Make+Take: Dos-à-dos Book
April 16 @ 7:00 pm - 9:00 pm
$45.00Let’s Make+Take!
Thursday, April 16, 7pm-9pm
View our current in-studio Health and Safety and Cancellation Policies >>
About this Workshop:
What happens when two books become one? The dos-à-dos, from the French for “back-to-back,” binds two books with one cover. This structure allows the book to be divided into two distinct sections, offering the possibility of introducing contrasting or separate material within one context. Join us to learn how to construct a dos-à-dos sketchbook or journal, and then play with ideas for creative content that might leverage this unique binding. Book structure learned: Basic pamphlet dos-à-dos sketchbook or journal with closure.
Level: All levels welcome – no previous experience necessary
Registration extended through April 11, 2026 and includes all materials.
Sample images by Nathalie Ryan
CLASS MATERIALS LIST:
Registration includes all materials—just come ready to have fun! In addition, you may want to bring the following items for class:
- (optional) Personal apron (we’ll have extras)
- (optional) A notebook and pen for taking any notes
MEET YOUR INSTRUCTOR:
Amaal Younes is a multidisciplinary artist, designer, and craft-based practitioner born in Cairo, Egypt, now based in Washington, DC. Her work is rooted in material exploration, storytelling, and the cultural intimacy of handmade objects. Moving between book arts, design, and visual practice, she is interested in how craft can hold memory, emotion, and community.
Her passion for the arts started from the IB Arts Program from her schooling which inspired her to then study Applied Sciences and Arts at the German University in Cairo, where she developed a foundation in graphic, product, and media design. In 2017, she co-founded Grain Studio, a bookbinding and craft initiative that combined traditional handwork with collaborative making and social engagement.
Her current body of work, Hands of a Wanderer, explores migration, belonging, and slow making through functional objects and narrative craft. Through tactile processes and intentional production, she considers craft as both a personal language and a shared archive of experience.



