https://bridwell.omeka.net/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=2012&sort_field=Dublin+Core%2CCreator&sort_dir=d&output=atom2024-03-29T06:38:12-04:00Omekahttps://bridwell.omeka.net/items/show/2238Full graphite-grey buffalo leather with matching doublures, flyleaves will be marble paper designed by MarbleSmith in the colors of grey, gold, and deep pink. Sewn silk headbands will also incorporate these colors. The front cover will have an onlay, beveled along the edges, of deep pink buffalo leather with blind-stamped design of the Virgin Mary holding the baby Jesus. Title will be stamped using black foil on a lighter piece of gray leather trimmed with deep pink leather inserted below the picture. It will appear as an inlay. Blind-stamped cross on back cover.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2240French technique lace-in boards, covered in full leather in Harmatan purple goatskin, sewn headbands of purple and gold, gold top edge may be added if this does not create conservation problems. Boards laced in with relief decoration raising the leather on front and back covers, recessed decoration on the front, back, and spine to accommodate gold inlay, spine inlay with title tooled in black. Hand carved two-ply board with 14k gold acrylic ink. Endpapers will be original handmade paper created by the binder with hand-painted 14k gold decoration to match the crosses on the cover. The inspiration for this design is the Jerusalem cross, the hallmark for the Christian church. The chosen colors are important to Christianity and appropriate for this title: purple is associated with people seeking spiritual fulfillment and gold symbolizes immutability, eternity, and perfection.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/1949This binding reflects the style and techniques proposed for the Apocrypha, Volume IV of The English Bible Containing the Old Testament & the New printed by the Doves Press. This example utilizes full goatskin case bound with a hollow back, laced in cords, and handsewn endbands. Decorative elements include hand-painted top edge and original paste paper endsheets. Inside front and back covers with leather edge-to-edge doublures. Differences will include the use of inlays rather than raised cover decoration under the leather. In addition, full leather edge-to-edge doublures will not be used in the proposed binding.]]>2022-11-26T12:54:29-05:00
]]>https://bridwell.omeka.net/items/show/2242The pages of the book will be folded to form a cross and the volume will be bound in plain sackcloth. The binders will harvest fiber from plants growing around the monument to Thomas à Kempis at Mount Saint Agnes in the Netherlands and then use these fibers to make the endpapers for the bound volume. The book will be placed in a hinged wooden chemise made of Lebanese olive and cedar, woods said to have been used to construct the cross of Jesus. The chemise will be studded with gold and jewels, similar to select bindings on early manuscript volumes. The book is to be rebound as if it were a holy relic, while the unornamented sackcloth reflects the poverty, chastity, and obedience of the Brethren of the Common Life.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2244Design draws upon late eighteenth-century Rococo patterns as well as the world-wide pan-historical tradition of making jeweled bindings for spiritual texts. Exuberant lines incorporate references to the Sacred Heart of Jesus, the Crucifixion, and the Trinity and are also meant to suggest growth and renewal. Flyleaves (visible through the grill work of the boards) include an abstracted thorn bush pattern to be digitally printed using archival carbon pigment inks on .5 mm thick Hewit undyed calfskin. Boards of hand forged Argentium sterling silver 1/8" square wire mounted with synthetic rubies set in sterling bezels, all fixed connections silver soldered, with sterling silver tube hinges connecting the covers to the binding spine. Spine strip will be made of blackened Argentium sterling silver with the title laser etched into the metal revealing untarnished silver. Text will be disbound, then attached to binding using ruby-headed bolts screwed through spine strip and into threaded inserts counter sunk into the hardwood spine form.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2246Traditional-style tight-joint binding, sewn on seven raised bands covered in beige Niger goatskin and tooled with blind lines evocative of fifteenth-century blind-tooled bindings of the time when The Imitation of Christ was first published. Onlay of azure blue goatskin in an eighteenth-century shape on the front cover, echoed with blind tooling on the back cover, refers to the 1788 Didot printing of this edition. Linoleum cuts on both front and back covers in the style of fifteenth-century woodcuts, embossed in the leather and overlapping both colors on the front board. On front cover only, the linoleum cuts representing people from the author’s time and today imitating Christ. Endpapers will be chosen when the binding is complete, possibly Cockerell marbled papers with hinges, or a toned handmade paper. Gold tooled title in a typeface similar to that found in the 1788 printed text.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2248Box binding with three-board structure using Harmatan Nigerian goatskins, black for the binding and dark red for the doublures, with designs based on the Paris 1788 edition of the text. Hand-gilded 23k lines on all three sides of box binding would resemble the engraved plate in the book. Hand-gilded gold circles on the "sliding doors," made of aluminum sheets, covered with black goatskin. The doors would slide from the center to both sides. In the center will be a magnetic half-round boss, behind which the door would open and close. The same bosses are also in the center above and below the window. Image of the author will be on the inside of the front board, visible when sliding doors are open. The author's portrait will also be on a wooden board, covered with gold leaf and egg tempera painting suggesting illumination on a parchment. Doublures, covered with dark red goatskin, will have gold printed phrases derived from the text.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2250Pierced vellum binding, designs tooled and cut into the vellum to reveal brightly colored boards, title and tooling in gold and metallic foils. Design utilizes the repetition of a few limited geometric elements. The letters of the title, parallel tooled lines, and circles punched into the vellum create a dynamic composition with asymmetrical boards uniting in a symmetrical whole. Each letter will be tooled half in gold and half in magenta, the tooled lines and colored shapes creating a vibrant effect offset against the smooth white vellum. The challenge of executing a design binding on De imitatione Christi lies in creating a modern design with a traditional sensibility, a spiritual binding in which the decoration balances beauty with severity.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2296Ref French Cape morocco with design inspired by French cathedral windows. Covers tooled in blind and gold with black mosaics. Doublures of black and grey engraved decorated papers to compliment the frontispiece. Flyleaves of black suede. Title tooled in gold in Latin. Design to reflect the spirit of tall cathedral windows, encouraging an upward vision as suggested by pinnacles and vertical lines, to aspire towards high ideals, and to follow the inspirational path suggested by the author. Award for Excellence in Fine Binding]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2294Full maroon goatskin with red leather onlays. Traditional panel and gilt spine with individual tools to acknowledge the period when the book was printed, a more contemporary design element with the figure of the young Christ tooled in the front center panel, hand tooled in 23k gold. Page edges not to be trimmed or colored, but hand-sewn endbands and gold tooling along board edges will be added. Edge-to-edge doublures with tooled panel design facing marbled paper flyleaves. 2012 Award for Design]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2252Original textblock conserved as needed. Original sewing holes utilized, book to be sewn on five cords with linen sewing threads, no additional edge treatment. Five cords laced into boards and extensions of the textile spine lining adhered to inside of boards as reinforcement hinges. An alkaline paper lining in the form of a hollow tube creates a "hollowback" spine with built-in flexibility and strength. Full light aqua goatskin, gold and blind tooling on covers, spine with gold rules and lettering of title. Light aqua silk doublures and leather hinges. Light aqua and gold toned silk endbands in two-tiered French style, colors coordinated with the embroidered silk, and the gold tooling and aqua leather on the cover. Protective jacket of vintage French printed cotton fabric adhered to thick handmade paper.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2254Resew textblock using seven flattened hemp cords, consolidate spine, hide glue, backing and rounding, laced on blue boards, no edge treatment, wrap text block, three color double silk headband using batonets. Spine and covers: repair headbands with cord and Japanese paper, glue flannel between cords, six or more layers of crinkled craft paper with wheat paste, glue two-ply bristol boards on cover, back corner, Harmatan goat leather for cover, tool design through Japanese paper, glair lines to be tooled gold, 23.5k gold leaf, onlay with Harmatan purple goat leather, blind-tooled title letters, glair some title words for gold leaf. Inside: clean turn-ins, fill in, sand, edge-to-edge doublure in purple Harmatan, tool gold lines, flyleaves of purple pig suede.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2256Parchment bound over sturdy cover boards, highlighting the living patterns of goatskin parchment without flattening the skin in any way by using adhesives. Five parchment lacings weave through the cover creating a variety of crosses. On the front, a forcefully scribed circular pattern shows the results of effort, care, and irreversible change on the skin. On the back, the lacings outline a space where change can still happen. The circular pattern is echoed in the engraved orb of the frontispiece, with Christ holding a graver tool. Endpapers of handmade linen stock that best matches the color of both the text paper and the parchment cover, sewn on, and held down under the visible turn-ins. Endbands sewn first with linen thread for strength and flexibility, then embroidered with gold and silver silk threads in a traditional endband pattern.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2258Bound in the Jan Sobota-style three-board technique, full black goatskin with an inlay design in the front cover consisting of twenty-four leather covered magnetic squares. Twenty-four squares of chocolate brown leather on one side; on the reverse: six of metallic gold leather (representing joy), six of red leather (representing the blood of Christ), six of white leather (representing purity), and six of royal purple (representing penance). The six color squares will form the inner cross, surrounded by chocolate brown colored leather squares. When all twenty-four squares are removed, a copy of the engraved image of Christ from the book is revealed. Doublure covered with chocolate brown goatskin. Endbands of chocolate brown leather. Edges colored in deep purple and gold leaf.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/314The author's telling of how deaths in a short period of time touched his life and helped him view Easter in a new light.]]>2022-11-26T12:54:04-05:00
]]>https://bridwell.omeka.net/items/show/2298Black goatskin over bas-relief boards, raised onlays of white alum tawed calfskin with single gold tooled line along short side of each triangle; hand embroidered double-core headbands of red and yellow silk; flyleaves and doublures of marbled paper by Catherine Levine; top edge marbled and gilded; title tooled on spine in blind. Chemise in black goatskin and marbled paper, lined in wool felt; title on spine of chemise gold tooled. Winner: 2012 DeGolyer Award for American Bookbinding]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2260Full rust Harmatan goatskin. Cross, nail, and flowing cloth elements are onlays in cream and chocolate goatskin. A sliced geode crystal is inset into a gold and red goatskin dimensional halo at the intersection of the cross beam with a raised circlet of thorns and single blood droplet. A soft blue aura surrounding the inset is stippled acrylic ink. Goatskin doublures with center medallion onlay contains a raised dove element surrounded by a crown of thorns. French double headbands in rust, gold, and white silks. Title on front cover and author on spine blind tooled. Marbled endpapers by Catherine Levine. Top, fore, and bottom edges gilt.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2262The design evokes the gothic style of binding prevalent during the author's lifetime. Textblock disassembled, repaired as needed, and then sewn on five double-cord stations. Unbleached linen cords laced into cured, quarter-sawn wooden boards channeled, beveled, and fitted with brass closures chiseled into fleur-de-lis patterns and hinged with brass escutcheon pins. Traditional tightback binding with quarter alum-tawed deer skin, tooled lines and fleur-de-lis stampings in blind, title on spine in ink rather than stamped or tooled. Plain wound endbands sewn on rolled linen cores and 100% cotton paper endpapers hand made by the binder.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/375Memoir written by Rev. Dr. James A. Hawkins' wife, Marcia Murchison Hawkins. Included are details about their relationship together.]]>2022-11-26T12:54:05-05:00
Marcia Murchison Hawkins. Breaking The Invisible Chains: Born an African-American in 20th Century "Desegregated" Chicago. Stone Mountain, Georgia: Your Family Research and Publishing, 2012.
]]>https://bridwell.omeka.net/items/show/2264Book will be disbound. Original boards and spine to be housed in a separate enclosure matching that made for the new binding. Signatures guarded and repaired as necessary. Text block will not be trimmed, double folios of plain handmade paper sympathetic with the text block added at front and rear, all sewn on flattened cords. Book gently rounded but not backed, boards shaped at inside spine edge to match natural shoulder. Boards laced in and book covered in a variety of hues of brown leather, mostly goatskin. Tooling and titling in carbon, 23k gold, and dark brown foils. Edge-to-edge goatskin doublures. Hand-sewn, French style headbands in multiple shades of brown. Design incorporates numerous classic metaphors for spiritual growth: movement from darkness to light, from chaos to order, from rough to smooth, and from earthly to heavenly domains. Overall pattern of tooling is in the shape of a stylized dove.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2343Bound in two colors of gray Hewit and Harmatan goatskin leathers in a laminate case. Decorated with three fish designs made with stamped, cut foils. Paste papers by the binder. Blind tooling and a silver stamped title.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2331The binding structure is one that I have been playing around with for more than twenty years. It is simple, basic, and I love that the text can be removed at any time with no damage to the paper or binding. This is the most recent variation of this structure in that there is a full leather spine and the sewing is not visible. It provides the book with the flat opening of the hollow tube and the solid structure of a tight back. The binding is composed of various goatskins with an alum tawed goatskin inner spine. The onlays are of various leathers applied to the surface and then back pared before the inner lining is attached. Headbands are leather and the rivets are gold tooled. Pamela Smith marbled endpapers are utilized and Twinrocker handmade paper leaves have been sewn in with the text at the very end of the volume.]]>2022-11-26T12:54:35-05:00