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                <text>Full goatskin leather binding with sewn-in leather hinge and handmade flax paper flyleaf which has the look of parchment. Sewn on five German woven tapes with linen thread, the edges were gilt "in the rough" without trimming, and the tapes were laced into the boards. Double-core silk headbands. After spine linings, a hollow was attached with false raised bands to emulate raised cord sewing. Covered in natural grained brown goatskin. The sewn in hinges were placed down and doublures were pasted in. Binding tooled with 23 carat gold leaf and carbon, with many different colored leather onlays. The clasps were designed by the binder and made by Joycelyn Merchant, a jeweler, bookbinder, and clasp-maker.</text>
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                <text>&lt;em&gt;The Revelation of John the Divine.&lt;/em&gt; Pownal, Vermont: Mason Hill Press, 1983. Decorations designed and cut by James Dignon. Type set and printed by James Dignon and Nelson Ogert. Printed in an edition of 135.</text>
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                <text>This classic science fiction novel concerns the survival of knowledge through books in a post-apocalyptic world. The binding references use of atomic weapons and the blueprints described in the story. The book is bound in full French &lt;em&gt;chagrin&lt;/em&gt; dark blue goatskin with blue suede flyleaves and doublures. Silk headbands sewn in blue and white. Text edges dyed blue. The decoration was tooled and painted with white acrylic lines and colored leather onlays.</text>
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                <text>Walter M. Miller, Jr. &lt;em&gt;A Canticle for Leibowitz.&lt;/em&gt; New York: J. P. Lippincott, 1960.</text>
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                <text>The hand tooling along the colored leather strips represent traditional lacing-on of boards and Bernard Middleton's approach to design expressed in his &lt;em&gt;Recollections: A Life in Bookbinding&lt;/em&gt;. (This sample is only a representation of the decorative tools that will be used.) The haphazardness of the onlays represents the elements that need to be placed back in order when a leather binding is restored. The proposed binding will be full goatskin with goatskin onlays. The tooling will be done by hand in gold. The layer of leather at the inside spine will be alum tawed goatskin. Doublures and flyleaves will be goatskin with onlays and gold tooling. Drawings and any other ephemera will be enclosed in a heavy paper portfolio placed inside a drop spine cloth box with the binding.</text>
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                  <text>This work in this collection is protected by copyright law. No commercial reproduction or distribution is permitted. This file may be used for educational uses only, provided it is not altered in any way, and the copyright line is cited. (Bridwell Library Special Collections, SMU). No other use is permitted.</text>
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                <text>The 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.</text>
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                <text>Ladislav R. Hanka. &lt;em&gt;Remembering Jan Bohuslav Sobota.&lt;/em&gt; Kalamazoo, Michigan.: Ladislav R. Hanka, 2012.</text>
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                <text>This work is protected by copyright law. No commercial reproduction or distribution is permitted. This file may be used for educational uses only, provided it is not altered in any way, and the copyright line is cited. (Bridwell Library Special Collections, SMU). </text>
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                <text>This well-used paperback had a broken spine, necessitating repair utilizing a single-sheet reconstruction. While viewing an exhibition of the Designer Bookbinders at Oxford University a few years ago, I saw a book bound by Stuart Brockman featuring a cover bound with a watercolor painting covered with transparent vellum. Visiting Brockman at his bindery, he provided some advice on techniques and I began work on this project. The cover image is an inkjet print on matte paper of my original digital image entitled "The End of the World." The transparent vellum was affixed to the image, then used to cover the boards for the binding. The edges of the text block were decorated with blown acrylic spray; the headbands are sewn in.</text>
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                <text>Robert J. Miller, editor. &lt;em&gt;The Complete Gospels: Annotated Scholars Version.&lt;/em&gt; San Francisco: Harper, 1994.</text>
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                <text>The book would be rounded and backed and bound in a full dark red goatskin following the French technique, to highlight the importance of restoration in the conservation of books. The front and back covers will have an indented rectangular space covered with inlaid lacunose mat representing the joining and meshing of pieces of leather, usually required in the restoration of books. Both the front and back cover will have a series of parallel indented straight lines representing the various straightforward requirements for returning the book to its original elegance. The headbands will be sewn with three different color threads and the interior of the covers will be dressed in an edge-to-edge doublure. The book will be housed in a linen covered clam shell case.</text>
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                <text>Bound in parchment over boards using the "floating boards" method. Parchment backed with Japanese hanako paper which is also used for the flyleaves and headbands. Sewing tapes in parchment, visible through groove. Hand tooled cover design and title on spine in pale gold. The tooling on the cover envelops the natural markings of parchment. The use of modern papers throughout brings a nice mix with the more historical method of parchment covering. Bound in 2014 and housed in a custom clamshell box.</text>
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                <text>For this simple panel design of &lt;em&gt;The Restoration of Leather Bindings&lt;/em&gt;, I propose a full black goatskin tight-joint case binding. The sheets will be sewn on three tapes, all text block edges will be gilded, and silk headbands will be sewn by hand. The title will be stamped in gold on the spine and the framed lines and dagger-shaped corner pieces will likewise be tooled before casing in. A custom engraved brass die will impress the author's cascading initials inside the central red leather inlay. Please imagine Bernard Middleton's handwriting in place of the cursive font shown in the design proposal. The binding will also feature marbled endpapers by Catherine Levine. I often refer to Middleton's works when repairing antique books. It would be an honor and a delight to execute a fine binding of &lt;em&gt;The Restoration of Leather Bindings.&lt;/em&gt;</text>
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                <text>The flat back case binding of Carmilla is covered in full black goatskin and has red leather inlays. The title is stamped, the lines are tooled, and the text block edges are gilded in 22 carat gold. This binding also features sewn silk headbands, marbled endpapers by Catherine Levine, and a frontispiece portrait by Harry O. Morris. The central design illustrates the exhumed vampire's beating heart and the "leaden coffin floated with blood," both of which are chillingly described at the climax of the story. Bound in January 2015.</text>
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