Friday, July 27, 2018

...from an acorn a mighty oak grows

Members of the Boulder City Consulting Board and other officials standing in a section of pipe over the Hoover Dam, 1935
If you ever find yourself traveling by boat along New York City’s East River, stand out on deck as you pass under the Manhattan Bridge. For a fleeting moment, as you look up, you can glimpse the underbelly of the great landmark. From here, it takes on a new dimension: vast beams of steel cross and overlap, appearing like a metal runway stretching across the sky. But as soon as you emerge from its shadow, it reverts to its usual form, an elegant suspension bridge amid the city’s towering skyline.

It isn’t always possible to find an unusual perspective on famous landmarks, but photos taken during their construction can often provide one. In black-and-white or grainy color, they’re filled with promise but not yet substance—scaffolding around a skyscraper skeleton, pieces of a sculpture in a workshop, the foot of a tower reaching into nothing.
A photograph by Louis-Émile Durandelle of the construction
 of the Eiffel Tower, taken in January 1888. 
In this photo, the tower is reaching its first level; it was completed on March 31, 1889
The construction of great landmarks is often thought of in terms of statistics—how high, how big, how wide—or hyperbole: the tallest, the longest, the most amount of concrete. But there’s always more to the story than just figures. Many landmarks are built under clouds of controversy. In February 1887, just after construction began on the Eiffel Tower, a group of artists and writers published a letter in Le Temps newspaper, “Protest Against the Tower of Monsieur Eiffel,” proclaiming their distaste for what they called a “stupefying folly.” A more humorously cutting criticism came from the French writer Léon Bloy, who called the tower a “truly tragic street lamp.”

There’s also often a human cost. At the time that some of these landmarks were built, safety standards could be lackluster. Workers on the Sydney Harbor Bridge would frequently hitch a ride up onto the structure with the crane hook, which was known as “riding the hook.” In fact, there were often no harnesses or handrails. During the nearly 9 years it took to build, 16 men lost their lives.

Hong Kong’s Bank of China building under construction, 1988. 
Not all landmarks need to be visible, monumental structures. The London Underground is an icon, yet it hides underneath the city’s more prominent, and often more ancient, landmarks, its presence only betrayed by the instantly recognizable red and blue logo that pops out from entrances and exits. A photo of its construction shows a team of workers, standing on piles of rubble, forging a tunnel through the earth. And some landmarks are considerably more recent: it’s hard to picture Hong Kong’s vista of skyscrapers without the Bank of China tower, which opened in 1990.

Once completed, landmarks dominate a landscape, but as these photos show, it can be even more interesting to see present-day icons when they were still taking shape.
Edward Seale’s 1930 photograph of the Sydney Harbor Bridge under construction.
Excavating for the London Underground, Great Northern and City Railway, London, c. 1903.
Christ the Redeemer statue under scaffolding prior to its unveiling, Rio de Janeiro, 1931.

 Manhattan Bridge, March 23, 1909.

Jakarta’s National Monument under construction, 1963
An 1844 photograph by William Henry Fox Talbot of Nelson’s Column under construction in Trafalgar Square, London.
Work on the Sydney Opera House, 1966.

The beginnings of the Golden Gate Bridge, 1934.

Be sure to check out all the others participating on Beverly's Pink Saturday today!

Now, go make something beautiful!
¸.•´¸.•*´¨) ¸.•*´¨)
(¸.•´ (¸.•´? Tristan

Saturday, July 21, 2018

...a Niagra of Curls!

Ever heard of the famous seven Sutherland Sisters and their “Niagara of Curls”? Why were the seven Sutherland sisters such a popular attraction for the Barnum and Bailey Circus? It wasn't for their singing, it was for their tresses - a collective total of 36 1/2 feet of hair.
 From the left: Sarah, Naomi, their father Fletcher, Grace, Victoria, Dora, Mary, and Isabella.
 The Sutherland sisters were born into extreme poverty between the years 1845 and 1862 in Cambria, New York.
As a means of pulling his family out of poverty, their father, Reverend Fletcher Sutherland, tried to get them into theatres as singers. But it wasn't their parlor songs and ballads that gained them fame, it was their hair. The grand finale of their act was when they turned their backs to the audience and their father shouted: "Let down your hair."
 But how did their hair come to grow so long, the public wondered? A rumor circulated stating that their mother had applied some form of concoction to enhance the growth.
Whether that was true or not, their father soon created a special tonic made from 56% witch-hazel water, 44% rum, salt, magnesium, and hydrochloric acid, and marketed it. With the seven sisters used a proof the product works, and the fact that their father was a respected preacher, the product was highly successful and the family suddenly found themselves comfortable wealthy. From tonics, the company expanded into numerous other lotions and cosmetics.
Grace Sutherland (1854-1946).
Tenor and piano accompanist.
The fourth sister, Grace, lived the longest and ran the family business.
Grace had a 5 to 6-long, auburn mane.
She was considered to be chatty and a great communicator with a sly smile. 
She managed most of the sisters business and personal correspondence.
Grace was committed to the Erie County Home
 on December 14, 1945 where she died on January 13, 1946, unmarried and destitute at age 92. 
There was no room for her in the Castlemaine mausoleum 
(where her sisters were buried) so she was
 buried in an unmarked grave
 in Glenwood Cemetery, Lockport, Niagara Co., New York. 
 Naomi Sutherland (1858-1893).
Bass vocalist.
Naomi, the fifth sister, had the thickest hair, which could envelop her whole body. 
She had three children with Harry Bailey.
Naomi was the "busty one" and known for her 5 and 1/2 feet long, thick curly hair. 
She had the same sly smile as sister Grace and a Roman nose.
She was one the most distinctively talented female singers
 of the turn of the century, with a deep bass voice 
"that brought the men to their knees," a newspaper noted.
As the Sutherland business prospered, Naomi and Grace 
proved to be among the family's best saleswomen, 
as in touch with the desires of their parlor clientele as they were with
 the demands of their big concert audiences. 
Naomi was the most loyal and matronly of the seven.
She married showman Harry Bailey (born Joseph Henry), 
a relative of circus magnate James A. Bailey, in March of 1885.
 Their son Henry was born in October 1885, 
followed by Fletcher in 1887 and Isabelle (Naomi) in 1890. 
Naomi seemed made for motherhood and almost too good for this world. 
She died at home in 1893 at the age of 35, after a short illness. 
Naomi's husband founded the Sutherland Sisters Corporation 
and applied for the company’s first trademark in 1883, 
for the Seven Sutherland Sisters Hair Grower.
Isabella Sutherland (1852-1914)
High soprano.
Isabella, the third sister, had dark eyes like her younger brother,
 the baritone Charles Sutherland. 
Apart from her 6-foot-long flowing, frizzy black hair 
she did not resemble her sisters. Some believe she is actually a first cousin. 
She had thin facial features and a lean body 
with disappearing lips and a worried brow.
Isabella was also a poet and dreamer who tragically 
lost heart and her faith. 
She had a tendency to cling to untamable men.
Nonetheless when Frederick Castlemaine, a French nobleman 
came around to court younger sister Dora, he ended up marrying Isabella, 
who was more than 10 years his senior.
Isabella married twice in her life and ultimately 
betrayed her sisters at the height of Sutherland prosperity.
She died at age 62.

Sarah Sutherland (1845-1919).
High soprano.
Sarah was the first sister.
She managed the group's singing and dancing acts in
the various theatres and was the President of their company.
Sarah had the shortest hair of the sisters at only 3 feet long, 
but it was thick and wavy. When the sisters posed for photo shoots, 
Sarah would sit and others would bend their waists so 
that it seemed that all seven had hair that brushed the ground. 
A leather-covered Bible was always with Sarah and she 
used her talents as a high solo soprano
 and pianist to become a revered music teacher.
Sarah never married and when she died in 1919, aged 74,
her family kept her body on display in the home, 
and resisted burying her until forced to by local authorities.

Mary Sutherland (1862-1939).
Mary, the seventh sister, 
suffered from mental problems her entire life.
Her smoky moon face, deep eyes and full lips were remarkable, 
but the family felt, Mary was sometimes best understood
 from a distance—her stage talent was fleeting,
 singing unreliable, and numerous tantrums baffling.
She had 6-foot-long hair, was thought to be mentally ill 
(possibly bi-polar) and would have "spells" during which 
she was locked in her bedroom. Her behavior was a
 closely-guarded secret, as long, heavy hair was thought by 
some to "rob the brain of nourishment" and lead 
to insanity (not great for marketing the hair tonic).
She ended up being committed to Buffalo State 
Asylum for the Insane, where she died in 1939.

Dora Sutherland (1858-1919)
Dora, the sixth sister, was always referred to as "the cute one"
in her Broadway and circus days. She maintained 4 1/2 to 6 foot-
long hair over the years. Her face was considered dreamy, like
a nineteenth century pin-up, with a turned up nose and a 
sentimental pout that could melt any heart.
Dora was an alto in the group's singing act. She had a sharp mind
that helped her succeed as an incorrigible flirt and, later, to set
herself apart as a smart businesswoman as an entrepreneur in 
the Canadian territories.
She was hit and killed by a car while crossing the street
in Los Angeles, aged 61 years.

Victorian Sutherland (1849-1902)
Victoria, the second of the girls, had the longest hair of them
all, a full seven long from the top of her head to the ends.
When she let it down, it would drag on the ground behind her.
One fan offered Victorian $2500 to cut off all her hair
but she refused. But she did sell one strand of hair to a jeweler
for $25. The jeweler then suspended a seven carat diamond from
it and hung it in his shop window.
Victoria was always considered a beauty. In 1989, she married
Wesley Craw, a 19 year old when she was 49. Her sisters
were outraged and kicked her out of the family mansion.
She was ostracized from them for the rest of her short life.
She passed away in New York City 
in her home in 1902 at age 53.

Not surprisingly, the meteoric rise to fame and riches made a deep impact on the family, which grew increasingly eccentric as the once-impoverished sisters reveled in their lavish wealth. In 1893, the seven, now world-famous, returned home determined to live together, erecting a tremendous mansion in rural Cambria, New York, where their family’s log cabin once stood. The 14-room dream home—which also became the headquarters of their business—looked something like a princess’s castle with a turret, cupola, and veranda. Inside, the family and their guests luxuriated with all-hardwood floors under their feet, heavy crystal chandeliers overhead, and black walnut woodwork all around them.

The opulent estate featured the first indoor bathroom in Cambria, a marble beauty with hot and cold running water, as well as beds imported from Europe. Even the servants had posh, well-appointed rooms in the attic.
Writing in the April 1982 edition of Yankee magazine, Dianne L. Sammarco and Kathleen L. Rounds explain that “Pets were treated like royalty, with winter and summer wardrobes, and grand funerals and obituaries in the local newspapers. The carriage horses were shod in gold. The sisters sponsored many a gala social for the neighbors, often including fireworks.” To maintain their impressive running-water system, a servant had to fill a tank in the attic with water every day.
Using loose strands that came out when their hair was brushed, the sisters had seven 3-feet-tall mannequin dolls made in their image, according to Long Hair Lovers Blog. Dressed in the best Victorian fineries, the dolls would be sent to stores to advertise Seven Sutherland Sisters products in the store windows, but were always returned to the manse, in the charge of the women’s seven personal maids, who were also paid to comb and detangle the sisters’ flowing locks every night.

An American drugstore advertising the 
hair products of the 7 Sutherland sisters, 1889.

Even though they were raking in millions at the turn of the century, the women’s spending on such extravagances—servants, clothes, fine jewelry, seconds homes, globe-trotting, booze, and lovers—was out of control. Outwardly, they maintained the appearances of proper, educated Christians, but behind closed doors, they engaged in love triangles, in-fighting, drug use, and bad financial investments. Their antics and wild, over-the-top parties were the talk of Niagara County, as people speculated about whether they were polyamorous or practicing spiritualism or witchcraft.

The final death knell to the Sutherlands’ prosperity came in the 1910s: Rebellious young women, known as flappers, started to chop their hair into startlingly short bobs. As the trend grew more mainstream, the appeal of the Seven Sutherland Sisters Hair Grower plunged. Isabella died in 1914, and the family fortune was slipping away fast. The last three women headed to Los Angeles in 1919 in a desperate attempt to pitch their story to Hollywood, but they deal went sour and Dora was killed in a car crash during their trip. Mary and Grace were so broke at that point, they didn’t even have the money to get her cremated, so they never claimed her remains.

By 1920, these two were the only living sisters, and they attempted to keep their “hair fertilizer” business alive in an era that no longer loved ridiculously long locks. Hardly able to buy food, they had to abandon their mansion in 1931. Great Jazz Age cartoonist John Held, Jr., gently mocked them as “Dream Girls of a Dim Decade.”
By 1936, the Seven Sutherland Sisters went out of business for good. The empty estate caught on fire and burned to the ground on January 24, 1938, and endless numbers of Seven Sutherland Sisters documents—including, possibly, the patent tonic recipes—and artifacts went up in smoke. Mary ended up committed to Buffalo State Asylum for the Insane, where she died in 1939. Grace died destitute at age 92 in 1946, and as there was no room for her in the Castlemaine mausoleum, she was buried in an unmarked grave.
And so the seven headline-stealing wonders of the Victorian era faded into obscurity. Perhaps we can rest assured that some of today's pop princesses and their twerking shenanigans will disappear deep into the pages of pop-culture history in much the same way. One can always hope.

Be sure to check out the other participants today at Beverly's Pink Saturday Blog Hop!

Now, go make something beautiful!
¸.•´¸.•*´¨) ¸.•*´¨)
(¸.•´ (¸.•´? Tristan

 Giving the guys their fair share of time.
Meet the House of David Baseball Team, 1902.
Famous for their athletic prowess, muscular bodies, handsome
faces and long, luxurious hair, these fellows were the Victorian
summertime stars of their day!
More about them in another post!

Friday, July 13, 2018

The Slightly Warped Apple Pie America of Nina Leen ...

These photos show an idealized vision of midcentury America… with a subtle hint of weirdness.
Nina Leen's work was some of the best - and least remembered
of Life's celebrated photographers 
 Beauty school, 1940s. (Nina Leen/The Life Picture Collection/Getty Images)
Not much is known about Nina Leen, the Russian-born Life photographer who moved to New York in 1939 and proceeded to spend the next four decades making some of the best — and least remembered — images the magazine ever printed. Leen was one of Life’s first female photographers when she was hired in 1945, and from the beginning her work was magazine clean — direct, well lit, and meticulous. Leen’s democratic eye conveyed an impressively diverse cast of subjects over her career, from fashion and youth culture to architecture, celebrity portraiture, and, in the end, a voluminous run of animal books with titles like Dogs of All Sizes and The World of Bats. She shot the infamous group portrait of Mark Rothko, Jackson Pollock, Hedda Sterne, and the rest of the Irascible 18 — a group of rebel Abstract Expressionists who boycotted the Metropolitan Museum of Art’s American Painting Today competition in 1950. In June 1953, her photo essay “Consider the Lowly Penny” explicated in granular detail the indispensable role of currency’s lowest denominator. 

Overall, Leen’s focus was on American domesticity. She didn’t chase news stories or produce immersive social documentary, like her co-worker Gene Smith, yet her images speak volumes about the aspirations and priorities of the postwar mainstream (white) culture. It also centers women as empowered protagonists, emphasizing the distinct traits and desires of American teens, mothers, and busy professionals navigating the optimism and possibilities of a booming economy. Like much of Life, Leen’s pictures set the mold for an idealized vision of midcentury America. Houses, homemakers, beauty, and appliances. The promise of a better life through convenience.
 Photographer Nina Leen at work. (Life photo archive hosted by Google)
Still, there was an oddness about her eye. Perhaps owing to her status as an outsider, Leen’s pictures often reveal more complex undercurrents than a popular magazine like Life would have been able to convey. Like her disconcerting series on the Young Women’s Republican Club of Milford, Connecticut, or the story she shot in January 1948 about indoor sunbathers in Atlantic City. Leen’s work can be interpreted in multiple ways, but implicit throughout is a critique of consumerism and privilege. Her portraits of art school college students are a wry commentary on ambition and creativity in a culture of conformity.

When Nina Leen passed away in early 1995, her New York Times obituary noted that the photographer was “secretive about her age” but was “believed to be in her late 70’s or early 80's” at the time of death. A mention of her Abstract Expressionist shoot, having overcome a fear of animals in order to photograph them, and her marriage to fashion photographer Serge Balkin, rounded out the obit, succinctly titled “Nina Leen Is Dead; A Photographer.” 
 Teenage couple at the movies, 1944. (Nina Leen/The Life Picture Collection/Getty Images)
Sleeping man with Hedy Lamarr pillow, 1947. (Nina Leen/The Life Picture Collection/Getty Images)
 Model Norma Richter from a story about photographic fabrics, 1947. 
(Photo By Nina Leen/The Life Images Collection/Getty Images)
 Members of the Young Women’s Republican Club of 
Milford, Connecticut, play poker and smoke, 1960. 
(Nina Leen/The Life Premium Collection/Getty Images)
 From a 1947 story, “American Woman’s Dilemma,” 
about women balancing work and family. 
(Nina Leen/Time Life Pictures/Getty Images)
Brazilian musician Bernardo Segall giving 
wife Valerie Bettis an ice cube treatment, 1948.
(Nina Leen/The Life Picture Collection/Getty Images) 
 Built-in toaster in a “kitchen-of-tomorrow” exhibit, 1943.
(Nina Leen/The Life Picture Collection/Getty Images)
Two members of the Pamper Club—a Manhattan salon and social club 
catering to working girls and suburban housewives—
resting on contour chairs in 1952. 
(Nina Leen/The Life Picture Collection/Getty Images)
From a story about sunlamps at the Senator Hotel 
in Atlantic City, January 1948.
(Life photo archive hosted by Google)
Art school reportage for Life Magazine. (Life photo archive hosted by Google)
A woman samples different shades of lipstick on a 
strip of paper at Stephens College in Columbia, Missouri, 1945. 
(Nina Leen/The Life Picture Collection/Getty Images)
A woman irons while watching T.V., 1952. 
(Nina Leen/The Life Picture Collection/Getty Images)
Family watching the phone, 1948. 
(Nina Leen/The Life Picture Collection/Getty Images)

Be sure to check out all the other participants in this week's Beverly's Pink Saturday blog hop!

Now you go make something beautiful!
¸.•´¸.•*´¨) ¸.•*´¨)
(¸.•´ (¸.•´? Tristan
It's kinda hard to tell which this boardwalk hunk is enjoying more - 
the admiring glances of the bathing beauties or his own!

Wednesday, July 4, 2018

Making a Tall Tag Holder ...

Making a Romantic Vintage Style Tag Album with 
Graphic 45 Floral Shoppe and Alpha Stamps Tall Tag Folder!

When I got the supply box from Alpha Stamps with the materials to create a mini album from the terrific Tall Tag Folders, I was excited to see all the fun things I was going to be working (well, it was really like playing!) with!
 Beautiful papers, including the Graphic 45 Floral Shoppe collection, several styles German scrap images and borders, silk ribbons, tag blanks, miniature paper flowers, small metal pressing embellishments, delightful collage sheets, and - of course! - the requisite Tall Tag Holders!
The tags I made were only decorated on the front, so that the backs could be used to mount photos
or favorite poems, journaling notes, travel memories - or a combination of all three.

Remember! Just like always on Enchanted Revelries, if you want to get a closer look at a photo, just click it and you will be whisked to a larger version!
Another set of tags had vintage floral collage on the front with inked and collaged text borders. The backs have black and white collage sheet cuttings which will make lovely backgrounds for more photos or some special souvenirs or memories to keep in the album.
 These tags fit perfectly inside the Tall Tag Folder! Keeping the embellishments fairly slim and shallow allows the album to close completely.
So, you want to make one of your own? (Or maybe three or four? They are a charming gift idea! and the holidays are going to be here sooner than you expect!)

Alpha Stamps Tall Tag Folder Mini Album Tutorial 
I am going to show you how to make a mini-album using four Tall Tag Folders. If you would like to make one larger or smaller, using more or less Tall Tag Folders, you will only have to adjust the size of your hinge and your spine. Everything else would stay the same.
First, we're going to prepare the Tall Tag Folders. 
Fold on the pre-scored lines of each folder and glue with a spare bead of glue. In order to keep the edges perfectly square, I used some small binder clips to hold in place while drying. Then burnish well on every fold (if you don't have a bone folder, the back of a spoon will work for this!). Now is also the time you will want to ink the edges of your folder (I used a dark bark color on mine). This inking will define the edges of your pages, as well as add distressed age and character). You will want to ink on both the inside AND the outside of the folders! 
Put these aside to dry for a few minutes while we start on the album basic construction.
Next, we are going to create the hinge system which the pages will be attached to (in this case, the Tall Tag Folders are going to become our pages). 
Take one piece of the Floral Shop paper cut to 5 5/8" x 7".
Place paper with 5 5/8" side facing top and bottom - the 7" side is going sideways.
Score 5/8" at one end of the 5 5/8" side - then make 11 scores at every 1/2". This is best achieved by using a regular paper scoring board. If you don't have one, turn your paper over, draw lines with pencil at the instructed measurements, and then using a ruler, trace indentures GENTLY with a crisp metal straight edge, being careful not to cut through the paper.
Now you will start with the first 1/2" and apply adhesive, fold at the top and adhere down to the second 1/2" space. That is your first hinge! Skip the next 1/2" space (this is the gusset between your pages). Now repeat with the next two 1/2" spaces and continue on, always leaving the 1/2" space between the hinges. 
Clip the ends of the hinges at an angle approximately 1/4" from bottom of fold and over approximately 1/2"-3/4" from top. These angles will make it much (much!) easier to slip the pages over the hinges!

Set this aside with the Tag Folders while we make the cover!
Of medium weight chipboard, cut 
two covers at 3 5/8" x 6 1/2". 
Cut one spine at 6 1/2" x 2 1/2".

Of Tyvek, cut
two hinges 2" x 6 3/8".
Score and fold in half.
Apply Scor-tape to both inside halves of each hinge.
(You can use the Tyvek that is used in post office mailing envelopes if your office supply store doesn't stock it.)
 Lay out your cover pieces and spine leaving 3/8" between them. Adhere your hinges centered (the crease in the middle of the 3/8" space) and connecting each cover to the spine. Gently, fold the covers back and forth until the hinges are loose and fold evenly. Do not force them quickly, as you can tear the hinge.
Cut one piece of heavy cardstock 6 1/2" x 8". First adhere the center of the paper to the spine of the cover. Fold one of the covers closed, gently wrap the paper around the fold, and adhere the paper to the cover. Repeat for the second cover. If  your paper is too stiff and you can tell it's going to tear when you wrap it, you can lightly spritz it with water to moisten it to aid the bending. Be sure to let dry in place before gluing down to ensure a good 'stick.' After the paper is adhered, gently open the cover up and lay flat. There will be some buckling in the spaces left on either side of the spine. Run your two thumb nails along side each side of this buckle and crease into a little 'mountain.'
If you want to attach tassels or beads or any kind of charms to the outside spine of your album, now you will need to attach the hanging mechanism. First cut a piece of paper 6 3/8" x 2 3/8" and adhere to the spine of the outside spine.
I used a filigree metal pressing and a Tim Holtz Ring Fastener.  Pierce a hole in the spine where you would like your hook or fastener to be inserted. The prongs on the fastener go through the metal pressing and then opened on the inside of the spine and pressed flat with a hard object.
Turn your cover over. Cut a piece of the Floral Shop paper 6 1/2" x 2 1/2" and adhere to the inside spine, covering the prongs from the fastener ring. Run a piece of 1/4" Scor-Tape into the 3/8" space along side the spine. You will want this piece of paper to match the pattern you used for your hinge.

Now apply Scor-Tape to the ENTIRE back of your hinge system. This is what will hold all your pages into your album, so don't try to skimp on the adhesive! We want it strong. Remove the Scor-Tape from the spaces on either side of the spine. Center the hinge on the spine, with 1/2" left on the top and bottom (see red arrows in photo). The edges of the hinge will go into the space between the spine and the covers and onto the covers. Using bone folder (or a smooth paint brush handle) ease the hinge paper into the spaces beside the spine, and onto the cover. (The white arrows in the photo show the paper eased and smoothed into the spaces on either side of the spine.)

Cut two pieces of Floral Shop Paper 6 1/2" x 3 1/2". Adhere right next to hinge onto covers. Trim the small piece of extra off the edge of each cover. Ink each inside cover on the edges.

Cut two pieces of heavy cardstock 4 3/8" x 3". Score on 3 sides at 1/2". Fold and trim corners as shown.

Fold on the lines. Cut two pieces of Floral shop paper 3 3/8" x 2 1/2" and adhere to the centers of the pocket. Ink the edges of the pocket. Adhere Score-Tape to the back of the flaps and attach to the inside bottom of each cover.

 This completes the album cover and hidden hinge system! All we have to is put in the pages and fill up our album!
 Take one piece of Floral Shop paper and cut to 5 3/4" x 2 3/4" - taking a 1" paper punch, punch a half circle in the center of one long edge. Take another piece of Floral shop paper and cut to 5 3/4" x 1 1/4". Ink the edges of both papers.
Adhere the smaller piece of paper to the OUTER edge of the tag folder exterior. Then place Scor-Tape on the short edges only (see yellow arrows in photo below) and adhere to the INNER edge (fold) of the tag folder exterior. Use photo below for easy placing reference.
Repeat 7 more times (one for each exterior tag folder side). NOTE: The placement of the 1/2" circle is opposite on every other side! This will be necessary to allow your pockets to function!
 Now, put glue just inside the fold side edge of the outside paper. (There is a pocket created between the paper and the tag folder. Slip the pocket over the hinge, leaving approx. 1/4" at the bottom of the hinge. Press firmly and allow to dry. Repeat for all four folders, creating eight pages on four hinges (or 'signatures'). The photo below shows all the pages inserted and also shows the half-circle punch mirror imaged
Now measure the inside of your Tag Folders and cut Floral shop papers to size and ink the edges. I used a combination of the papers listed in the supply list and the Floral Shop paper pad papers.
Your construction is complete!
There are two more things to do. You can choose which order to them in. I made all my tags first, and because I embellished them so heavily, I was able to let them dry well while I was decorating the covers of my album.
If you want to decorate your cover now and save your tags for another day, that's up to you!
 The tags for the inside of the folders I made with the large manila tags. I used gold foil on the edges of all the tags, decorated with a combination of the papers and collage sheets listed in the supply list, as well as German scrap images and borders, Liquid Pearls, Stickles, miniature paper flowers, silk ribbon from Alpha Stamps and some silk grosgrain from my stash for the eyelet holes.
 The tags for the outside pockets of the folders were created with the smaller manila tags ... I had to trim them down so they would fit into the openings we created from the paper to attach the hinges. I made them all the same, using the images from a collage sheet and bordered them with watered distress ink on text stamped paper. The reverse sides are all covered with pieces of paper cut from the collage sheet.
Setting those aside to dry thoroughly, I decorated the front and back covers with papers from the Floral Shop collection, an image from the collage sheet , miniature paper flowers, silk ribbon, a chipboard embellishment from the Floral Shop collection and a doily I die-cut from a piece of the Floral Shop Paper.

The back cover has a piece of the Floral Shop paper and I strung several color matching beads with assorted findings and pressings along with pink silk ribbon on the spine.

And it's completed!

I certainly hope you'll try to make one (or more) for yourself and perhaps a friend or two! Please leave a comment and let me know you visited. And! If you make your own version of the Tall Tag Folder album, be sure to come back and leave a link to where I can see a photo of it - I would love to see what you've created!

The supply list for everything used in my album from Alpha Stamps is below. The only things that were from my own stash are the spine beads, the black cardstock, the large silk grosgrain ribbon on the tops of the tags and the Tim Holtz Ring Fastener. All other papers, ribbons, flowers, embellishments and supplies are from Alpha Stamps!

Thanks for visiting - now go make something beautiful!

¸.•´¸.•*´¨) ¸.•*´¨)
(¸.•´ (¸.•´? Tristan
Alpha Stamps Tall Tag Holder Mini Album
Supply List

I'm Entering this Album in the
Mini Album Maker's Challenge
Click the link to see other entries!