A concertina sketchbook is useful wherever an ordinary bound book feels too confined. It opens flat without resistance, allows a drawing to travel across several panels, and folds back into a compact object when the work is finished. The separate boards at either end give the folded paper a proper shelter, while linen-cloth hinges make a flexible, durable attachment.
This version is built from individual paper panels joined with cloth rather than from one long sheet. That makes good use of offcuts and allows heavier paper to be used, including papers that would be awkward to fold repeatedly. The chief concerns are simple: respect the paper grain, make every panel precisely the same size, and use less adhesive than seems necessary.
Before you begin: decide on size and paper
Choose the finished page size first. A modest format, such as A6 or A5, is easy to handle and presses well beneath a stack of books. A longer, narrow format suits landscapes and written sequences. Square panels make an appealing small object, but can become rather thick when folded if many are used.
For dry drawing, a firm cartridge, drawing, or mixed-media paper is suitable. For washes, choose a watercolour paper that can tolerate the amount of moisture you expect to use. A concertina is not a substitute for stretching paper: generous wet washes may still cause cockling, especially where the paper is held at the hinges. It is often wiser to use light washes, pencil, ink, coloured pencil, gouache used sparingly, or watercolour studies with plenty of drying time.
Paper grain matters. Paper bends more willingly and with less surface cracking when folded with the grain. If you have a large sheet to cut into panels, identify the grain before cutting. A quick comparison helps: gently bend the sheet in each direction without making a crease. The direction that offers less resistance is usually the grain direction. Arrange the panels so the eventual folds run with that easier bend.
Decide how many panels you need. Six to ten panels make a satisfying first book. An even number is convenient but not essential. Each panel will be joined to the next with a narrow strip of linen book cloth, alternating from one side of the paper to the other.
Photo by Sketzo Store on Unsplash.
Materials and tools
Gather the following before cutting anything:
- Heavy drawing paper or suitably sized paper offcuts
- Two pieces of bookboard for the covers
- Linen book cloth, preferably with a close weave
- Wheat paste or archival PVA
- Kraft paper for lining the covers
- A bone folder
- A metal ruler, pencil, craft knife, and cutting mat
- A small brush or glue spreader
- Waste paper for protecting the work surface
- A clean cloth for wiping stray paste
- Waxed paper or silicone release paper, if available
- Several heavy books or a small pressing board
Book cloth is preferable to ordinary fabric because its paper backing limits fraying and makes it easier to cut cleanly. If you use unbacked linen, cut it carefully on the grain and expect its edges to fray unless they are turned under or treated. Avoid thick upholstery fabric: it adds bulk at every fold and prevents a tidy closure.
Plan the proportions
Cut all paper panels to exactly the same height and width. Even a small variation becomes conspicuous in a folded book, where every edge should meet the next. For a first attempt, make six panels at 100 × 150 mm, or choose another size that suits the paper at hand.
Cut the boards slightly larger than the paper block. An overhang of 2 to 3 mm at the head, tail, and fore edge is enough to protect the pages without making the covers seem heavy. If your pages measure 100 × 150 mm, boards of approximately 104 × 154 mm will work well.
The hinges should be narrower than a page margin, typically 12 to 18 mm wide. On a small book, 12 mm is ample. On larger, heavier paper, a 15 to 18 mm hinge gives more purchase. Cut one cloth strip for every join between panels, plus two slightly wider pieces for attaching the first and last panel to the boards.
A note on adhesive
Wheat paste gives a little more working time and is forgiving when aligning parts. PVA sets faster and is convenient, but should be spread into a thin, even film. Either adhesive can cause paper to buckle when used too heavily. Put glue on the cloth rather than the paper wherever possible, and work over waste paper so that a fresh, clean sheet is always beneath the piece.
Make the cloth-hinged paper strip
1. Lay out the panels in order
Place the cut panels on the table in their intended sequence, face up. Mark the back lightly in pencil with small numbers near one lower corner. This prevents the common mistake of joining a panel upside down or reversing the working order halfway through.
Leave a gap between each panel equal to the thickness of the paper. For most drawing paper, 1 to 2 mm is enough. Very thick watercolour paper may need a slightly wider gap so it can fold without being forced. Use scraps of board or card as temporary spacers if you want the gaps to remain consistent.
2. Attach the first hinge
Turn the first two panels face down, keeping their inner edges separated by the planned gap. Place a cloth hinge across the join. It should cover equal widths of both panels and run straight from top to bottom.
Brush a thin coat of adhesive across the back of the cloth. Do not saturate it. Lay it down from the centre outward, then rub gently with the bone folder through a sheet of clean waste paper. The aim is contact, not pressure enough to squeeze glue beyond the edges.
Let the join rest for a few minutes until it is no longer slippery. Turn the panels over and test the fold. They should close easily, with the cloth forming the outside of the fold.
3. Alternate the hinges
The next hinge goes on the opposite side. This alternating arrangement creates the concertina: one fold becomes a mountain, the next a valley.
Continue joining the panels in order, always checking the direction before applying glue. It is useful to fold the growing strip after each hinge has set briefly. If the folds stack neatly and the panels lie flat when extended, the sequence is correct.
Do not rush this stage. A crooked hinge cannot be disguised by the covers, and a hinge fixed on the wrong side changes the entire folding pattern. If you notice an error while the paste is still wet, lift the cloth gently with a thin knife, clean away excess adhesive, and begin again with a fresh strip if necessary.
Photo by Denise Jans on Unsplash.
4. Press the paper strip lightly
When all joins are in place, fold the concertina into its closed shape. Put waxed paper between the outer pages and any damp hinges, then place the book under a flat board and a moderate weight. Leave it until dry.
Do not press it so heavily that the folds are crushed flat. The hinges need to retain enough space for the thickness of the folded paper. A gentle press is intended to keep the panels from curling while the adhesive dries.
Prepare the separate board covers
The simplest covers are boards faced with linen cloth and lined inside with kraft paper. They are plain, sturdy, and let the concertina remain the centre of attention.
5. Cover the outside of each board
Cut two pieces of book cloth large enough to wrap around each board with a turn-in of roughly 15 to 20 mm on all sides. Centre a board on the back of its cloth and mark its position lightly.
Glue the cloth, not the board, with an even coating of paste or PVA. Set the board down in its marked place. Turn in the long edges first, smoothing from the centre toward the corners. Then turn in the short edges.
For neat corners, trim away a small triangle of cloth at each corner before turning in the final edges. Leave a sliver of cloth beyond the board corner rather than cutting flush to it; this folds over to protect the point of the board.
Repeat for the second cover. Place both boards under light weight while they dry, with clean waste paper above and below. Replace any damp waste paper promptly so it does not emboss or stain the cloth.
6. Add kraft-paper linings
Cut two pieces of kraft paper slightly smaller than the boards, leaving an even narrow border of cloth visible around each edge. Glue these linings in place on the inside faces of the covers, but do not yet cover the area where the paper strip will be attached if you want to keep the attachment visible. Alternatively, line the whole board first and attach the concertina over it; this is simpler, though less traditional in appearance.
A kraft-paper lining helps pull the board back toward flatness after the moisture of covering. It also gives the inside a calm, finished surface.
Attach the concertina to the covers
7. Dry-fit everything first
Close the concertina and place it between the two boards. Check that the boards align with one another and that the folded paper sits inside their edges. Decide which face will be the front cover.
Open the front board, lay it face down, and position the first panel against its inside. The panel should sit squarely, usually with a narrow, even margin around it. Repeat the arrangement at the back before using adhesive.
8. Glue the first and last panels
Apply a thin coat of adhesive to the outer face of the first paper panel, or to the portion of the board that it will cover. Keep adhesive away from the edge nearest the first fold by about 3 to 5 mm. This small unglued margin allows the first hinge to move freely rather than being stiffened by glue.
Lower the board onto the panel, or lower the panel onto the board, using the dry-fit marks as a guide. Rub lightly through waste paper. Attach the final panel to the back board in the same way.
Before pressing, open the book fully once. It should extend into a level zigzag with both boards lying comfortably at the ends. Then close it, check that the boards meet neatly, and place it under light weight to dry.
Photo by Susan Elizabeth Jones on Unsplash.
Finishing and use
Allow the finished book to dry thoroughly before filling it. If the covers have bowed slightly, leave the closed book beneath a flat weight overnight, changing any protective sheets that feel damp.
A concertina can be used page by page, but it also invites longer work. Try a continuous horizon, a set of plant studies, a sequence of colour tests, travel notes, a written poem with small drawings, or a fold-by-fold record of one walk. If you work with wet media, support the opened section on a flat board and let each area dry before folding it closed.
For a more formal finish, add a narrow cloth or paper label to the spine edge of the folded book. A simple wraparound band of kraft paper is useful for keeping a very full sketchbook closed without adding a clasp or tie.
Useful mistakes to avoid
Ignoring grain direction
Cross-grain folds feel resistant and can crack a stiff paper surface. Test before cutting, especially with heavy sheets. If the paper has no obvious grain, make a small trial fold from a trimming.
Using too much glue
Adhesive should make a thin bond, not soak the cloth and paper. Excess paste causes cockling, stains porous sheets, and can glue the concertina shut at its folds. Keep a dry cloth nearby and remove squeeze-out at once.
Making the gaps too narrow
The hinge gap must accommodate the paper thickness. If panels butt tightly together, the book may open flat at first but will strain and buckle when folded. Increase the gap a little for heavier stock.
Forgetting to alternate the hinge sides
Every hinge must switch sides from the one before it. Lay the panels out and fold the developing strip after each attachment. This modest pause is much easier than repairing a reversed fold later.
Pressing damp folds too hard
A hard press can flatten the small spaces needed for a concertina to close comfortably. Use moderate weight and let the adhesive dry patiently.
Made with care, this is a book that asks little from its maker: straight cuts, measured gaps, a light hand with paste, and enough time for each stage to settle. In return, it offers a surface that can be read as pages or opened as one continuous field.