My Mixed Media Artist Book for the 100 Day Project

This year, my 100 day project is not about creating 100 finished pieces.

It’s about showing up, working intuitively, and allowing the process to unfold over time.

Instead of loose pages or individual artworks, I created a mixed media artist book — a handmade, accordion-style journal made of 10 stitched booklets and 100 pages. This structure allows me to move freely between pages, layer without pressure, and return whenever something needs more time.

This page brings everything together — the creation of the book, the flip-throughs, and the evolution of my practiceas the days progress.

How I Created This Book

Before the project began, I followed an idea that came to me — to build a handmade artist book that could hold the entire journey.

This mixed media accordion journal was designed to support how I naturally work: moving between pages, letting layers dry, and building slowly over time. It’s not just a format — it’s a structure that removes pressure and makes it easier to show up every day.

Days 1–20: Beginning the Practice

The first 20 days were about settling into the rhythm.

There was no pressure to finish. No expectation to create something “good.” Just a quiet commitment to show up and begin.

During this phase, I focused on mark-making, building backgrounds, and letting go of perfection. The pages are layered, experimental, and sometimes unresolved — and that’s exactly what this phase needed to be.

Days 21–40: Letting Go and Trusting More

Somewhere in this phase, something shifted.

This stopped feeling like a “challenge” and started becoming a creative daily art practice.

I began noticing my hesitation — especially the fear of covering layers. That moment of “what if I ruin this?” came up often. But slowly, I started moving through it.

When something didn’t work, I didn’t stop. I added layers. I added clusters. I covered it and let it become a background.

That shift reduced fear significantly. It made the process feel more open, more forgiving, and far more intuitive.

Creating Covers: Days 51–100

Once the first half of the book was complete, I began working on the second side — creating the cover pages for the remaining sections.

This phase was rooted in collage, layering, and working with fragments. I used small pieces — paper, fabric, textures — to build compositions intuitively.

This process connects deeply with my approach of using what already exists and allowing it to transform. It’s less about planning and more about responding to what’s in front of me.

Days 41–60: Moving With More Ease

By this phase, something begins to settle.

The act of showing up is no longer a question — it becomes part of the day. This is where the 100 day project shifts from effort into rhythm.

There is less resistance, fewer pauses, and more natural movement across the page. I notice that I’m not overthinking each step anymore. I begin, I respond, and I continue.

The fear of covering things up is still there at times, but it doesn’t stop me the way it did before. I’ve started trusting that every layer has a role — even if it disappears later.

And that trust changes how I work.

Days 61–80: Letting the Process Lead

Somewhere in this phase, control loosens even further.

I’m no longer trying to guide the page toward a specific outcome. Instead, I’m allowing the process to lead. This is where intuitive art journal practice feels fully embodied.

There is more play. More risk. More willingness to try something without knowing where it will go.

If something doesn’t work, I don’t hold onto it. I add to it. I cover it. I shift it. The page is no longer something to “protect” — it becomes something to respond to.

And that makes the experience lighter.