FROM SKETCH
TO BINDING
I use Arches hot-pressed water-
color paper, Bristol paper, Annigoni
all-media paper or Stonehenge print-
making paper—all in the 90- to
120-lb. range of thickness.
After using an Olfa utility knife
to cut the sheets into two different
sizes, I place the cut papers in a small
portfolio with flaps and secure them
with a band or ties. The unbound
sketchbook is now ready. I set a theme
to follow for each size of paper, which
helps me to narrow my interest and
ultimately leads to a harmonious col-
lection for a bound sketchbook.
When the portfolio becomes full
of finished sketches, I sort them
thematically, ensuring they’re the
same size. Curating the body of work
and page order is a fun process; it
reminds me of planning a one-person
gallery exhibition. Just as the order of
works is key to successfully hanging
one’s work for maximum effect, so it
is with my sketchbooks. As I arrange
the works, I consider composition,
color and shapes among the pictures.
Many neighborhood copy centers
provide a spiral binding service that
includes a clear plastic cover and black
back board. After binding, I place a
label on the cover with my name and
the title and date, plus any other
relevant information.
Helen Oh is an artist and conservator,
and an instructor at
the School of the Art
Institute of Chicago
and Palette & Chisel
Academy of Fine Arts.
She’s represented by
Gallery Victor
Armendariz.
Beach—Chair
& Coconuts
watercolor on
paper, 9x11¼Beach—Chair
& Kayak
watercolor on
paper, 9x11¼You can collect your sketches in an unbound sketchbook and
then curate a selection for a wire-bound book.Turn the page for a sketching demonstration.
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