Statement of Intent
With this project, my aim was to design and build a sketchbook for myself, using past experiences and research to prioritize functionality as well as personal preference. An additional priority I set for myself was to minimize the amount of materials purchased and used during production, remaining efficient and mindful about what I was using and why, making the most of recycled materials wherever possible.
Ideation
I began the ideation process by writing a quick “wish list” of elements I was looking for in my ideal sketchbook. This helped kick off some brainstorming and exploration with features and content.
Next, I dove into research and collecting inspiration. One of my main priorities was binding that would either lay flat and/or would allow me to flip the pages onto one another, so I started looking at examples of spiral binding, glue, and coptic binding techniques. However, my focus shifted away from spiral binding during my research, as deformities have always occurred easily in my previous spiral sketchbooks, and paper scraps tend to collect in the binding as well if pages are torn out, and I decided to look deeper into the other previously mentioned options instead.
I decided to steer away from glue binding as well, due to reasons similar to those for spiral binding. The aspect of papers constantly coming loose or falling out outweighed the pros for me personally, but I admire the flat-lay aspect (pictured in top right above), as it creates a perfect drawing surface and layout. This led me to investigate coptic binding techniques with string (pictured above on top left and bottom). This sewn method allowed for a similar flat layout to that of glue binding, but with added security and had an interesting appearance as well that could be incorporated into the more aesthetic aspects of the design. This is the type of binding that I planned to pursue, and for my first mini sketchbook I followed the video tutorial linked below.
In this prototype, I was also able to experiment with using recycled materials in addition to the binding technique, using old cardboard and scrap paper. I also experimented with cover design possibilities and tried a collage-style cover using magazine cutouts. After this prototype, I felt encouraged to keep this binding method in mind, but still keep researching other options, as the binding worked well, but the process was very prone to mistakes and did seem more fragile than I had in mind for a sketchbook I would be taking with me almost everywhere.
Another thing about sewn binding that I discovered when building my mini book was the potential to add more pages to the sketchbook simply by sewing in another signature. I love this flexible quality, and as I continued in my research, I came across ring binding.
This method immediately clicked for me, as it would allow for all of the functional aspects I had been on the hunt for. The flexibility of being able to add, remove, or move around different types of paper and elements was especially exciting. Once I felt confident in pursing this binding method, I was able to shift my focus into more of the potential elements I would include on the interior. Something I knew I wanted for sure in my initial sketches was a folder for storing extra papers and notes, which I was inspired to include from the folders that are often included in the pages of notebooks.
Incorporating collage and different textural elements has always been a big part of my personal artwork, and is something I use often in the sketching process as well. This is my main reasoning for incorporating a pocket folder into the design, but I also store the bulk of my collage materials in my accordion folder. However, although it’s perfect to have at home at my desk, it is pretty heavy and difficult to bring around with me. I love the organization it offers, so I decided to find ways to design a similar accordion folder that would fit into the binding of my sketchbook.
This addition is something I knew I wanted to include in my final version, as it would allow me to take around more scrap papers and magazine clippings from my larger collection to always have on hand. From here, I was able to begin further prototyping and production for my final.
Iteration & Production
Using what I found throughout the research process, I generated new sketches for the final product.
Next, my second mini sketchbook iteration came about, which I constructed using more scrap paper and wire from the misshapen binding of one of my (filled) spiral notebooks, which was the best option I had in the moment to simulate the effect of binder rings. The accordion folder process was simple, during which I glued the edges of folded sheets of paper together to create pockets, and glued each pocket down the middle and stacked them.
I decided to make the paper in my sketchbook 8.5”x 11” in size, as this is the standard paper size that most of the paper I already had was in, and I figured this project would be the best way to put it to use. This was especially important to me as I wanted to minimize the amount of new materials purchased for this project. From here, I made prototypes to scale of the two types of folders I planned to include.
I had originally planned to incorporate pockets for my straight edges that I carry in my pencil case, just so I could always have them handy right in my sketchbook. They fell out of the pocket designs I tested very easily, and I figured it might be more practical to keep them in my pencil case. This was really just an idea I wanted to explore. I was also concerned about the bulk of the sketchbook, which contributed to this decision as well. This also steered me away from the idea seen in my original sketches of including an acrylic paint palette, as this isn’t something I would use quite enough to justify the added weight and material usage.
When I moved to considering what types of paper my sketchbook would include in more detail, most of the paper I planned to use was already my desired size. I wanted a variety of paper textures and colors, which I had plenty of from over the years. Some of these unique textures were in much larger sizes, however, which led me to not use them as often due to the difficulty involved with carrying them around. I kept some of these papers in their original size and binding to use in larger -scale works, but also took out a selection to cut into an 8.5” x 11” size. To do this, I created an illustrator file of the page outline with holes that would align with the placement of the binder rings and cut the paper with the laser cutter. I set the holes to approximately 1/8” in diameter, the same size as the binder rings I purchased, to give the paper a more custom feel, rather than the larger size of my own hole-puncher.
Coming up with ideas that excited me for a cover was a challenge, as I wanted something simple and versatile that I wouldn’t grow tired of with time. The recycled cardboard and craft paper I used in my first and second prototypes respectively were interesting to explore with, but were ultimately not quite as sturdy as I was looking for. I especially wanted a more solid backing to make drawing without a table or solid surface accessible. I decided through research online and in class that chipboard would be my best option, as I liked its more lightweight, yet fairly sturdy quality. I first explored the possibility of covering the chipboard with a textured fabric that I had extra of from a sewing project.
This fabric reminded me of some of the textures pictured in earlier images, however, the white color was a drawback, as this would inevitably be a completely different color, and potentially pretty worn after a mere couple weeks of use. I went back and forth with this idea for a short time, and decided to further consider alternative options. I didn’t necessarily want to feature my name or a specific etching design, and ended up finding inspiration in a more unexpected way. While testing hole punch sizes for my pages, I noticed the interesting ways the holes in my test sheet revealed snippets of what was underneath. I was immediately inspired by this, and began sketching designs using holes in the chipboard that would allow pieces of the pages underneath to peek through. This was the cover iteration that I felt resonated most with the ephemeral nature of the design, allowing the book to grow and change with me as an artist and designer!
I transferred these ideas into Illustrator documents, coming up with two different iterations; one using circles and another with a simple pattern I created during last semester’s card project, but didn’t end up using. I chose to go with the pattern design, and cut out each layer of the front and back covers using the laser cutter. I also added an etching detail of my initials onto the back cover during this process.
My sketches involved two layers of chipboard, as the material I ordered was not as thick as anticipated, so I decided to employ two sheets for each cover for added stability. I made the decision to keep the two layers of the front cover separated after seeing the effect that light had on the reflection of the pattern when the layers were opened separately. However, I used paper cement to secure the two layers of the back cover together. The effect of light on the pattern was also what contributed to the decision to leave the second cover layer unpainted, as I was more satisfied with the look of the raw chipboard.
I ran into my first major issue when I went to test the binding of the sketchbook with both the covers and paper in place, as a slight error I made in my Illustrator files caused the holes in the paper to not line up correctly with those of the cover. While this felt pretty detrimental at first, it ended up working out for the best. I originally did not want to use my own hole punch as I was after a custom look for each page, but this custom fit was admittedly much more prone to catching on the rings when pages were turned. This mistake also reminded me of the idea of adding more pages to my sketchbook, and how I would likely not always have access to a laser cutter or specifically- sized hole punch. Using the hole punch size I already had would allow new pages and elements added later on to remain consistent, in addition to allowing me to not have to take time on the laser cutter during this process to cut only holes in the pages already to size. Fortunately, this ended up being more of a positive than a negative for the overall design. For presentation purposes, I added new paper with these new hole punches, but will still use the paper I originally cut in this sketchbook.
After finalizing my paper and cover, I constructed the accordion folder element using the same method pictured in my second prototype. For this I used leftover black and white card stock from last semester’s projects. To add to this surprise element, I decided to add a pattern to the white pockets, so that the pattern would be on every other pocket. I designed a printable version of the pattern found on my cover, but was unable to print directly onto the card stock. Instead, I printed the pattern onto printer paper and folded it over and glued it to each of the white pockets.
Next, I used more of the black card stock I had to construct a simple pocket folder, using a half of a sheet secured to the back and lower sides of a full sheet of the same paper. This was a simple final detail, and after this only the final assembly was left. The pack of binder rings I purchased included multiple sizes, but I decided to start with the 2” option, knowing I can always move up to 3” if needed later on. Starting with the back cover, I added in the accordion folder followed by each section of paper types, the pocket, and finally the front cover. This ended with a final product that I was confident in and immediately eager to start filling with ideas!
Reflection
The primary goal of this project was to design a sketchbook customized completely to my own preferences given the materials and processes available. A priority for me was to recycle as much as possible, which is a goal I did manage to follow through with in using entirely recycled paper that I already had across my collection of sketchbooks and drawing pads. Not only did this save on materials, but it will also encourage me to explore with different paper types and textures that I otherwise wouldn’t use as frequently. There are definitely areas I could have reused more, such as with my cover, although I think I did well at using what I did have where it was possible. The one element I could have invested more in purchasing, however, was the binder rings. The only option I could find in-store were fairly cheap, and are defiantly not the most sturdy as a result, and tend to come apart easily when everything is placed in the binding. They did come with multiple sizes, which might allow me to go up in size as I add more pages, which adds to my reasoning for choosing a non-permanent binding method. The binding and simplistic design are decisions I am especially confident in, as they allow for the sketchbook to change and grow with time and with me, which is reiterated in the cover design that speaks for itself and displays the ever-changing contents and ideas within the book.
Portfolio Project
The page showcasing my final Sketchbook project can be found through the link below!