Black and gold is a combination that almost forces you to go elegant — and that's exactly what happened with this journal. What started as a "flourish type" junk journal, built around the idea of using up envelopes and junk mail, turned into something much more considered: layered papers, stitched ruffles, gold doilies, cellophane, fabric, lace — the kind of journal that feels almost too beautiful to write in. This is a flip-through of that journal, along with a look at how the whole structure works, including the removable signatures that make it so flexible for whoever ends up using it.
What we cover
A full flip-through of a black and gold combination journal — part flourish-type junk journal, part sellable art piece — showing the three-part structure with sewn-in and removable signatures, the range of papers and embellishments inside, and the thinking behind how a journal like this is meant to be used.
What you'll learn
How a flourish-type journal with removable signatures works — this journal has three parts: two removable signatures at the front and back filled with loose papers, tags, and embellishments you can pull out and use freely, and one central junk journal section sewn permanently into the cover.
Why leaving slack in removable signatures matters — the loose, slightly relaxed binding means you can slide your own papers in later without forcing the structure. It's not sloppiness; it's built-in flexibility.
How to use a writing board inside a heavily embellished journal — a flat piece of cardstock slipped behind the active page gives you a smooth writing surface, so all those lovely lumpy layers underneath don't transfer through.
Building a cover with function and personality, including:
- A lace closure that wraps and removes completely
- A gold pen loop pin so your pen travels with the journal
- A front-cover pocket for journaling cards
- Coin danglies along the top edge
The range of papers that work in a black and gold palette, including:
- Vellum and napkin papers
- Ledger paper and old book pages
- Music paper used as an envelope base
- Wallpaper and wrapping paper (one sheet that unfolds to full size)
- Chalkboard paper, poetry book pages, and designer velvety paper
- Cellophane as a texture element and light diffuser
How fabric can be a page material, not just a trim — sheer fabric stitched onto music paper makes an envelope that's both structural and beautiful, an idea Natasa adapted from another maker's easy boho envelope technique.
What "flourish type" actually means in practice — the original idea is to fill removable signatures with your junk mail, envelopes, and loose papers so they're always on hand when you're ready to decorate or journal. In this version, the aesthetic pulled toward more considered materials, but the intention stays the same: a ready supply of things to pull out, cut up, layer, or leave exactly as they are.
How to add journaling spots and tuck spots throughout stitched signatures, including:
- Gratitude pages ("today I'm grateful for...")
- Acetate dashboard-style pages
- Paper clip accents with pom-poms
- Mini booklets sewn or tucked into pockets
- Danglies attached directly to pages
Why knowing when to stop embellishing is part of the craft — this journal came close to being too heavy to close. The embellishing instinct is real, but the journal still needs to function.
Tips & gotchas
Leave intentional slack in your removable signatures. A tight binding on a removable section means there's no room to add papers later. A little looseness isn't a flaw — it's what makes the journal actually usable over time.
Keep a piece of cardstock behind whatever page you're working on. A heavily embellished journal has texture everywhere, and that texture will push back through the page when you write or paint on it. A flat backing card solves this instantly. This journal actually includes one as part of the kit, tucked into the back pocket.
Watch the weight. The instinct when making a journal this beautiful is to keep adding — another doily, another dangly, another pocket. This particular journal came very close to a kilo. That's a lot of joy in one place, but it also means the cover strain is real and closing it cleanly takes care. Stop a little earlier than you think you need to.
The aesthetic has to hold together across wildly different materials (cellophane next to napkin paper next to velvety designer stock), and the structure has to invite use, not just display. If you're curious about the black and gold paper kits that supplied a lot of what's inside, there's a separate video on those — many of the fabrics, papers, and embellishments here came directly from that kit.
