A Bookbinding Glossary... condensed for dabbling

I figured that it was a good idea to list-off some paper and bookbinding terms, as this seems to be one of my favorite subjects for projects/procrastination.

The 'glossary' below is the term list that I would give to my bookbinding students to bind up in a pamphlet as their first project and to keep as a resource.  It is by no means exhaustive, but it is a good starting point.  These terms are geared towards the projects that they were doing, which offers some explanation for the eccentric smattering of themes.

It is in alphabetic order (seemed like a reasonable idea at the time) and I have thrown in a picture or two of past binding projects, just to break up the monotony.  There are links for more in-depth reading, instructions, and supplies at the bottom... in case some insatiable passion for book-craftery has been awakened.

Hope it is helpful:

Accordion book: any form of book that incorporates an accordion fold in its interior construction.

Artist book: a book that has been designed and constructed to demonstrate the skill and unique vision of the bookmaker using noncommercial materials and methods.

Awl: also known as a pin tool or a probe and it can come in a variety of sizes.  This is used for making the sewing holes in the paper and other materials.

Barrel stitch: a type of running stitch used without tapes or chords that is used to bind up the text block.

Board sheers: a paper cutter that can come in a wide variety of shapes and sizes that is made up of a flat cutting table and a blade that is pulled down and pivoted on a hinge.  This is generally used for thicker things, like book board, but only one sheet at a time.

Bone folder:  a carved bone stick that can come in a variety of shapes and sizes used to aid in folding, burnishing, and smoothing.

Book cloth: any type of cloth traditionally used in cover construction.  The cloth is either backed with paper or starch which keeps the glue or paste from seeping through to the finished side.

Book board: the modern material used for covers and boxes to house text blocks and books.  It can come in many thicknesses and it is made of many layers of paper.  Book board is currently made of paper but it used to be made of pulped rope and the earliest book ‘board’ was wooden panels.

Brass folder: like the bone folder, but made of brass.  It is only for use with leather or tougher materials.  Not for paper use since it is more likely to leave marks.

Chain Lines: (see Handmade paper and Laid Lines) paper can be made in a frame by hand.  A mesh that catches the paper fiber is supported by chains.  These chains tend to run against the grain direction in the paper and run along the shortest dimension of the paper sheet.

Chord: a thin twisted rope made from plant fiber which the text block is sewn onto.

Codex: 1st century AD Romans developed the first Western books (not scrolls) with pages and boards.  These books used heavy wooden boards as covers and these books were called ‘codices’ after the Latin for ‘trunks of trees’.

Colophon: the written information concerning authorship and construction in an artist book.  This information includes the maker, the press, the date, the construction materials, the fonts used, edition number, a dedication, and any other relevant information.

Coptic stitch: a method of sewing the text block together developed by the Copts.  The Coptic stitch is generally used for exposed bindings.

Deckle: is the frame that handmade paper is made on. The feathered, thin edge of handmade papers occurs because of the deckle and so it is called a deckle edge (often deckle for short).  This edge can also be artificially made by tearing and distressing the edge of a piece of paper.

End sheets: the spreads at the end and beginning of the book comprising the fly leaves and paste downs.

Exposed bind: is a binding where the spine is not covered by cloth, leather, or some other material.  Instead the stitching that holds the text block together and the back of the text block are visible.

Fly leaf: is both the first and last page in a book.  It is generally a decorative paper and it is used to protect the pages in the text block.

French fold: a binding method where the folded spreads that make up the text block are not held together by stitching or glue in the spine, but rather they are glued together, two spreads at a time at the front edge at the book.

Full cloth: a binding where the cover is fully covered with cloth.

Full leather: a binding where the cover is fully covered with leather.

Grain: the direction that the fibers in a paper line up along.  A paper naturally tears and expands along this axis and so the grain of the paper should always be kept parallel to the spine.

Guillotine: a paper cutter where the blade comes down and cuts material on a flat bed.  Many papers and materials can be cut at once so a guillotine is an essential tool for straitening up edges after sewing the text block or gluing together a perfect bind.

Handmade paper: is any paper that is made in small batches, one sheet at a time on frames instead of in large batches of one continuous sheet in factories.  Even if the paper is machine made, it is still cut down to a size similar to a handmade sheet.  Traditionally, one sheet is called a ‘folio’ (and when it is folded down it is still a folio, but in folded form it is a signature). When the folio is folded once, this pamphlet is called a ‘quarto’ because there are four pages that are created.  When the folio is folded twice it is called an ‘octavo’ and when it is folded three times it is called a ‘sixteen-mo’.  Occasionally, paper will be made much larger than the normal size range and then folded down; in these instances there are a wide variety of names, such as ‘elephant’ or ‘emperor’ folios.

Headband: a protective and decorative chord or band at the top of the text block at the spine of the book.  A headband can be made by wrapping silk thread around a chord and sewing it into the top of the text block, or it can be added as a pre-made tape, cut down to size, and glued down on the text block.

Hollow: the flattened paper tube that is glued in the spine, in-between the text block and the cover.  The hollow allows a book to open flat with both covers resting on a flat surface.  It also reduces stress on the book while it is open, so it adds to the life of a binding.

Laid lines: the ridges and valleys running horizontally across a sheet of handmade paper that has been made in a chain-supported frame (see Chain lines).

Leaf: the back and front of a single page in a book.

Leather: the tanned skin of an animal used as a cover material.  The most common leathers used are calf, pig, and goat.  Before a leather hide can be used in book binding in needs to be pared down, which is essentially scraping of the back fibers of the leather to make it thinner and easier to bind with.

Medieval bind: codices with panel covers, pages of vellum, sown onto chords that are then laced into the covers, with metal clasps and locks to keep the book together, and the spine is flat on books prior to the 15^th century and afterwards they took on a rounded shape.

Modern bind: books with paper pages, book board covers, and sown onto tapes.  There are some variations in the form but all of these elements are normally in a contemporary hardcover binding.

Mull: also called ‘Super’ or ‘Tartan’, this is a fine mesh fabric made from cotton or linen used to reinforce and strengthen the spine.  Mull is sometimes used as a replacement for sewing onto tapes.  Still, the strongest binding uses both tapes and mull.

Needle: like a normal sewing needle, but thicker and with a smaller eye proportional to size than a quilting needle.

Pamphlet: a simple sown binding that generally incorporates one folio and a cover paper.

Paper weight: measured in several different ways.  More commercial papers will give you poundage, which is telling you the weight of the parent sheet of paper.  Unfortunately, there is no standardization in parent sheet size across the industry, so this measurement is generally meaningless.  Commercial paper is also called either ‘text’ or ‘cover,’ ‘text’ always being the lighter weight and ‘cover’ always being the heavier.  Paper can also be measured in ‘GSM’ which stands for grams per square meter.  This is the only accurate was to measure and compare paper weights but only more expensive and high quality paper is marketed with this information.

Parent sheet: the larger sheet of paper that smaller sheets are cut down from before they are sold commercially.

Paste down: the recto side of the fly leaf spread which is glued down onto the cover.

Perfect bind: a binding of a single stack of loose sheets that is glued at the spine and has a soft cover.  This is most commonly seen as a trade paperback.

Post binding: a stack of single sheets held together between boards by metal, removable posts.

Post hole puncher: a mechanical puncher used to make clean holes in thick materials (like book board) for post binding or stab binding.

PVA glue: poly vinyl acetate.  The glue used in bookbinding because it is archival (meaning non acidic and not going to become acidic over time), dries clear, flexible, water soluble before drying, and heat activated after drying.

Quarter cloth: a binding where the cover is a quarter covered by cloth.  The cloth will extend a quarter of the front cover, go around the spine, and then extend a quarter of the back cover.  The rest of the cover will generally be covered with paper.

Quarter leather: a binding where the cover is a quarter covered by leather.  The leather will extend a quarter of the front cover, go around the spine, and then extend a quarter of the back cover.  The rest of the cover will be either paper or cloth.

Recto: the right facing leaf in a spread.

Scorer: a tool made of bone similar to a bone folder but slimmer; it comes to a sharper point, it is normally curved, and it is used for scoring papers to make folding easier.

Signature: or ‘gathering’ is a folded down folio which is then ready for sewn binding.

Sizing: a substance added to paper (a starch or glue) while it is being made that makes it stiffer and gives the paper a finer surface for drawing and printmaking.  Unfortunately, sizing discolors with age and in the sunlight but it can be washed out.  Sizing is normally washed out of paper before it is used for watercolor since it will make the paper warp irregularly with uneven water applications.

Spatula: a metal tool that comes in a variety of shapes and sizes used for lifting, separating, and tearing.

Spine: the back of the book which is a hinge for the covers and pages.

Spread: the two pages that you are looking at when you open up a book at any given time.

Stab binding: an exposed binding synonymous with Eastern binding where thread is elaborately and decoratively sewn through the covers and through the papers that makes up the text block as a stack.

Tape: a woven linen strip that signatures are sown onto.

Tear down: instead of cutting the paper with a blade, it is manually torn down using a ridged surface, like a ruler, as a guide.

Text block: essentially everything that goes in-between the covers.

Thread: made from linen, comes in a variety of colors and thicknesses, and it can come either waxed or un-waxed.

Tip in: to glue in a single sheet into the text block after the text block had been previously completed by sewing or gluing.

Vellum: tanned, thin, calf skin used for the covers of books (called a soft calf binding).  Vellum can also be referring to any type of tanned animal skin and when it is used as the pages in books it is often called parchment.  Because the surface of vellum is so fine and smooth, paper is often marketed as having a ‘vellum’ finish.

Verso: the left facing leaf in a spread.

Wax: beeswax is used to coat thread so that it holds knots better and protects the tread fibers in an exposed binding.  A microcrystalline wax is applied and buffed into cloth, leather, and paper to protect and seal it on covers or any surface that experiences heavy wear.

Weaver’s knot: also known as a slip knot, this is the knot used to join on segments of thread.

Wheat paste: an adhesive made by cooking wheat starch in water until it becomes a thin paste.  It is then strained and thinned with water.  Due to its perishable nature, it should be used quickly and an anti-fungal agent, such as Thymol, is incorporated into the paste during cooking.

So, how about that insatiable passion for all things book, paper, and their crafting and upkeep?

More terms and fantastic information:

i Bookbinding

Book Arts Web

Good place to buy supplies:

Talas

Making French Fold Books

Bookbinding sounds much more intimidating than it really is, especially considering how loose the definitions of 'book' and 'binding' are individually, more so when combined.

One of the easiest books to make is the French Fold.  There is no sewing necessary, it can even be done with tape instead of messing with glue and dry-times, and you can easily incorporate mixed media.  'French Fold' is in reference to the pages of the book being joined together on the outward facing fore-edges, instead of the interior edges/folds at the spine.

This is an instructional hand-out that I made for students (details below):

These instructions are for making a book from standard typing paper (8.5x11 in.), which has been folded horizontally.  I am violating one of the first rules of paper crafting here because I am literally going against the grain, paper grain that is, in my folds.  If I were doing this properly, the fold should be running vertically on the full sheets of paper.  The reasoning for this fold orientation is that it makes the spine of the book parallel to the grain direction in the paper (the normal grain direction for typing paper).  The rule of thumb is: the grain direction in paper (or material with a grain) needs to run parallel to the spine of the book.  This will allow the book to expand and contract according to varied moisture levels, both internal and environmental, without warping the book.  However, this project was for school children and the sizing above was more useful for the journals that they were making.  Their moms will love it no matter how many archival laws are being broken.

I am going to follow along with the instructions to make my own French Fold book, but I am going to make it smaller.  I am cutting my typing paper in half horizontally (so, maintaining the correct grain orientation) because I desired a smaller book.  Also, I am using double-sided tape to adhere my pages in lieu of glue (lazy, very lazy).

1. paper for your interior pages
2. paper or material for your cover
3. adhesive: double-sided tape or glue
4. straight-edge blade
5. self-healing mat
6. bone folder (to make crisp folds)
7. ruler (assist you in making straight cuts)
8. pencil (possibly, if you are inclined not to eyeball fold positions)

Step 1:

Or.... fold whatever paper you are using.  I would also use this time to cut the paper/material for the cover.  Your cover needs to have the same height (top to bottom of a page) as your page but you do not know how long your cover paper has to be until you measure the thickness of your text block (stack of folded and adhered pages).  Best to hold off a few more steps before you make that cut.

I had pre-cut the cover paper for the school students making these books, so they did not have to worry about that detail.  I have learned not to bank on children cutting straight lines.  In fact, just limit any critical scissor use.

Step 2:

I used double-sided tape.

If you accordion-out your stack, once it is adhered, it looks like this:

Step 3:

Now you can cut the length of your cover paper.  The length should be the width (side to side) of your pages, multiplied by 2 (you have a front and a back cover) add the thickness of the spine, and then add on an inch or two for good measure... in case of accidents.

Step 4:

Now, for me, I am just taping my text block to one outer edge of the cover paper and then making my folds.  Again, this is a lazy choice.  

Here is the taping of the first edge to the cover (easier if you put the tape on the cover and move the text block onto it):

The position of the first fold of the spine

Gratuitous close-up

Make the second fold to enclose the spine.  Then, I am taping down the other outer edge of the cover paper to the text block before trimming off the extra cover paper.  This is easier than the method in the hand-out, but it was not a practical option for the kids, as you really should do the trimming with a straight-edge and that seemed like a "'tis but a flesh wound" moment in the making.

Ready for the trim

Step 5 (if you weren't avoiding the giving of knives to children or being lazy):

Again, there was the other method of adhering the text block to the cover.

Now, why would you want to use French Fold?  More projects with that to follow.

Envelopes

I suspect there will be several posts on envelopes, but you gotta start somewhere.

While there are many types of envelopes, I am just going to focus on the most common choices for envelopes when you are purposely selecting/buying for an event.  Otherwise, if this is just for general use, who cares what envelope you use.  I always pick the cheapest or just send an email (normally the email because I can attach pictures of lolcats).

In the picture above there are four very different types of envelopes.  Starting in the top, right corner and working clockwise, there is a standard postage size, announcement envelope, then a standard postage size, baronial envelope, then a non-standard size, square, announcement envelope (you will be paying extra to mail), and last is a totally non-standard envelope for a gift enclosure (mail at your own risk).

Announcement envelopes are also called A-line or square flaps.  They are all this category because of their flap shape and the orientation of the flap along the length of the envelope.  When you buy nice envelopes, this is where you have the most options.  There is a little variation on how wide the flap is, but generally the flap comes down to almost half the width of the envelope.

I am very curious about why so many envelopes are square flap.  Frankly, there are other 'fancy' flap shapes and the paper quality is what makes it a nice envelope.  I do have a theory, though.  If you think about it, there is less paper used to make an envelope with a flap like this than is used to make one with a big, triangular flap.

These triangular flaps are collectively called 'v' flaps.  When it is a small 'v' that goes to the middle (or just shy of the middle) of the envelope, it is a baronial envelope (L).  When the 'v' passes the middle of the envelope and almost goes the full width of the envelope, it is called a deep-'v' envelope (R).

Generally, the deep-'v's are considered much fancier than your standard baronial.  On a practical note, you do have more room to write your return address on the flap of the deep-'v', but otherwise, it is just 'fancier' because it is more expensive... and it is more expensive because it uses more paper.

To be honest, you don't have many options when you go and buy envelopes.  When papers for printing get made into their matching envelopes, there is only one style they get made into.  Basically, if you want a deep-'v' envelope in a particular paper and there is only a pack of square flap envelopes on the shelf, you are out of luck.

While you can't pick and choose your flap style, you normally have a wide range of choices in envelope size.  Most rectangular envelopes that you see for sale are going to be standard postage (provided they aren't too big/too small or too heavy when it gets filled).  The main, non-standard postage, envelope option is the square envelope.  The reason the square is extra to mail has to do with what the post office does with its envelopes.  When the mail comes in, there is an automated process for the stamping and initial processing.  A rectangular envelope has a clear orientation on it's top/bottom and sides whereas a square does not.  So the machines cannot process the envelope properly and it needs to be hand-cancelled.  Hence, extra postage.

If you put this in the mailbox, it will get delivered but your recipient will be paying the extra postage.  Same thing if you put something too big in the mailbox.  If you put something too small in (like that gift enclosure from the top of the post), you might not be so lucky.  It might not even make it to the recipient.  Small things get mashed up and lost.  Of course, you can put anything in the mailbox and provided there is enough postage on it, it will be mailed.  I have put things smaller than the 3.5x5 in. size requirement in the mail and it worked out just fine.... but it is smaller than what the post office says that you can send.  So decide if you feel lucky.

Hope this is a good start to some of the options.  There is much more to be said on sizing, materials, and shapes, but let's just leave that riveting page-turner for another day.

Card stock and Cover Papers

Card stock and Cover papers are the primary 'thicker' papers that you use for printing projects, be it commercial in scale or for a small, special occasion.

 

 

Generally, card stock is a term reserved for papers sold for crafting purposes, but sometimes you see heavier weight paper for printing called card stock when there is no lighter weight version of the paper available.  Otherwise, heavyweight paper for printing is called Cover.  This is the paper you use for folded cards, flat cards, enclosures, and business cards.  While there are always limitations on sizing when you print on paper (is it too little or too big to run through a printer), the weight of a paper is also a limiting factor.  Make sure you check on printing with a test sheet before you commit and buy a stack.

Since the printing is more complicated on Cover, many people opt for printing on Text weight, then mount it onto Cover pieces.  Once you open the field to using the heavy paper as a purely decorative and structurally supportive element, then scrapbook paper is a great option.  Scrapbook paper is generally sold as 12x12 in. squares and they are a moderately heavy card stock.  The down side to using them is that they are normally sold in stores as individual sheets, so buying in bulk to keep down prices can be a challenge.  Also, many papers are seasonal.  Once they are gone, you will never see them again.  So buy enough for your entire project ASAP.

Still, scrapbook papers are the main option for pattered paper in Cover weight.  Many of them are decorated on both sides, so they don't look like an unprofessional craft project when you use them for formal occasions.  Personally, I use them all the time for business cards.  Normally, if there is a pattern on one side, then there is a contrasting solid color on the reverse.  You can get your information made into a stamp and then stamp it onto your pre-cut blanks.  This is one of the least expensive ways to get those specialty, crafty-tastic business cards that are so in vogue at the moment.

Cover and card stock should be readily available in office supply stores and specialty print shops/paper stores.  For scrapbook paper, this is strictly a craft item and you will need to go to a craft store.  Buying online is also possible and will be necessary if you are looking for larger quantities.  The main scrapbook brands are Basic Grey, American Crafts (a personal fav), Cosmo Cricket, and Sassafras, just to name a few.  Martha Stewart Crafts also has some great designs, maybe the most elegant and tasteful in the bunch.  I think it can get kind of kitschy pretty fast in the world of scrapbooking.  I don't scrapbook and I am going to leave it at that.

The only source for patterned Cover paper for printing, which I am aware of, is the Mod-tone paper line from French Paper Co.  Actually, I take that back.  The invitation elements brand Envelopments also does patterned paper.  Or I should say that they buy papers from other manufactures and then silk screen their designs on it.  They do very pretty things and you can buy 8.5x11 sheets (I think they recently started to do larger sizes and custom cuts, too).  Heads up on the price though.  Envelopments isn't a brand for a low budget and you will need to buy through a reseller... but then you can buy/special order when that reseller has a sale.  Yay, sale!!

Intro to Buying Paper

I have been helping friends with a number of paper projects lately, and so it seems like an opportune moment to explain some paper terms.  I admit that I was a bit at a loss for images in this post (pictures of paper where there is only a difference in the thickness of the paper is like photographing the polar bear in the blizzard of marshmallows) so I went with some of the paper mash-ups that I have used for past design projects.

Okay, into the world of papery goodness!

The most important thing to understand is that paper is made... and just because there is a type of paper that you want, doesn't mean that someone makes it.  This unfortunate fact is important because you tend to go out and buy paper once you have a project designed and not design your project based on what is available (or how much it might cost to get something 'special').  Most people go get paper for invitations.  In most basic design, invitations/cards have two parts: envelope and card.  If you want these things to be of the same color/same finish of paper, then it means that you are buying your envelope and insides from the same line of paper.

The implication of buying these two parts from the same line of paper means that there is both a heavyweight paper (the card stock for your invitation) and then a lightweight paper (which the envelope is made out of).  Interestingly, most commercial papers only come in a card stock weight for textured paper and colors other than white/cream.  Only a few specialty paper makers give more options (see footnotes).

When you go to buy paper for printing, as opposed to paper for art or crafting, you will see certain terms.  Card stock paper is called 'Cover'.  The lighter weight paper is called 'Text'.  There is another type called 'Writing' and this weight is the thinnest, generally used for office printing and it is not substantial enough to use for events and nicer occasions.

When you are looking at these papers, you will also see weights, like 80 lb. Cover.  All papers will give you a physical weight, or description of thickness, besides cover/text/writing.  In the USA, you generally get the poundage.  Art papers and European/Japanese papers will normally give you a GSM weight, which is grams per square meter.  This literally means how much a square meter of the paper weighs.  The other measurement is a calliper thickness.  This is kind of helpful because you are given the thickness in a standard measurement (in points) but, if the paper has been pressed in a roller, it could be much sturdier than a paper of the same calliper thickness which was left unpressed and spongy.

The hard part about the American pound measurements is that the poundage is telling you the weight of a parent sheet of paper.  When commercial paper is made, it is first on a massive roll, then that roll is cut down (maybe a few times) into what is called 'parent sheets', and then these parent sheets get cut down (normally by paper distributors and not the manufactures) into smaller sheets for resale and printing.  Unfortunately, there is no standardization on sizing for parent sheets.  This means that an 100 lb. Cover from one brand can be much lighter in weight than one from another brand.  Also, there are 80 lb. Covers and 80 lb. Texts... in the same paper line.... and one is the card stock and one is the lightweight.

Ultimately, you need to physically go and feel the papers or get samples of them if you really want to know what you are getting.

I know that this post is going to be the first of many, going deeper and deeper into the world of commercial and art papers.  Hopefully, this will just help some of the words and numbers make sense as you stand in a paper store.  Much more to come on all of this... try to contain your excitement.

 

 

 

My favorite maker and supplier of commercial paper is French Paper Company.  Granted, I do not use them for basic whites and creams, but if I want something interesting, this is who I use.  All of their papers come in multiple weights, sizes, envelopes, it is all of excellent quality, and massive comparative value for what you are getting.  Plus some hysterical gift wrap.  I honestly have nothing but praise for their products.  And I am mostly snark, so this admiration is huge for me.

http://www.frenchpaper.com/

Envelope Liners

Envelope liners are great way to dress up a basic envelope.  It is a pretty basic process that only requires a few materials.

The principle is simple:  you have an envelope, cut out a liner, and then you find some way to stick the liner in the envelope.

So take your envelope and trace the outline onto the paper that you want to use as a liner.

I generally line things up so the liner paper is about 1/8-1/4 inches shorter than the envelope (height-wise) because you won't see this edge of the liner (it is in the bottom of the envelope) and while there is no problem if your liner is a little short, there is a big problem if it is a little long.  As your liner is going to be more or less hidden on the inside of the envelope, this is a great opportunity to use paper that may have a crumple or a mark on a portion of it.

You can line up the envelope (width-wise) with the edge of your liner paper, even past the edge, because you are going to draw your cut lines on the interior of the envelope outline.  Though you don't have to do all your mark making on the reverse side of your liner paper, I think it is best to do so, just so you won't have to worry about seeing these marks later.

Deciding where your cut lines are going to go is really up to you.  The biggest factor is the gum on the envelope flap.  This is what keeps your envelope sealed, so it is best not to cover it.  Aesthetically, I like to keep the overall board equal from the tops to the side, but you do what you want.

Just cut out along the lines.  If you are using a paper with a very fine fiber, it is much faster to use a metal ruler to rip your paper (plus you get a soft, deckle-like edge) instead of using scissors to cut it out.  Also, if you are doing this en masse, you should make a template to trace around for the liner out of chipboard/card stock to save time.

After you have your liner cut out, you just have to adhere it in the envelope.  This is the most tricky part.  Well, not so much tricky, but you do have some choices.  The most important thing is that you only put adhesive on the liner on the portion of the liner that will be on the flap of the envelope.  If you put the adhesive lower, on the envelope body, then you will have bunching and wrinkling when you fold down the flap.  Just not attractive.

The main question here is picking out your adhesive.  I am using ATG tape.  There are other adhesives that you could use, depending on the papers that you are using, but ATG tape, or another double sided tape, will always work for everything.  Basically, glue stick or any type of liquid tape will show if you are using delicate papers, vellum, or coated papers (like metallic).  It will look really bad.  And here, I am using a delicate paper as my liner and a metallic paper for my envelope.  So I just use ATG tape for everything when I am doing invitations and cards.  I should also mention that the ATG gun is pretty expensive, but if you are doing a big project, it becomes cheaper than any other type of tape very fast.

Alright, now slip the liner into the envelope being careful not to stick the liner down until you have it in its final position.  Do not fold over your flap until you have your envelope stuffed!!  If you fold it over right now, the fold will be in the wrong place and when you fold later, when the envelope is stuffed, you have a funky looking double-fold.  So just hold tight.

Okay, now your envelope is full and ready for mailing.  Fold down and seal.  Get that guy in the mail and prepare to hear back on how awesome it looks.