Information about the history of paper and its uses accompanies instructions for making different types of papers and objects such as flowers, trays, lanterns, and more from paper.

Making books by hand has never been cooler, with this inspiring guide to 30 top bookmakers working today, plus 21 tutorials for essential techniques to make your own books. Crafters, artists, writers, and book lovers can't resist a beautifully handbound book. Packed with wonderfully eclectic examples, this book explores the intriguing creative possibilities of bookmaking as a modern art form, including a wide range of bindings, materials, and embellishments. Featured techniques include everything from Coptic to concertina binding, as well as experimental page treatments such as sumi-e ink marbling and wheat paste. In addition to page after page of inspiration from leading contemporary binderies, Little Book of Bookmaking includes a practical section of 21 easy-to-follow illustrated tutorials.

Following her bestselling Girls' World (more than 63,000 copies sold already), Joanne O'Sullivan creates another cool celebration of girl power. Nothing's more important to a smart young woman than friendship, and these super projects focus on things to make for and with her closest gal pals. She can start with some of the very finest gift ideas around: Jet-setting worldly girls will go for a purse made from a real, usable map. Book lovers will delight in the mini-book necklace. Sandals embellished with glittering paillettes will please fashion divas. A collection of favorite snapshots can become an artful wall gallery for best buddies to enjoy together, or friends can throw a spa party, craft hip decorations for each other's rooms, and lots more.

Craft in Art Therapy is the first book dedicated to illustrating the incorporation of craft materials and methods into art therapy theory and practice. Contributing authors provide examples of how they have used a range of crafts including pottery, glass work, textiles (sewing, knitting, crochet, embroidery, and quilting), paper (artist books, altered books, book binding, origami, and zines), leatherwork, and Indian crafts like mendhi and kolam/rangoli in their own art and self-care, and in individual, group, and community art therapy practice. The book explores the therapeutic benefits of a range of craft materials and media, as well as craft’s potential to build community, to support individuals in caring for themselves and each other, and to play a valuable role in art therapy practice. Craft in Art Therapy demonstrates that when practiced in a culturally sensitive and socially conscious manner, craft practices are more than therapeutic—they also hold transformational potential.

An introduction to papermaking that describes the many techniques used today, how paper was invented, how it has evolved throughout history, and how people can make their own paper.

Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word. For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.