rivate place for girls to doodle and draw, record their daydreams, and store their treasures. There are five envelopes for momentos, and writing prompts to get budding journalists started.

Whether fashionable or functional-or both-pockets are an important design detail that can enhance the aesthetic of your collection and improve the experience of the wearer. Whether it's for fashion design, construction, patternmaking or costume design, if you're looking to get the full picture on patch pockets, better command of the cargo, or more know-how on welts, this is your go-to resource. The Book of Pockets includes: - inspirational imagery, overlaid with fl at patterns or zoom-ins of the pocket detail - comprehensive information on all things pocket, beginning with their long history and going all the way from workwear to activewear and couture - practical advice through interviews with fashion designers, curators, and technology developers a Pocket Flat Sketch Library appendix for quick reference, and - step-by-step construction tutorials, illustrated with flats throughout, showing you how to create nested pockets with gussets, invisible zipper patch pockets, cascading pockets, and more. With consumers crying out for stylish, functional pockets, The Book of Pockets is the ultimate guide to help you successfully incorporate them into your designs.

Journal with Purpose is the ultimate reference for journaling, packed with over 1000 motifs that you can use to decorate and enhance your bullet or dot journal pages. Copy or trace direct from the page, or follow one of the quick exercises to improve your skills. Featuring all the journal elements you could wish for – banners, arrows, dividers, scrolls, icons, borders and alphabets – this amazing value book will be a constant source of inspiration for journaling and an 'instant fix' for people who find the more artistic side of journaling a challenge.

Charles Darwin, George Washington Carver, and Jane Goodall were once curious kids with pockets full of treasures! When you find something strange and wonderful, do you put it in your pocket? Meet nine scientists who, as kids, explored the great outdoors and collected "treasures": seedpods, fossils, worms, and more. Observing, sorting, and classifying their finds taught these kids scientific skills--and sometimes led to groundbreaking discoveries. Author Heather Montgomery has all the science flair of a new Bill Nye. Book includes the Heather's tips for responsible collecting.

Angelica Sprocket lives next door. Her overcoat has pockets galore! And you'll never guess what's in them... Prepare to be surprised, thrilled and tickled pink by Angelica Sprocket's never-ending pockets, and the marvellous things she keeps in them!

The rocks around their mountain farm serve all of the Woods family in many ways, both utilitarian and recreational, until the day two ladies from the city come to visit.

"The influential artist Hedi Kyle and renowned architecture graduate Ulla Warchol shows you how to create their unique designs using folding techniques. From creating flag books and fishbones, to blizzards and nesting boxes, you'll gain an invaluable insight into the work of two skilled artists with this fun read! With the help of their thorough instructions and simple illustrations, you'll be on your way to becoming a pro paper crafter in no time at all" – Sew magazine "A wonderful insight into the work of a truly skilled artist" – PaperCrafter The renowned and influential book artist Hedi Kyle shows you step–by–step how to create her unique designs using folding techniques in The Art of the Fold. Bookbinding and paper craft projects include flag books, blizzard books, the fishbone fold, and nesting boxes. Written by the doyenne of artists' books, Hedi Kyle, The Art of the Fold is a wonderful insight into the work of a truly skilled artist. Hedi will show you how to bind a book and fold paper to create over 35 of her cut–fold book designs. The book is beautifully illustrated with Hedi's finished works of art. An excerpt from the book: 'I can still remember the thrill I experienced when my first folded book structure emerged from my fingers – how eager I was to explore its possibilities and to share it with whoever was interested. The Flag Book, as I now call it, is a simple accordion and has interlocking pages oriented in opposite directions. Little did I know that this simple structure would have legs and be the catalyst for the next forty–plus years of thinking about and making books. The common perception of the book today is fairly straightforward: a series of pages organized around a spine and protected on either side by two covers. This format allows for easy access, storage and retrieval of information. Yet what happens when the book is stripped away of centuries of preconceptions and is allowed to reveal something else: playfulness, utility, invention? Expanding the notion of the book is what the structures in the following chapters of The Art of the Fold attempt to do. Exploring its tactile, sculptural form, primarily through folding methods, the book as a structural object is celebrated while content is considered in a new and unconventional way. My range in this medium has always been broad. In part this is due to my introduction to the world of bookbinding and some chance encounters. In the 1970s in New York City, the art and craft of hand bookbinding and papermaking were experiencing an unprecedented revival. I was fortunate to arrive in the city at just this moment. With an art–school background and an impulse to make things, I was naturally drawn to pursue this new opportunity. The Center for Book Arts, the famous forerunner of so many centers yet to come, was located in a small storefront just down the street from where I lived on the Lower East Side of Manhattan. Under the direction of founder Richard Minsky, it had a radical mission: to push concept, materials, printing and making of artist books in a new direction. When Richard dared me to teach at the Center one evening a week, I was hooked. My career as a book conservator and a book artist has now spanned over 45 years. As head conservator at the American Philosophical Society in Philadelphia, I've had the opportunity to handle some of the rarest volumes and manuscripts in the world. I have also dealt with decrepit books, torn maps and countless curiosities discovered in stacks and archives. All were endless sources for ideas and provided a springboard for a departure from tradition. Leading book–arts workshops around the world and a 25 year tenure teaching in the graduate program for Book Arts and Printmaking at the University of the Arts in Philadelphia have shown me, in retrospect, that the more I taught, t