig.  I stumbled up this book today while  in Barnes & Noble. It should simply be called Visual Poetry, but publishers seem to like the lengthy, more descriptive titles.

The book is beautiful and well-written. It’s some 280 pages and loaded with stunning photos and interesting commentary, including interviews – or “guest speakers” – with noted photographers such as Pete Turner (I remember him from years back when I use to cut out the photos from Nikon ads and collage them together to create covers for school books).  It always fascinates me to read the answer to “What inspires you?”

While the book does give photographic instruction, I am far more attracted to his creative process.  The instruction is icing.  Learning to see light, color, and shape certainly does not only apply to photography; nor does appreciating the passion the author has for his art.  In Part II of the book, tips, gear, and inspiration are given for different types of photography such as portraits, wedding, travel.  There are workshop assignments that include a good range of resources for further information in each area.

This is an excellent book, one well worth the $44 price tag (although you can get it for less at Amazon).

The book is a great way to start the new year, new decade … here’s to it!  And with that, I’m off to get some sleep!

Fibreart Montage, Combing Quilting, Embroidery and Photography with Embellishments, by Judith Baker Montano

When I hear the name Judith Baker Montano, I think queen of crazy quilting.  I think silk ribbon embroidery.  I think renowned teacher, author of many books.  I also think of a gracious woman I met more than 15 years ago, filled with stories and laughter, and who was holding a  beaded and embroidered bag that was so beautiful that I found myself  staring at it.  When I learned Judith had a new book coming out, I couldn’t wait to see it.

Fibreart Montage –  Judith’s exciting new 256-page hardcover, spiral-bound book by published by Dragon Threads Ltd. — arrived. A visual feast,  this book is packed with inspiration to get the mind revved up with ideas and  instruction to give the confidence to make it happen.

The book has nine chapters: getting started; crazy quilting; the cottage journey; photography; silk dyeing; landscapes and seascapes; underwater; patterns; and stitch guide.

In addition to an overview of color and palettes, Getting Started provides five pages of step-by-step instructions for creating a machine-sewn foundation for crazy quilting.  Judith shows how to add curves, miters, and angles.  Any person starting out will appreciate this hand-holding.  An understanding of this important step can make all of the difference in the quality of your work. The chapter also has beautiful examples of crazy quilting and information on cords and braiding.

In The Cottage Journey, Judith explains how she photographs a cottage, brings it into an image editing program, and converts the photo into a line drawing.  That line drawing is then used as the basis of a watercolor painting, and she explains the steps she takes to create her painting.  The painting is then scanned in, printed on silk, and the silk is then embroidered.  While a later chapter includes several patterns, this chapter gives the necessary guidance to inspire the reader to convert their own photo into a unique, stitched work.

In Silk Dyeing, she describes three methods of using dye — painting with it, using it within plastic bags, and using “blobs” of it on silk .  She also provides thorough instruction on burning silk to create beautiful silk leaves.

Both chapters stir the creative juices, and could even be the basis for a book on its own, yet they are just part of this gold mine of a book. The Landscapes and Seascapes and Underwater chapters completely guides the reader through specific stitched projects.  Luscious supplies, such as organza, netting silk ribbons, threads and yarn,  are discussed.  The creation of various textures, such as twisted and couched seaweed, are explained.  Every step from start to finish is detailed.  Even student work is shared. Want more?  There is a nearly 50 page stitch guide.  Beautifully illustrated, it covers working with embroidery threads and silk ribbons.

The photography throughout the book is top notch; the illustrations very clear.  The spiral binding makes it easy to keep the book open to follow a stitch guide or drool over an image. This book is such a winner.  It is among my favorite books of this year (another being Quilting in the Limelight, also published by Dragon Threads). The only thing that could make it better is if one of the beautiful embroidered pouches from page 193 jumped out of the book and into my hands. This book is Judith Baker Montano at her very best.

Fibreart Montage is available directly from Dragon Threads Ltd.

Everything about Quilting in the Limelight, the Life, Art & Techniques of an Award-Winning Quilter by Philippa Naylor is beautiful.   It is the type of book that any artist would be over the moon to be the subject of and any quiltmaker aspiring to create beautiful, award-winning quilt will want to own.

The book begins with Phillipa’s story, from making hand-stitched outfits for her “Cindy” doll (the UK equivalent to the the US’s “Barbie” doll), her years in Saudi Arabia, to her journey back home to the UK.  I enjoyed reading this section and perusing the top notch photographs.  It felt like having a cozy tea with a new friend and learning just the right amount about her.

Next is a gallery of Phillipa’s quilts. Because Phillips has won many major awards, many of her quilts have been published in various magazines.  No matter.  The beautiful photography, with close-ups, and the story behind teach makes for another evening of good reading.

The remainder of the book takes you on a complete journey of her quiltmaking process.  The language is clear, the photography beautiful, and the information covered extremely well done.

There are beautiful photographs of her studio, the types of equipment and materials she uses, how she goes about getting inspiration for a new quilt,  and her design process.

Next she shares her construction method for her precise machine piecing.

She continues with a chapter on quilting and trapunto design and another on free motion quilting (she actually sews in all thread tails!).  The first time I looked at one of Phillipa’s quilts close-up, I immediately noticed her beautiful double-folded binding with piping.  Lucky for readers, she explains exactly how she achieves this finish with a chapter on creating and sewing on a piping (single or double) and another on sewing a mitered binding.  The final chapter concludes blocking the quilt, creating a label, and a hanging rod.

The book is truly a gem.  The photography and layout are excellent, her story is friendly and enjoyable, and her lessons educational.  There is nothing not to like about this book. It sells for $29.95 and is published by Dragon Threads.
You can learn more information about the book and purchase it directly through the publisher here.

Several months ago, I read on Amazon that Dorothy Simpson Krause had a new book coming out called “Book & Art: Handcrafting Artists’ Books.”  I’ve admired Dorothy’s work for years (some of which you can see  at her site).  If you’re unfamiliar with her many achievements, in 1997 Dorothy organized “Digital Atelier: A printmaking studio for the 21st century” at the Smithsonian.  She and her colleagues also received a Smithsonian/Computerworld Technology in the Arts award.  While I had “The Quilter’s Computer Companion” coming out about that time, Dorothy was light years ahead of me (gosh I wish our paths had crossed).  Being that I absolutely love and have been recommending her Digital Arts Studio, Techniques for Combining Inkjet Printing with Traditional Art Materials” book  for years,  and am in awe of her work, I knew I had to pre-order the book.

It arrived.  And it was worth the wait!  This book is surpassed my expectations, and it  is possibility the best book I’ve purchased all year.

The first line of the inside front flap states:

Book & Art explores a variety of artists books and book-like forms to introduce you to the processes and techniques that will allow you to make one-of-a-kid books as an expression of your art.

It only takes a quick glance through the book to discover the beautiful artwork and sophisticated layout. Slow down to read a few random sections, and you’ll discover clear, well-illustrated, and numerous step-by-step instructions. Start from the beginning, and it’s apparent that this book is absolutely crammed with inspiration and instruction.  While the book focuses on “art books,” many of the techniques can be used in other art –  my thoughts are spinning with ideas.

Some of the techniques covered in the first 40+ pages include overprinting acrylic paste paintings (as shown above), aging paper, printmaking options, gelatin monoprints (with recipe), inkjet transfers, working with text, transferring text, and more.

The book then dives into creating art books.  Chapters include working with blank books (as shown above) and altered books, a variety of folded books and scrolls, various binding methods, side-sewn, single-signature, and multiple-signature books, covers, boxes and unbound collections.  Helpful hints are included, materials listed.

The above image shows a technique for applying foil over wood.

In short, Book & Art is beautiful and inspiring and is filled with instruction and ideas.  If you have any interest in combining art with books, or are simply looking for ideas that you can apply to your art, I highly recommend this book.

The 144 page, full-color, softback book is published by North Light Books.  It retails for $24.99 and is also available from Amazon.

This past summer when I was at the The Festival of Quilts in Birmingham, UK, I met C June Barnes, an artist who makes unique creations that she first quilts  and then dyes.  She wrote a gorgeous full color book generously explaining her process.  It’s called Stitching to Dye in Quilt Art – Colour, Texture and Distortion. I fully intended to buy the book while there.  However, because her booth was crowded, I decided to continue buzzing through the show and return before leaving.  It was after I was back at the hotel that I realized I forgot to buy it!  Then I  thought, order it while in the UK or wait until it hits Amazon here.  I decided to wait.  Good news!  The book is now at Amazon, shipping on February 3rd!  And, in  US dollars, it’s less than half of the price of UK pounds!  Full price or not, the book is worth every cent (or pence).

I will add that as an author, I am all for people buying books from their local shop or directly from the author.  Royalties helps to pay the bills.  However, if your local store or shop doesn’t have it (mine doesn’t), Amazon is a way to go.  If you’re in the UK, Europe or Australia, you can get the book directly from the author here. To see more of her work, visit her website here.  I stand corrected: June wrote me to say her book IS being sold to residents of the US.  Go here, and scroll down the page.  Also, she’ll sign the book for you, too!

I am bias: I met Maggie Grey at the Festival of Quilts show in Birmingham UK this past summer and just think the world of her.  In addition to be gracious and extremely sharing, she’s a prolific artist eager to teach to whomever is hungry to learn — be it in her books, classes, or in her Workshop on the Web online magazine (which I subscribe to, good stuff).

Maggie’s latest book is Textile Translations: Mixed Media, a full-color 80 page book filled with lavish, textured creations that start with gesso, paper, and salt.

The surfaces build depending on what else is added to the work, such as paint, Markal (Shiva) sticks, fibers, inks, colored pencils, and so on. The resulting work just beg to be incorporated into mixed media work, textiles, journal books, quilts, and more.

Reading through this book and looking at the resulting work has ideas spinning through my mind.

Bonus: In the spirit of Maggie’s give, give, give nature, she is also offering free, yes free, online classes to anyone who purchased her book.  There is a series of lessons offered at the book’s website here (where you can also purchase the book).  There is also an email group you can join.  You need the book in hand the enter the passwords for each lesson, and it’s well worth it!

Is there anyone out there looking for a good reference book on lettering on paper or fabric?  If so, here’s the book!

Modern Mark Making From Classic Calligraphy to Hip Hand-Lettering
by Lisa Engelbrecht (Quarry Books) is a winner.  It’s subtitled “an all-in-one workbook for artists, crafters, and journalers.”  And that it is.  The book is hardcovered but has a wire spine making it easy to keep open while working.

It’s 160 full color pages with lavish illustrations.  It starts with tool, surfaces, materials, and the basics of getting started.   She explains tools for script writing, and pens, her favorites, and so on.

But the beauty of the book is in the large variety of lettering and the gorgeous examples of them used in everything from invitations to fabric art.   I love how she covers the classical but moves into the modern and urban, graffiti-looking lettering.  For making the more funky types of lettering, she explains how all types of pens  can be used, including those you make yourself.  For example, there is a page on making a “Stimudent Pen.”  What kind of pen is that, you wonder?  It’s made from Stim-U-Dent plaque removers!  She explains how even a yogurt container can be made into a pen.

Last year I had an opportunity to listen to Lisa as she taught in a brief introduction to calligraphy on fabric.  While the session was only about 15 minutes, she jammed it with information.  I was impressed.  In short, if you have  any interest at all in learning a variety of options for lettering on paper or fabric, I highly recommend this book!

If you’re interested in purchasing the book from Amazon, click on the book cover above. However, Lisa is also selling the book directly, which she’ll autograph for you.  Visit Lisa’s blog for more information, and tell her I sent you!  :)

Designing Explorations for the Creative Quilter

80 pp, paperback,  C&T Publishing
Katie Pasquinin Masopust’s latest book is a winner.

I have all of Katie’s books, going back to her Mandala-creation days, probably some 20 years ago.  Although I only know Katie from seeing her on occasion at shows, I know her through her work and books.  As her style grew over the years, so did mine.  However, she was always leaps and bounds ahead of my abilities and her work always inspired me.

Her latest book is a doorway into her latest approach to quilt design.  While the results of her designs are often translated into exquisite works, the instruction she shares genuinely encourages readers and quilt makers of any level to understand the concepts and apply them to their own work.
Taking the time to do the lessons can result in original work that can push you as an artist.

In the beginning of the book, Katies goes through tools and supplies, composition,  and color.  The “meat” of the book is methods of exploring design approaches through using paper, paint, and eventually fabric, should you want to convert a design exercise into a quilt.  The explorations include shapes, lines, details, repetition, blind painting, watercolor painting, watercolor vignettes, linear reflections, palette knife painting, and the freeze frame.

While there is a section on quilt construction, it’s  brief.  The designs you create, however, can be translated into whatever style you’re comfortable working in (for example, fusing).

Design Explorations gives you the tools to learn principales of design and apply them to your quilt making, regardless what technique you prefer.  if you have any interest at all in learning pushing yourself as an “art” quilt maker, get this book.

“To bring an idea to image you need first to have an idea.  Cultivating and enhancing your awareness of yourself and your world are essential.  Finding the things that make your heart sing and the ideas that rouse your passion is part of the journey of creativity.”

So starts Laura Cater-Woods’ new self-published book, “Idea to Image: Tempting Your Muse – a Guided Studio Workbook.” This 42 page book is not a how-to book, but rather a guide book, designed to be “dipped in and out of, begin at any point and tracked backwards.”  It gently directs you to follow your unique journey to see what makes your creativity tick.  She encourages the use of a journal, or multiple journals, to record snippets of ideas, big and small.  She explains design elements and principals while encouraging your awareness of them.  She flows into learning to be in the moment, if even only for certain periods during the day.  A variety of exercises are included.  The book includes several photos of Laura’s soothing and beautiful work, which seems to echo the calm and quiet encouragement to slow down and take in the world around you.  It also includes quotes — food for additional thought.

“The secret of getting started is breaking your complex, overwhelming tasks into small, manageable tasks, and then starting the first one.” – Mark Twain

Personally … my muse is often stubborn, and it needs a good kick in the pants to show some life.  Then again, I often need a good kick to chill.  To relax.  To slow down.  I’ve admired Laura’s work for a long time, and I like curling up in my favorite LaZBoy chair to read and absorb her words and to look at her soothing work.  The chair happens to be in my office, and happens to face my computers, ever on and temping me to come over and work just a bit more.  Laura’s book is now on top of one of my journals near my favorite chair.  At the end of the day, I’m on my chair, putting my feet up on my other favorite chair, and I’m paging through her book.  Then I’m reflecting, sketching, writing, and, can it be?  Relaxing?  Experiencing a semi-state of happy?   Good job, Laura!

Visit Laura’s site to purchase the book.  While there, sign up for her free newsletter.

I’ve added reviews of several books that directly relate to journaling, in paper and in fabric. While there are certainly other titles, these will get you started. I also added information about Ruth Issett’s Print, Pattern & Colour. It’s a beautiful book, filled with gorgeous color and a wide array of ideas for creating original print designs on paper and fabric. Visit What’s New Review for more information.