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.

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.

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”

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

Custom Poetry Book

Custom Poetry Book

About the Project

Time was of the essence for this project. My client contacted me in late February to commission a custom poetry book for an upcoming trip to Venice she and her fiance planned – which was happening in less than a month. Normally, I don’t take on new projects with a timeline so abbreviated, however, something spoke to me on this one and I felt like I needed to do anything I could to help her. I am, admittedly, a romantic at heart and a story like this just felt magical and I was honestly happy to help. 

She and her fiance had written poetry during the Covid-19 pandemic in 2020, which served as a connective and strengthening exercise for them both. As they were joining each other in marriage, she wanted to capture those moments with each other into a single volume that will last for the rest of their lives together. 

This project was a full “ground-up” endeavor, taking it from an abstract idea into the physical world. She sent me the raw text on .doc files and I set to work designing and typesetting the book. We worked quickly and we were in constant communication. Thankfully, the book was finished and cured on time and delivered a few days before they departed. From beginning to delivery it took about 3-weeks.

The result was exactly what she’d imagined.

The Proposal

After my client returned home she sent me an update on their trip and included some amazing photos! The photography was done by Luisa Basson and they are excellent. Her website is https://www.luisabassowedding.com/ and more of her stunning work can be found there.

I am so touched that she included me in this important moment for them and I don’t often get to see the books I make in their new life. Seeing what we made together, in context and in action, was a surreal experience. 

As a bookbinder, I operate mostly in the background – making books that people enjoy and that look nice within a collection. But knowing that something I made played a small part in such a big moment for them will always be special to me.

Two people holding a blue leather book
Photography by Luisa Basso (https://www.luisabassowedding.com/)

The Process

Since this was a time sensitive project, I decided to do this work in the cuir-ciselé technique. While I have been perfecting my skills in freehand gold/silver tooling, I wanted to get this done with confidence and havana set-backs at all. I began with veg-tanned sheepskin and carved the Rialto bridge design first. Once the leather was colored and finished I moved on to the stamping for both the front and back covers. Since we had a relatively large canvas to play with, I felt a 36pt type would be perfect for the title and it really captures the gold in a lovely way. I also decided not to stamp the spine, since vertical stamping can be quite time consuming to get it to align just right on such a thin spine.

Princess Mononoke

Princess Mononoke

About the Project

Princess Mononoke is an excellent film, one that holds a special place in my heart. I first saw it when it came out in 1997, going to the theaters with my brothers and even owning a VHS copy when it was released. We watched it repeatedly any chance we got. Beloved by many, this film captured the historical and mystical elements of Japanese lore while balancing themes of environmental corruption at the hands of modernity and progress.

A few years ago, my family and I began watching all of the Studio Ghibli catalog, however, my daughter was particularly enthralled with this title. We’d watch it again and again, every day for months. We’d play games centered around the plot as my daughter ran around on her pretend wolf-mother, battling the forces of the evil “Lady Eboshi”. As the titular Princess, she assigned the role of Prince Ashitaka to me, and we’d run with wild abandon as we’d rally the spirits of the forest to our cause.

The creation of this journal is an expression of our precious time together. My only goal was to keep those memories and blend them with my art. While I originally thought about selling it, I quickly realized that it’s best to keep it at home and use it to share travel memories with my daughter.

The Process

I decided to execute this design with cuir-ciselé, giving me a full range of custom expression and color choices. Each cover design was hand-drawn first before being transposed onto the veg-tanned sheepskin leather. For the back cover “mask” design, I employed a water-based dye of both yellow and red, giving the final look a subtle but striking aesthetic. The overall coloring was accomplished with a “saddle tan” gel antique, which has a red/burned feel when finished.

Waking to Nightfall

Waking to Nightfall

About the Project

This project began in the Summer of 2024. The client contacted me with a clear vision of what he wanted to make, sending me a digital mock-up of what he had in mind. The key component of this design, aside from the intricate knotwork, are the contrasted areas between light and dark blue and the 12 “studs” on both covers. I immediately began working with ideas of how we can make this project happen. My first instinct was to run with a cuir-ciselé approach, followed by custom engraved stamps where needed.

While it took some time to finish this project, I feel like we made exactly what was intended. A custom leather book, traditionally bound, with bold design features.

The Process

I first needed to isolate the design from the digital mock-up the client sent me and size it to the text-block, which gave me an opportunity to extract the Moon Design and the Title/Author for the spine. I knew we needed a custom stamp for the spine, however, I initially thought I could carve the moon myself. Unfortunately, the carved moon design didn’t translate as well as I intended, so we decided to make a second stamp for that part. 

When I made the first draft it didn’t feel like the contrast of color was present, so I went back to the drawing board for another draft. I took my time with it, experimenting with different dyes and finishes that would stand out and give us the contrast we were looking for. Thankfully, I found a solution. Using a turquoise dye, I put down a base layer over the entire hide and let it dry overnight. I then focused on the border areas we wanted to emphasize and finished them with Atom Wax. Once that dried, I went over it again with an “Evening Blue” to give us the darker blue. For the final step, I applied a Japanese Gel Antique to smooth out the coloring and blend it all together. 

Once the coloring was completed I attached the boards. Before turning the edges in, I then punched holes for the studs. Since I don’t often work with these, I asked around to some of my colleagues for their advice. It’s always fun to collaborate with the community, whenever the chance arises. For this design aspect I chose to go with “Chicago Screws”, finding the exact size that matches the boards and leather thickness (approximately 4mm).

Dragonriders of Pern

Dragonriders of Pern

Anne McCaffrey

About the Project

This is one of those special projects where I was given full latitude to express an ambitious design. 

The client found me a few months ago and we began discussing how we could transform his beloved book. As it happens, I was given a similar book by my Aunt when I was a child, so I was familiar with how unique and cherished this story is. My client gave me a clear directive – “I want you to go full-on; let’s art!”. So I began looking around for inspirations and artwork that I can translate onto leather.

The Process

While looking for nice artwork, we found two pieces by the same artist. Melissa Hudson (https://mhudson-illustration.com/) is a brilliant artist and we felt her depictions of Lessa and Ramoth were perfect for this project. I found both the original sketches and the finished works to be used as references for our translation onto leather.

We wanted the back cover design to feel like Lessa and Ramoth we climbing onto the book over the cover, so we had to flip the original artwork to make this happen. After centering the front cover design properly, I was then able to measure and size out the proportions for the back cover design. It all came together perfectly, fitting to the edges precisely.

I also decided to do something special for the book’s endbands. I normally work with a silk/cotton endband, sometimes sewing them myself for a little added security. However, I wanted this small detail to stand out, so I recalled a method my late bookbinding master taught me during my apprenticeship with him. I took a small strip of goatskin leather, skived it down to a paper-thin weight, and wrapped it around a small cord of bamboo. The result is a matching leather band that it truly unique to the book. No other endbands exist like this – because these are the only ones!

Polar Latitudes

Polar Latitudes

Explorers Experience Log

About the Project

In early June I began working with a client who contacted me to create a custom logbook for their expeditions to Antarctica. They represented Polar Latitudes, a group dedicated to introducing people to the wonders of Antarctica. With regular trips to our Southern Continent, they help reveal the beauty and majesty of a vast landscape, full of awe-inspiring locations seemingly untouched by time.

As we set forth to bring this idea to life, I dedicated myself to creating the book this group deserves. The results of our work together will hopefully be something their travelers will enjoy, allowing them to record their experiences on their journeys.

The Process

The client was clear in their vision, which always helps. I could tell immediately that they knew what they wanted and it was up to me to bring it to life. They came armed with drafts of potential results, giving me options to work with. Additionally, we knew the size of the book would be quite large – 12”h x 15”w. The surface area alone presented the challenge of sourcing enough leather to cover the required space. Using a quarter-bound approach, where the spine and part of the covers are bound with one hide of leather and the remaining space of both front/back covers are encased in another. For the spine, we chose a fine morocco (goatskin) with a “garganey” color. For the covers, we decided to work with veg-tanned sheepskin to accomplish the design. Since the background compass rose was so large, rather than commissioning a custom stamp to be engraved (which would have been costly and unwieldy), I suggested we employ cuir-ciselé to carve it out. Since that technique is my specialty, I knew it wouldn’t take much work to make something nice that would complement the overall feel of the finished product. The center logo was created with custom-engraved stamps, breaking it into two elements – the Antarctica “P” and the nautical star. We did this to allow the aqua-blue metallic stamping for the star, leaving the Antarctica “P” as a dark depression.

Another fun aspect was the bookmark. I usually include a satin/silk ribbon with all my bindings, but the client had someone in mind to create a custom knot-work cord for the marker. It arrived shortly after I began work and I included it into the binding. Since it was made of cord I was able to actually sew it into the spine, securing it to the book itself.

The Endleaves

I don’t normally write much about the endleaves, but in this case, it’s a bit different. I personally like working with marbled paper from Hollander’s, however, my client had particular images they wanted to use for this book. Welcoming their future travelers into the logbook, the images they provided helped bring out the full breadth of the book’s mission.

Front Endleaf

Back Endleaf

Proximus Experimana

Proximus Experimana

Custom Grimoire

About the Project

I began this project by polling my followers on Social Media. Every so often I have a gap between work and I try to fill it with something new. So, I had some ideas of what I’d like to make but I figured I’d reach out to everyone to see what they’d like to have me do. The options all centered around a blank book (internally), focusing mostly on the outward decoration. The overwhelming majority was for a Grimoire, followed closely by a Norse design of some kind.

I immediately began researching what I’d like to include on the covers. Personally, I enjoy making a book with some kind of story embedded in the decoration – preferably one that spans both covers. I scoured through reliquaries, artifacts and witchcraft collections. I did my best to veer away from modernity, choosing to focus on symbology with historical roots to actual practices. Yet, allowing the design to be transmutable for its future owner.

The Process

Essentially, the imagery depicts “secret knowledge within”, the front cover beckoning the user to open the book to reveal its contents. The back cover relays the message of “knowledge attained”. Certain elements are missing from the front cover design and the “flame of knowledge” is replaced by an all-seeing eye.

The gold stamping is abbreviated Latin, taking inspiration from the engravings of the Novum Portis (aka the Nine Gate of the Kingdom of Shadows). It says IGNISOR ACCENDI “The Fire is Lit”

Life As I Know It

"Life As I Know It"

South Bay Forgeworks
Custom Journal

About the Project

This is a custom journal I made in collaboration with Bret Childers of South Bay Forgeworks. It is a project that has been long in planning and I’m happy we could finally work together.

I met Bret a few years ago when we connected over our shared interest in blacksmithing. He does amazing work in his forge and regularly hosts classes on a whole range of topics surrounding the art. The class I took focused on tradition “Viking” axe making and was taught by Bret Childers and Dale Thorson of Thorson Forge

During our time together we became instant friends and we often connect over our mutual respect for each other’s art. When the opportunity arose for him to take a one-on-one class with me, he jumped at the chance.

We spent two days together in my bindery and I walked him through the entire process. It was a really fun time and I enjoyed every moment of it. It was really great to see someone working with the equipment in the bindery – watching his face light up with amazement at how it all works and how each step in the process leads to a single artifact. 

His book turned out wonderfully.

The Cover Art

We worked with two kinds of leather to bring this book to life. The entire book is covered with a Chestnut Russell’s Oasis Goatskin, a fine Morocco that is considered by most to be a gold standard in the bookbinding industry. For the cover art, we used a nice strip of veg-tanned sheepskin to achieve the cuir-ciselé Norse Dragon piece.

Laws of Media

Laws of Media

Marshall and Eric McLuhan

About the Project

This is a special book and I am honored to be showing it here in my portfolio. This is a pre-first edition (direct from the press, before publication) of Marshall and Eric McLuhan’s “Laws of Media”. The owner of this book has had it for many years and it came to me in unsewn signatures.

To have worked with such a treasured piece of history seems surreal and I am happy to have been up to the task. The front cover design is a cuir-ciselé rendition of the first edition cover art.