With this binding, Andrew suggests the fear and oppression which pervades the novel, onto the design using abstract imagery. Inlaid light and dark grey leathers, along with different grains of black and crimson red goatskins merge into a Lacunose (sanded area) which is the swirl of the protagonist Winston's emotions, which are being sandwiched between the oppression of the grey reality of his life and the black fear of 'The Party'.

This book is a selection of poetry and prose by George Herbert. The design is based on one of his stanzas, a butterfly, to represent growth and transformation. If the design is turned 90 degrees anti-clockwise the shape becomes that of an hourglass embodying time and its fleeting nature. The front cover is lacunose inlay, working to another lacunose inlay of brighter colours. The grey piece of leather on the rear cover is on-lay with blind tooling, with a white on-lay to the front which is foil tooled in various colours and purple dyed.

This book was bound for the first ever Designer Bookbinders International Competition in 2009, the set book being based on the theme ‘Water’. It was bound in various blue, turquoise and grey goatskins, which were then sanded (Lacunose) to merge in a painterly fashion, like watercolours. The top edge of the binding has a very angular shape giving the work a sculptural quality.

This book, 'One Million Trees for Israel' is bound in a traditional style, and honours those who have donated towards the planting of trees in Israel. The method of binding used was the tongue-in-slot method of board attachment. The spine is covered with a piece of goatskin over raised bands separately from the front and rear boards, but with a protruding ‘tongue’ that is then slotted into a channel that runs along the spine edge of the covering boards.

This design for this binding incorporates the silhouettes of Alice and the White Rabbit which were illustrated by Sir John Tenniel. The use of playing cards echoes the Queen of Hearts and her Soldiers. The design, whilst being contemporary has traditional decorative tooling in vivid yellow, harking back to the mid-Victorian era in which it was written.