Legend of the Ravaja

Legend of the Ravaja

Author's Edition

"By the sweat of your brow you will eat your food until you return to the ground, since from it you were taken; for dust you are and to dust you will return.”".

Genesis 3:19, NIV

About the Project

It’s no secret that I truly enjoy making a book for the author. I find the entire process a personal journey for both the client and me. Whether or not the book is intended to be published on a large scale, the idea of having one special book for the creator is always fun. 

I’d actually worked with this client many years ago, shortly after my apprenticeship concluded and I first opened the bindery. Back then I was known as Sound Leather Books and I operated out of a small studio space in the Old Rainier Brewery building, which is nestled next to I-5 and welcomes people into the cityscape of Seattle. I think back on that time fondly. I was just finding my way as a bookbinder, establishing clientele and my own artistic voice. Clients early on took chances with me and helped me develop professionally and personally.

Since our last project together, I’d grown immensely and I was very excited to take another crack at this book.  I’d acquired a new collection of leather, decorative techniques, and, more importantly, a sense of confidence to execute an ambitious design scheme.  

With darker colored leathers I enjoy working with silver, as opposed to gold, for lettering and tooling. I feel like silver has a strong look when applied on a dark background, allowing the book to stand out and invite readers into its contents. During the binding process, I asked the client if he’d like to include any kind of design, line drawing, or other kind of decorative motif. When he sent me a draft design of a “sigil”, I immediately began working on it to translate it from the page and into a format that can be tooled properly. The marbled endleaf sheets give the book another wow factor once the covers are opened, giving the reader one last treat before enjoying the text.

Overall, this was an incredibly satisfying project. My mission statement is “Let’s make the book of your dreams” and I feel like this hits directly on that mark.

The Process

I try to capture as many images as possible throughout the process. As you can see there were times I needed to improvise with the final steps of the binding, simply due to the fact that the book just didn’t fit in any of the presses I own. 

Revolt in the Desert

Revolt In The Desert

Restoration and Rebinding
with Custom Clamshell

"...dreamers of the day are dangerous men, for they may act their dreams with open eyes".

T.E. Lawrence, Revolt in the Desert

About the Project

Rebinding a rare and valuable book, especially a numbered first edition, can be a tricky situation – and I don’t take it lightly. This project fit the category of needing attention to bring it back to life, while also keeping with its look and feel from when it was first published. My client contacted me in early January 2026 and asked if I’d be able to assess and potentially repair his book. Right away I knew this was a special book, so I approached it carefully and methodically.

Challenge accepted.

According to my client, this book had sustained some water damage sometime in the 1960’s. The water distorted/warped the covers and seeped into the binding, which affected the paper and thread holding it all together. I went through, page by page, to see the extent of the damage. While every signature was affected, it was honestly a manageable amount, and it was easy to clean up. Thankfully, the materials that went into making this book are superior, bringing to mind the timeless adage “they don’t make them like they used to”, which is certainly the case here. All throughout the process I was overcome with joy simply to be working on such a wonderful piece of history. The paper was lovely to handle, it accepted thread without issue, and responded well to any mending needed. The repairs disappeared completely, which is exactly what every binder wants to see.

All told, this project came together nicely. It’s a solid book, keeping with it’s original form from when it was first published. To give it further protection, we made a custom clamshell box lined with royal blue felt.

While serious concerns can arise regarding the value of a book and the effect rebinding has on it, I feel the work we did was both necessary and beneficial to the longevity of this invaluable piece of history.

The Process

The images below are more archival than showcasing any technique used. I provided a written report for my client, outlining the necessary repairs needed to accomplish the restoration effort. What you’ll see is the book in its state before restoration, during the deconstruction phase.

Owolabi Letters Project

Owolabi Letters Project

Custom Design Binding and Clamshell Enclosure

About the Project

In early October 2025 I was contacted by The Nicest Space, a personal and business concierge, with a project for one of their clients. They asked if I’d be able to make a 3-volume set of the scanned letters from the client’s father and I was more than happy to help. While it is not often people ask me to make more than one book at a time, I am always excited to do this kind of work. 

I set to work right away, having the pages printed on acid-free/archival paper with great resolution. You can really see every detail of the letters, even if they’re smaller than the originals. When I asked them about the design they’d like me to draft for them, all they said was “the family likes tiger lilies”, which was all I needed. I made a few drafts for them to review and we selected the one that resonated with them the most, which also happened to be my favorite, too.

Later in the process, they asked if there was anything I could do for the originals. To which I suggested we make a custom clamshell box for them, keeping with the color scheme of the 3-volumes and working with bookcloth instead of leather. Since the letters were considerably large, using bookcloth is a more practical approach – and more cost effective.

The result is something I am quite proud of. This project really encapsulated all the aspects of my daily bookbinding practice – gold/silver tooling, custom design, clamshell boxes, and just a good quality book that will last for many years.

The Process

In all honesty, the process for this project was fairly straightforward. Beginning with the binding of the books and creating the text-block. The cases came next with a red title panel on the spine. With darker leather, I always enjoy working with silver type, as opposed to gold. While gold is always lovely, there’s something about silver that catches my eye, especially with black leather as the backdrop. Once all that was finished, I focused on the front cover designs, with each one being subtly different and distinct. Since the design was quite ambitious, I opted to execute the tooling before joining the cases to the text-blocks. It all went without issue and the process was incredibly fun.

Directions and Directing, by Alan Leo

Directions and Directing

An Introduction to Predictive Astrology

Custom Design Binding

"The deep pulsations of the world, Æonian music measuring out the steps of Time - the shocks of Chance - the blows of Death.

Tennyson, In Memoriam, xcv

About the Project

In early February 2026, my wife brought me this little book from her collection at the Celestial Arts Education Library, and it needed a little love. Actually, it needed a lot of love, but I was more than happy to work on it. There was something about this book that stood out to me, and I was instantly charmed by it. Its size betrays its impact on the world, as my wife expressed its value in the Astrological community, being a core text for predictive astrology. 

Once I began working on it, I felt an immediate connection to the book, and I enjoyed every step of the process. Once the repairs were finished, I rebound the signatures with archival materials and used fine sheepskin leather to cover it. For the design, I employed the cuir-ciselé technique to carve and bevel a “radiating planet.”

I am very happy with the result and I feel this book can now be enjoyed for many years to come. Breathing life back into much-loved books is a special kind of joy for me in the bindery, and I am thankful to have the opportunity to work on projects like this.

More about the Book

Herbert S. Green (1861-1937) was an English astrologer who collaborated on many publications with Alan Leo (1860-1917), “the most famous and influential of the modern English astrologers,” according to historian J. H. Holden. Born William Frederick Allan, Leo emerged as a leading figure in the European revival of astrology during the early twentieth century. Around the turn of the century, Green joined Leo’s publishing team, compiling data, editing, and also writing textbooks and leaflets. Directions and Directing: An Introduction to Predictive Astrology is Manual 5 in a series aimed at students of astrology, and it remains one of the most succinct technical manuals on prediction. Most importantly, this book presents the first citable evidence for the modern interpretation of converse progressions, a now-rare technique that flourished in the 20th century following the publication of this book. Green’s discussion of converse progressions challenges our Cartesian experience of the space-time continuum, positing that events happening before one’s birth have a corresponding effect throughout one’s lifetime.

This third edition of Directions belonged to the late Al H. Morrison, an influential career astrologer from New York City, who popularized the Void-of-Course Moon and pioneered research on the astrological significance of asteroids. In June of 2025, Morrison’s estate bequeathed his astrological library to the CAELi Institute located in historic Tumwater, WA. Upon finding the book in precarious condition, the library’s director brought it to me to see how we could save this historic text, both in its content and provenance. The director, familiar with my work in curliquesieessesse, asked if it would be possible to create a leather binding that captured the spirit of the original cover’s artwork, but made it more like a relic, a fossil, something lost to the ravages of time.

The Process

As mentioned above, this book needed a lot of love to bring it back to life. I wouldn’t say there was anything out of the ordinary for a book this old, so it was fairly straightforward. For the rips and tears, I applied a mixture of methyl cellulose and PVA glue with Japanese Conservation paper. Color-matching the original paper with the correct Japanese paper is always very rewarding, as the repairs can be seamless if done correctly. 

Once the repairs were finished and the paper was in good condition, the binding process was just like any other book. I’d say my only alteration from my normal process was using a tabletop method for sewing. Since the book was so small and still a bit fragile, I opted to use this method so as not to put any undue stress attaching it to the sewing frame. 

The design is a hand-drawn draft inspired by the original cover. Instead of working with Astrological symbols, I wanted to take a more “planetary” approach.

Sophia’s Journal

Sophia's Journal

Custom Design Binding

“No Risk, No Story.”

Golden Flower, The Perks of Being a Wallflower

About the Project

Design bindings are fun to create, especially when it is for someone who is doing such wonderful work. This project is a gift to my niece to celebrate the wonderful path she is on and the ambition she holds for her future. 

Combining modern aesthetics with traditional tooling, this project provided a chance to express an artistic vision that captures the elements she enjoys the most. I’m happy with how it all came out and I’m exceptionally proud to give this to her.

L Frank Baum Collection

L. Frank Baum Collection

Restoration and Rebinding

“The sun always shines, and its rays are perfumed.”

L. Frank Baum, The Magical Monarch of Mo

About the Project

Rebinding and restoring old books is a very rewarding process, both for me and my clients. Each book I work on has its own needs, and these three are no exception to that. Every technique I’ve learned over the years was employed in this project – paper mending, inlay/onlay, rebinding and hinge repair. When working on a set of books, I always take extra care to match the sizes so that they fit together on the shelf and are inline with one another. 

The result is a great collection of books that will last a lifetime and will be wonderful gifts to future generations.

Under the California Sun 2025

Under the California Sun

Custom Design Binding

“As I reach the Autumn of my life, I wonder how I will be remembered”

Ernesto Montellano Salazar

About the Project

This book has always had a special place in my heart, and it’s one of my favorite books to make. 

This is the sixth printing of Under the California Sun that I’ve had the honor of making and I look forward to making many more. Commissioned by a family member, I am excited for them to receive their copy and celebrate the man we all love and cherish.

To learn more about the history of this book and its journey to publication, click the link below

Under the California Sun

The Process

Siegfried 2025

The Story of Siegfried

Restoration and Rebinding
with Original Art Inlay

“... The same paper, identical printing. Isn’t it a wonder?”

A. Pérez-Reverte, The Club Dumas

About the Project

Rarely do I get a chance to work on a book I’ve done before. Even more so when it’s a book from the same year, same printing, same edition.

When my client contacted me with her book, my heart skipped a beat. The Story of Siegfried is a book I’d rebound for myself many years ago, from an edition I’d picked up at a local estate sale. It was a chance for me to showcase a set of design features that has been employed frequently this year – original artwork inlay, endleaf reconstruction, paper mending/restoration. When I suggested that we replicate the work I’d done for my personal copy, she was happy to move forward with my proposal.

With my copy in-hand throughout the process, I immediately set to work on the restoration and rebinding of this beautiful edition. What brought me a bit more joy was a chance to improve on my original design. While I enjoy the work I’d done for myself, I’ve always had this feeling of “if I had the chance to do this again..” and now I do!

For instance, reprinting the endleaf sheets to keep with the original printing. Additionally, having a different layout for the spine stamping and tooling was a definite improvement.

I am very proud of the result and happy that her book has a new lifespan, one that will last generations.

The Process

Deathfire

Deathfire

Custom Rebinding with Original Art Inlay

About the Project

Another paperback conversion!

Using the same methods for the Vengeful Spirit project, we extracted the front cover art and reprinted the endleafs to produce an upgraded version of the original book. I ended up taking more pictures of the process, as compared to the finished work. It was a lot of fun making this book, and I’m excited to do more in the future.

The Process

Vengeful Spirit

Vengeful Spirit

Custom Rebinding with Original Art Inlay

About the Project

A paperback conversion with some added flare!

This is actually the second project I have done with this client, and I will be uploading the first book we made together soon – I just forgot to do it when we finished!

We essentially wanted to ‘upgrade’ her book without losing the overall feel and aesthetic of the original paperback copy. So, I suggested we extract the original front cover and place it on the new case with a recessed window (inlay), thereby protecting the art from any friction and preserving it. The endleafs of the book were the expanded version of the painting done by Neil Roberts, so we scanned them in adn sized them appropriately for the new endleaf sheets. 

The leather we worked with is a fine goat/kid leather from Siegel Leather and is some of the best I’ve worked with. It has a rich, dark blue-gray color and is supple to the touch. The book feels great in your hand and feels comfortable to read. For the spine decoration, we decided to work with a blue-gold foil with silver for the title panel on black leather. 

The result is quite wonderful. I had such a great time making this book and it feels good to work with new material. Plus, exploring with different color foil is always a treat.

The Process

Gallery coming soon..