https://bridwell.omeka.net/items/browse?advanced%5B0%5D%5Belement_id%5D=44&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=English+&output=atom2024-03-29T06:34:29-04:00Omekahttps://bridwell.omeka.net/items/show/2344If one was to visit Bernard Middleton's bindery in the 1970s, when this text was published, it would not have been unusual to find a cat or two curled up in a corner. Proposed binding to be bound in brown Hewit goatskin in a laced-on boards binding with raised bands on the spine. Traditional gold lines and decorative stamps will be tooled on the spine, along with two green leather labels, gold stamped in two panels. Front and back boards would be framed by gold lines around large green leather panels, each containing a recess for the cut foil, stamped goatskin onlays of sleeping cats. Winner: 2015 DeGolyer Award for American Bookbinding]]>2022-11-26T12:54:35-05:00
]]>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/2342Bound in full brown goat skin with gold tooling to acknowledge the look of older books. To add a more contemporary feel, two images based on illustrations from the book will be done with back-pared onlays and leather line onlays. Edges to be sponge painted and hand sewn silk headbands will be added. Marbled endpapers with sewn-in leather hinges. Award for Excellence in Fine Binding]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2341Bound in full terracotta goatskin with back-pared black and green onlays and leather line onlays. Cover images based on one of the illustrations by Rockwell Kent in the text. Top edge decorated with copper paint and a hand sewn three color silk headband. Copper decorative endpapers.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2340Full red goatskin leather fine binding sewn on German tapes, laced into boards. The top edge decorated in alternating sections of gold and palladium prior to sewing. Double-core silk headbands. Pastedowns and flyleaves of a "Dutch curl" marbled paper. Boards tooled in gold and palladium with black leather onlays, with the titling placed along the curve within the black onlaid rings. The palladium lines continue over the board edges and onto the turn-ins. A single gilt line is tooled on the board edges, breaking at the palladium lines. Four gilt rules on the turn-ins which break at the palladium lines. The finished volume is to be housed in a full cloth clamshell box with a tooled leather label. Award for Design]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2339Full 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.]]>2022-11-26T12:54:35-05:00
The Revelation of John the Divine. 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.
]]>https://bridwell.omeka.net/items/show/2338Tan calfskin with inlaid calf lettering. Flyleaves and doublures of marbled paper. Brown roma endpapers with calf hinges. Hand sewn double core headbands with brown, tan and white silk. Top edge colored brown with acrylics. To be housed in a linen cloth clamshell box with brown felt liner and gold-stamped label.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2337This 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 chagrin 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.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2336Full goatskin binding with large onlay across binding, laser cut shapes representing various tools used in bookbinding and restoration, and gold-tooled borders for onlays. This proposal for The Restoration of Leather Bindings reflects the subject of the book while the gold-tooled lines are a nod to Bernard's bindings.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2334Bound in full brown goatskin using traditional hand embroidery techniques in gilt thread to imitate a historical gilt panel design. Line border on outer panel and along board edges are hand tooled and gilt. Spine decorated with mix of embroidered and hand tooled gilt motifs. Title and author's name hand tooled and gilt in Baskerville. Board edges and turn-ins hand tooled and gilt. Zerkall Book Laid Vellum endpapers. Hand-sewn single-core headbands in green and white linen thread.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2333French style binding with laced-in boards. Bound in bois de rose buffalo skin with back-pared onlays of goat and buffalo. Onlays embellished with hand-embroidered details using cotton embroidery floss. Hand painted border on front board in golden fluid acrylic. Title hand tooled in Gill Sans with 23 carat gold leaf. Edges decorated with sponged gouache and sprinkled with gold leaf. Hand sewn French double-core headbands in polyester thread. Edge-to-edge doublures in bois de rose buffalo skin with matching handmade Katie MacGregor paper flyleaf. Endpapers in ochre paper handmade by Katie MacGregor.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2332The hand tooling along the colored leather strips represent traditional lacing-on of boards and Bernard Middleton's approach to design expressed in his Recollections: A Life in Bookbinding. (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.]]>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
]]>https://bridwell.omeka.net/items/show/2330The entire book will be bound in terra cotta Harmatan goat skin. Inlaid into a frame built of layers of binder's board, the front cover features a photograph taken and printed by the binder, applied to heavy matte paper, and covered with transparent vellum. Inlaid into the back cover is a composition incorporating the iconic but uncredited "working hands" photograph with the binder's photograph, both under a piece of transparent vellum, together with some tools and leathers. Edge-to-edge doublures featuring the traditional "working hands" image will be printed on Arches Aquarelle Rag paper. The flysheets will be printed on Canon Matte Photographic paper. The headbands will be sewn into the text block in a French double pattern composed of various colors of silk echoing those in the photographs.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2329This 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.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2328The 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.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2326Decorated case binding in full tan goatskin with onlays of multiple colors of goatskin having transferred images/text, and onlays of leather lacing. Multi-colored leather stuck-on headbands; all edges toned with brown inks; decorative endpapers by Catherine Levine. Transfers made using Acrylic Gel Medium, laser copy/print images or text, and light colored leather. One thick coat of medium brushed onto image/text, placed face down onto the leather, put into a press for several hours, and allowed to dry thoroughly. Paper is removed from the leather using water and a soft, smooth cloth.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2325Flat spine tight back case binding (Islamic-style, adapted) in full black goatskin with inlays of white bonded leather (75% leather) with full-color transfers of van Gogh paintings; title blind stamped. Hand embroidered Islamic headband (straight weaving) in blue and yellow silk; top edge graphite; blue lokta endpapers with gold painted accents. Full black cloth protective box with details from several van Gogh paintings.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2324Full goatskin binding with laced-in boards. Sewn on flattened cords, leather hinge, doublures and flexi-endsheets of marbled paper by Pamela Smith. Hand sewn, double-core silk headbands; three edges sprinkled with multiple shades of brown acrylic ink. Blind and gold-stamped title, blind tooling, sprinkling and pochoir with acrylic. Goatskin onlays. Illustrations scanned from the text and inkjet printed onto Mohawk Superfine cover, hand cut into pop-ups, and sewn inside each of the text block's fourteen signatures.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2323Full goatskin binding with laced-in boards. Trade book disbound, guarded, and resewn on flattened cords; leather hinges; doublures and flexi-endsheets of marbled paper by Pamela Smith. Hand sewn, double-core silk headbands; three edges sprinkled with blue acrylic ink. Blind title and tooling, acrylic pochoir. Illustrations from the text have been scanned and laser printed onto goatskin onlays. Illustrations scanned from the text and inkjet printed onto Mohawk Superfine cover, hand cut into pop-ups, and sewn inside each of the text block's ten signatures.]]>2022-11-26T12:54:35-05:00
Bookbinding with Numerous Engravings and Diagrams. Edited by Paul N. Hasluck. Grove, Wantage, England: The Black Swan Press, 1992. Reprint of the 1902 first edition.
]]>https://bridwell.omeka.net/items/show/2322Bernard C. Middleton’s words reveal a mind long-trained to salvage even the most decayed book materials: I imagine a vine trained upon a trellis that sprouts new leaves. The green cotton book cloth is to be silkscreened with the image of a vine on a trellis. The text will be bound using a long stitch through a slotted wrapper with black kangaroo and black Hahnemühle Bugra pastedowns. The text is to be sewn with dark green linen thread. The book title will be blind-stamped on the side of the quarter leather and on the spine of the accompanying clamshell box.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2321The text is from a softcover book I disassembled and reassembled as a long stitch binding through a slotted wrapper. Brown quarter leather is sanded kangaroo with handmade book cloth sides. The cotton book cloth is imaginatively silkscreened with good bug guardians. The inside wrapper is covered with sanded brown kangaroo and botanical homemade paper pastedowns. Endpapers are botanical handmade and Hahnemle Gutenberg papers. All signatures are guarded with Japanese kozo sewn onto the wrapper with yellow linen thread. The book title is blind-stamped.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2320A large graphic M signifies Middleton's last name and his long, productive, and influential career. The quotation cited above is blind embossed within the M: the words contained within the letter represents Middleton's wealth of knowledge that he generously shares with the bookbinding community. Various fonts and sizes are used to provide emphasis, but all are blind embossed to keep these in the background. The small red diamond symbolizes his success as a binder and restorer as well as a teacher of fine binding. It also implies that success is not attained until you build upon the tenets he presents, precept by precept. As a reference book, the volume should open flat and stay open hands-free during use. For these reasons, I have chosen a contemporary sewn-boards binding done on tapes with link stitch for strength. Harmitan leather in black and yellow were selected because there are few absolutes (no black and white) in restoration. Red is used as an accent color to signify success and the joy of binding. Sewn boards binding, link stitch on tapes, full leather cover in yellow and black Harmitan with small accents of color. Title is stamped in foil. The endpapers are hand decorated paper by Nan Kirby. Edges are yellow with black sprinkle.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2319Sewn boards binding, French link stitch on tapes. Covered with black cloth on spine and purple tweed cloth on the boards. Marbled endpapers. Gold stamped title.]]>2022-11-26T12:54:35-05:00