Julie Sullivan began bookbinding as a hobby in 1993 and in 1997 made book repair and original binding her second career. Studying primarily with Catherine Burkhard, she has attended annual Guild of Book Working conferences since 1997, the Society of Bookbinders Conference in 2001, and workshops offered by Raoul Bollin, Gabrielle Fox, Monique Lallier, Brenda Parsons, and Jon and Joy Tonkin.
Victorian Book Design & Colour Printing.
London: Faber & Faber, 1963.
This case-bound book was disassembled and reassembled in the three board structure method (which includes a hollow-tube spine) introduced by Jan Sobota. It was sewn with thick linen thread on Ramieband tapes. All three boards, doublure, and onlay inset (on middle board) are Harmatan goat leather. The book includes hand-sewn silk endbands and camel-colored suede paper flyleaves.
The book will be disassembled and reassembled in the three-board structure method (which includes a hollow-tube spine) introduced by Jan Sobota. It will be sewn (using existing sewing stations) with thick linen thread on Ramieband tapes. The inner and outer boards, doublure, and cover onlay will be shades of blue Harmatan goat leather. The design calls for the cover boards to be light blue leather with linear cut-outs revealing the inner (second) boards of dark blue leather. The back board cut-outs create a river. The cut-outs echo the woodcut style of illustrator Barry Moser. The stylized weeping willow tree and ferns on the front board, along with the horizon on the back board are dark blue leather onlays. The cut-outs and onlay represent the mighty Mississippi River and its banks, a dominant symbol in the book. The binding will include hand-sewn silk endbands of light and dark blue thread and neutral grey suede paper flyleaves. The titling will be hot stamped using dark blue foil from a custom die. The font style is C Lewis Day.