by Quentin Hughes
The Bluecoat Press, 1993
270 x 200 x 25mm
Bound 2008 for Liverpool Public Library

Bound with double boards covered in dark blue Pentland goat leather, onlaid with strips of impressed leather. The spine is covered in red leather with onlaid strips of alum tawed leather. Dark blue Pentland goat doublures are inlaid with mid blues vertical lines, the flyleaves are collaged blue Japanese paper. The edges were coloured in shades of blue with acrylic paint. Double core end bands were sewn in multicoloured silks, to match the onlays.

This book tells the history of the architecture of Liverpool illustrated with black and white photographs.

The design is based on the classical pillars fronting many of Liverpool’s most famous buildings. The coloured leather onlays are impressed with textures, which reflect aspects of Liverpool, including the docks, shipping and construction.

by H. E. Bates
Illustrated by Agnes Miller Parker
Victor Gollancz 1936, first edition
260 x 197 x 28mm
Bound 2010

Bound with double boards covered in dark green calf, the spine is covered with white alum tawed goatskin. Both were airbrushed with green acrylic ink using ferns as stencils. Thin vertical strips of green and airbrushed leather were applied to the boards and the design continued onto the dark green Pentland goat doublures. The green Korean paper endpapers and book edges were also airbrushed through ferns. The double core endbands are sewn in matching silk.

The book describes the progress of the seasons in a woodland environment. The design is inspired by images of woodland in the autumn with ferns and trees emerging from the mist.

Incline Press, 2008
265 x 190 x 15mm
Bound 2008

The spine and board edges were first covered with dark blue leather; paste paper was then used to cover the boards, spine, doublures and flyleaves.

Full thickness onlays of tan calf were impressed with fishing net and applied to the boards and doublures. The top edge was coloured with acrylic paint to match the paste paper. The double core silk end bands were sewn in shades of blue.

The design for the onlays and paste paper was based on patterns made by the tide on sand at low tide.