Saturday, 31 December 2011

WHAT WOULD YOU LIKE TO SEE NEW IN 2012?

What NEW #leathercraft products would you like to see added to the @tandyleather line in 2012?

Please comment your suggestion.

Wednesday, 28 December 2011

Tweeting… Leathercraft Classes

Tap tap tap, tweet tweet, goes the traveling leathercraft classes. TLF Leather Artist Charlie Davenport and Al Stohlman Award Winning Leather Artist Tony Laier, leave January 8^th 2012 for two weeks of classes, workshops and demonstrations in Taipei, Taiwan and Sydney, Australia. During the trip, Charlie will be using Twitter.com to send news of what they are teaching and experiencing during this trip abroad. Readers may follow him at www.twitter.com/tandyleather or by using @tandyleather. Charlie’s tweets will use the hashtag #TandyTravels. Charlie will also be posting their adventures on Tandy Leather Factory’s blog http://blog.leathercraftlibrary.com.

Dates and Locations:

Wednesday, January 11^th, 2012 through Saturday, January 14th, 2012

IVAN LEATHERCRAFT

32, Lane 513, Ruey Kwang Road, 11492, Taipei City, Taiwan

sales@ivan.leathercraft.com.tw Phone: 886-2-8797-8271

Wednesday, January 18^th, 2012 through Saturday, January 21st, 2012

TANDY LEATHER FACTORY

Invites You to Our GRAND OPENING Celebration

Unit 15 – 1 Stonny Batter Road, Minto NSW, AU 2566

Sydney401@tandyleather.com Phone: 61287637130
Fax: 61287637134 Toll Free: 1800727868

Comments (3)

Wednesday, 16 November 2011

GRAND OPENING – TANDY LEATHER FACTORY – AUSTRALIA

Invites You To Our GRAND OPENING Celebration (Wed. Jan. 18 through Sat. Jan. 21, 2012)

FREE LEATHERCRAFT DEMONSTRATIONS BY INTERNATIONALLY KNOWN LEATHER ARTISTS TONY LAIER AND CHARLIE DAVENPORT

DEMOS: Coloring With Eco-Flo™ Products ~ Repoussee ~ Figure Carving Techniques ~ Leather Sculpting ~ Geometric Designs and more!

For details, call 61287637130 or visit sydney401@tandyleather.com

Comments (7)

Wednesday, 9 November 2011

Simple Eyeglass Case Project

MATERIALS USED:

9157-33 3-4oz Veg-Tanned Tooling Leather

99280-11 or 9100-00 1-2oz Soft Lining Leather

8072-00 Adjustable Creaser

8091-00 or 8079- Overstitcher, Size 7

Awl

2605-09 Eco-Flo™ All-In-One Stain & Finish, Grape

2525-01 Contact Cement

3048-00 Leather Shears

56450-01 Waxed Thread, Black

1195-00 Stitching Needles

Eyeglass_Case_Patterns

INSTRUCTIONS:

Layout the pattern on heavy paper, then cut out the pattern.
Place Pattern on the leather, trace around pattern with a stylus or awl.
Cut out the leather.
Lightly dampen the top grain surface of the leather with a sponge.
Using the Adjustable Groover, crease a line 1/8” in from the edge all around both pieces.
Run the Overstitch Wheel in the creased line from one opening mark to the other. (Fig. 1)
Stain, Dye and Finish the exterior pieces. Let dry.
Cut lining leather larger than the exterior pieces.
Cement lining leather to the flesh side of the exterior pieces, and trim. (Fig. 2)
Cement the edges together, except at the opening end.
Punch sewing holes with awl. Use saddle stitch to attach sides together.
Go over finished stitches with Overstitch Wheel to neaten up stitches. (Fig. 3)
Slick edges with slicker or bone folder, and finish edges.
Finished.

: Figure 1

: Figure 2

: Figure 3

: Finished Case

Comments (6)

Wednesday, 24 August 2011

Wallet Card Case with Charlie Davenport

Wallet Card Case

by Charlie Davenport

PATTERN: Wallet Card Case Pattern

Make a tracing of the case pattern on a sheet of tracing film that is at least ½” larger than the case design itself. Cut the leather the same size as the tracing film. Dampen the entire surface of the leather on the grain side. Place the tracing film over the leather and fasten with tacks or tape to your work surface. Trace the design with a stylus or modeling tool using a ruler to assist in all straight lines (Fig. 1).

Be careful not to draw the lines past where they need to stop. Once the tracing is complete, remove the tracing film and go over all the lines making them deeper and more pronounced. If there is to be tooling, this is the time to use the swivel knife to cut in the design as I have done here (Fig. 2).

Using a rounded modeling spoon lightly bevel the swivel knife cuts starting with the borders (Fig. 3).

The next step I stamped down the background using the A104 and A104-2 background stamps. I also used the S631 seeder for the flower centers as shown (Fig. 4).

At this stage, turn the leather over to the flesh side. The background areas and the outlines of the design should be visible. If any of the outlines are not visible, re-bevel that area with the rounded modeler. Once all the lines are visible on the flesh side, take an ink pen and trace the burnished lines of the pattern, this will help on the next step of “Repoussé” or embossing. Now using the ball modeler tool in one hand, and the leather (grain side up) in my other hand I started pressing down on the leather making sure to stay inside the pen lines (Fig. 5).

After all the raising work is done with the ball modeler, I “painted” on Leather Weld glue onto all the areas that were raised and let dry thoroughly (In hind sight I would have mixed dryer lint with the glue to make a better plug) (Fig. 6 & 7).

After the glue has dried, lightly re-dampen the grain side of the leather. Using the rounded modeler I re-beveled, and rounded off all the cut lines (Fig. 8 & 9).

While the leather is still lightly damp, I applied Eco-Flo Mahogany Antique Gel to both sides. I apply the stains while the leather is still damp to eliminate the streaking that sometimes happens when stains are applied to dry leather. While still damp, take a bone folder along the fold lines of the pattern on the flesh side of the leather. Allow to dry, apply sealer and let dry again (Fig. 10).

Glue a liner to the inside and cut out the case (Fig. 11).

Using a Size 7 Overstitcher and an awl haft w/ diamond blade to prep the project for hand stitching (Fig. 12).

The thread I used is the waxed Nyltex, this a five cord thread. I split the thread and only used a single cord for this small project, and completed the sewing using the saddle stitch method (Fig. 13).

Another small project completed that can be done in a day.

Comments (9)

Wednesday, 24 August 2011

Leather Luggage and Gift Tag Project

MATERIALS:

9157-93 3-4oz Tooling Leather

3500-01 Tracing Film, 1yd

2602- Eco-Flo Cova Colors (-01 Black, -05 Green, -06 Red, -08 White, -20 Gold, -21 Silver)

2610-01 Super Shene, 4oz

3443-00 Small Wood Daubers

11210-07 Waxed Braided Cord, Red

1504-00 ½” Solid Brass Buckle

TOOLS:

35010-02 Damascus Straight Trim Knife

3777-00 Drive Punch, Size 0

35050-00 Swivel Knife

8039-06 Modeling Tool (Point/Stylus)

8027-00 Ceramic Knife Blade ¼”

Craftool Stamps (B935, B203, B200, B197)

8039-05 Modeling Tool (Sm/Lg Undercut)

8039-01 Modeling Tool (Fine/Sm Round Spoon)

8039-03 Modeling Tool (Med/Lg Pointed Spoon)

3031-00 Precision Craft Knife

8074-00 Adjustable Groover

8079-05 Overstitch Wheel, Size 5

31218-01 Awl w/ Blade

3132-00 Lacing & Stitching Pony

1192-13 Harness Needles Size000 (2)

3080-00 Strip & Strap Cutter

8072-00 Adjustable Creaser

PATTERN: Luggage/Gift Tag Pattern

Directions

Cut out the pattern on heavy paper or cardboard.
Place the pattern upon the leather and trace around it.
Cut out the leather.
Use a No. 0 punch to round the ends of the strap slot. Cut between the holes with the craft knife.
Cover flesh sides with masking tape, to prevent stretching while tooling.
Prepare the leather for tooling or carving by dampening the leather with sponge on grain side. Allow surface moisture to evaporate until leather returns to its natural color.
Transfer tooling design to tracing film. Be sure no lines have been omitted.
Center the tracing of the tooling pattern on the damp leather. Transfer the design to the leather using the stylus. Push just hard enough to make a clear impression.
Before removing the tracing lift one corner at a time and check to be sure that none of the lines have been omitted.
After the design has been transferred, use a sponge to moisten the grain side of the leather. It must be almost wet for cutting the design.
Insure the swivel knife blade is sharp. A dull blade tends to drag as you cut the leather. Strop the blade often on a leather strap impregnated with jewelers rouge.
Cut design.
Tool design as desired.
Use the filigree blade to cut the line opening for the window. Do not cut all the way through; you can use the craft knife to finish the cut after you have finished tooling.
Use the spoon modeling tool to smooth and add roundness to beveled edges.
After all stamping is done, and the leather is dry. It is time to color your tags as desired.
Apply a finish of choice to seal the pores of the leather.

Assembly

Cement the three edges of the flesh sides of both tag pieces. Attach flesh sides together.
Set adjustable groover at 1/8” and run a stitching groove around the three edges.
Mark stitching holes with a #6-overstitch wheel inside stitching groove.
Punch holes for stitching with an awl with diamond awl blade.
Place tag in stitching pony, and using needles and waxed thread saddle stitch tag together. Trim excess thread.
Apply edge coating (mixture of 2/3 cova color of choice and 1/3 super shene) with small wool dauber.
Cut strap using strip & strap cutter set at ½”. Trim ends according to pattern.
Punch hole using No 0 punch, and cut two slots as shown.
Insert an identification or gift card. For protection, place a thin piece of clear plastic over the card. (Overhead projection film cut to size works great).
Place the strap with the flesh side up in a 1/2” strap buckle. Insert the flat end of the strap through the slot in the tag and fasten the strap to the buckle. To hold the tag to your luggage or gift, place the tapered end of the strap through the buckle.

C. Davenport

Comments (4)

Wednesday, 24 August 2011

Leather Teddy Bear Project with Charlie Davenport

MATERIALS:

9038-01 4-5oz or Lighter Veg-Tanned Leather, was used for the front

9118-02 Hair-On Calfskin, Brown & White, was used for the back

2608-04 Eco-Flo Hi-Lite, Chestnut Tan

2608-02 Eco-Flo Hi-Lite, Coffee Brown

2602-20 Eco-Flo Cova Colors, Gold

2602-01 Eco-Flo Cova Colors, Black

3447-00 Sponge

2610-01 Eco-Flo Super Shene

1366-03 Synthetic Crystal Rivets

2526-01 Tanner’s Bond Rubber Cement; or/

2540-01 Tanner’s Bond Leathercraft Cement

1227-03 Nylon Thread, White

Stuffing

TOOLS:

3031-00 Precision Craft Knife

35048-00 Swivel Knife

8039-03 Modeling Tool

3240-00 Deluxe Rotary Punch

3462-00 Decorative Rivet Setter Set

1192-13 2 – Harness Needles Sz 000

3607-00 Wing Divider

8091-00 Craftool Spacer Set, #5 whl

3318-01 Flat Side Awl Haft

3319-05 Sm Diamond Awl Blade

3132-00 Lacing & Stitching Pony

PATTERN: Leather Teddy Bear Pattern

Directions

Using the pattern, I made a cardboard template for future uses; this is great if you want to make multiple bears at the same time. Place the template on the flesh side of the leather you are going to use for the bear. Remember to flip the template over when you trace around for the back piece. Once you have the pattern transferred to the leather, cut the pattern out with leather shears or craft-knife.

Using the wing dividers set at 1/8” apart, scribe a line all the way around the front of the bear. If you would like a more professional look and have, your stitching recessed into the leather use the stitching groover instead of the wing divider. Follow the scribed or grooved line with a #5 overstitch wheel marking your stitch placements.

If you are using veg-tanned leather as I have for the front, lightly dampen (case) the entire piece, and then transfer the face portion of the pattern to the grain side of the leather. Use a swivel knife to cut the lines, be careful not to cut more than half the thickness of the leather especially if you are using leather thinner than 4oz. You can use a modeling tool to bevel around the nose and under the mouth. If you are going to use crystal rivets for the eyes as I have done, this is when you would want to punch the holes for the rivets.

It is coloring time! I colored mine in a few steps. First, I applied Desert Tan Hi-Lite over the entire front piece, and wiped of the excess. Then, using a wadded up paper-towel dipped into some Coffee Brown Hi-Lite, I dabbed this around the edges to produce an aged effect. After the Hi-Lite was dry, I used the Cova-Colors black to outline the facial features. Finally, I sealed the front piece with Super Shene.

To set the crystal rivets for the eyes, I used some scrap leather with matched holes to thicken the area of the eyes to allow the rivets to set better. Remember to have a poundo board or similar item under the rivets so they are not shattered while setting the rivets with the rivet setter.

Assembly

Once all your surface decorations are complete, flip both front and back pieces over so the flesh sides are up. Apply a small amount of glue around the inside edge of the bear, leaving a space from ear to ear free of glue to be able to stuff the bear later. Carefully join the two pieces of the bear aligning the edges all the way around.

With the front and back pieces now joined, use the awl to make your stitching holes. I find that an easy way to do this is to lay the bear down on a poundo board face up, and keeping the awl straight up and down press down through both layers of leathers. After all the stitching holes are complete, I place the bear into the stitching pony to stitch together from ear to ear using the saddle stitch technique. Once you have stitched around to the other ear, remove the bear from the stitching pony.

Prior to completing the sewing, it is time to stuff the bear. I used poly-fill to stuff my bear; my kids use dried black-eyed peas (they are less expensive). Once the bear is stuffed to personal preference, complete the sewing of the bear. For an extra touch, I trimmed around the bear, evening up the edges. You could also add an edge dressing for a more professional look.

I hope you have as much fun making your bears, as we did making ours.

C. Davenport

Comments (2)

Wednesday, 24 August 2011

Leather Repousse Technique with Charlie Davenport

LEATHER REPOUSSÉ by Charlie Davenport

Repoussé is the decorating technique of raising a design, or select portions of it, above the surface of the leather, by working the leather from the back side and giving them three-dimensional form. Using this technique in conjunction with flat modeling or carving enables the artist to make leather a viable art medium. Unlike carving, tooling, or stamping where the leather is only worked from the grain side, repoussé is a process that combines working on both sides of the leather: the flesh side is worked to give it volume and form and the grain side to outline and define areas with detail.

Repoussé is done on vegetable-tanned leather. The most suitable type is calfskin, especially 3-4oz (3/64 – 1/16^th inch) thick pieces, although some artist prefer thicknesses greater 5oz (5/64^th inch).

PATTERN: Repoussé Project Pattern

The design is drawn on paper, velum, or tracing film.
Moisten the leather on the grain side with a sponge or spray bottle. The first time water is applied to the leather, it must be moistened evenly over the entire surface, and this is to prevent water stains appearing when the work is finished.
Transfer the design to the grain side of the leather by placing the design paper down on the dampened leather, then trace over the entire design with a stylus to the grain side by applying sufficient force to make an distinct impression on the leather.
Remove the design paper – Note: to ensure the design is entirely transferred prior to completely removing the design paper, by lifting one corner of the design paper to inspect the leather.
These lines must now be impressed more deeply into the leather. To do this place the leather grain side up, on a slab of marble, glass, or any hard working surface. Holding a small ball-end modeler as you would a pencil, increasing the pressure as you go over the outline of the design several times until the lines are depressed to the desired depth. Be sure to keep the depth of the depressed lines uniform. This should give a clear outline of the design on the flesh side. If water oozes up behind the modeler, let the leather dry a little. If the leather is, too damp it will not hold an impression well. If the modeler tends to scratch or break the surface of the leather, dampen the leather lightly on the grain side with a sponge. Dry leather will not take a good impression.
Now work the leather from the flesh side to raise areas from the back to give it volume. Hold the leather in one hand with the flesh side up which acts as a cushion. Using the ball-end modeler , work the leather from the flesh side by pressing firmly with the ball modelers while sliding it along the lines of the design. Use the modelers with different balls-tip sizes depending on the areas that need to be worked and the level of relief wanted.
The process continues by working both sides of the leather alternately, using different tools until the desired figures are achieved. To get good results with this technique, the leather must be somewhat flexible; therefore, it may be necessary to re-dampen the leather several time during the process.
Once the desired volume/depth is achieved, apply white glue on the flesh side to harden the leather and to make the leather hold its shape. Let the leather dry for about twelve hours. When the glue has dried it turns into a resistant and flexible film that helps maintain the desired shape also making it easier to continue working on it.
Mark the lines of the design with a spoon modeler. Press gently on the grain side, modeling the outline of the body of the design. To do this, use a modeler with a very fine/narrow spoon end with a slight curve.
Re-moisten the leather if needed.
Mark the small details of the design on the grain side, using the narrow point-spade end modeler and pressing firmly over the areas with very narrow spaces.
The rest of the designs outer contour is marked from the grain side, following the outline of the design and flattening at the same time, the surface of the leather that surrounds the design, to do this, use the spoon-end modeler with a medium-round tip.
Mark depressions of the design, outlining them with a spoon-end modeler to give it volume. The central depression of the design is deeply marked, while adjacent depressions are modeled from the inside out. This should give the piece a greater feeling of volume.
Now continue working the repoussé from the flesh side. Work on each of the areas between the depressions separately following the design in such a way that the central section will have the highest relief, while its sides will have less, decreasing toward the outside. The work always follows the sinuous shape of the design. Use a modeler with a small ball point.
Outline the interior lines with a round spoon-end modeler, pressing firmly on the grain side over the needed areas.
Go over again with the same modeler, flattening the area between two lines. Continue this process over entire design.
Allow to dry.
Stain or color the piece.
Seal.
Finished repoussé.

Comments (11)

Wednesday, 24 August 2011

Leather Holly Leaves Project

Making “Leather” Holly Leaves

with Charlie Davenport

Follow along and learn how to make a beautiful holly leaves out of leather. This simple but elegant project makes a great gift or a holiday decorating project to do with family and friends.

Materials Used:

3-4oz Vegetable Tanned Leather

Sponge

Craft Knife

Modeling Tool – Stylus

Modeling Tool – Med Pointed Spoon

Cova Colors – Kelly Green

Cova Colors – Yellow

Eco-Flo Super Shene

PATTERN: Holly Leaves Pattern

Instructions:

Step 1 Taking a sponge dampen the leather with water.

Step 2 Transfer the leaf pattern to the leather by tracing the pattern using the stylus. Using only enough pressure to transfer the pattern.

Step 3 Start cutting the leaf along the exterior solid lines of the pattern with the craft knife, holding the knife a about a 45 degree angle. Be extremely careful not to cut yourself or parts of your leaf.

Step 4 Once the leaf is entirely cut out, re-dampen the leather if it has dried out.

Step 5 Utilizing the ball-end modeling tool first, by rubbing the back side of the leaf to raise the areas on either side of the center line and in random areas elsewhere on the leaf. Now using the medium spoon modeling tool press along the dotted vein lines on the front of the leaf as pictured below. The final part of this step is to use the smaller tip of the stylus to lightly draw in the smaller veins. You may also utilize your fingers to mold and shape the body of the leaf by squeezing the sides, pulling, and or rotating the ends. Let dry.

Step 6 Once the leaf is dry, you can color your leaf however you choose. Being vegetable tanned leather you could use Cova Colors, leather dyes, paints, markers, watercolor pencils the choices are almost limitless.

I colored my leaves by painting the entire leaf front and back using the Cova Color—Kelly Green straight from the bottle. Then using some of the Kelly Green mixed with the Cova Color—Yellow I painted the tips and the main vein with the yellow-green. Once the paint has dried, I applied a light coat of Super Shene with a brush. This was a very fun project, I have since made a quite a few of these making the stems just a little longer so I could tie three of the leaves together to make fancy gift tags.

Comments (1)

Wednesday, 24 August 2011

Leather Christmas Card Project

TOOLS & MATERIALS

6047-00 “HOW TO CARVE LEATHER” by Al Stohlman (Page 18, Page 42, Back Inside Cover)

2-4oz Veg-Tanned Tooling Leather (suggested leathers)

9157-93 3-4oz Craftsman Oak Tooling Side

9154-00 2.-2.5oz Petite Tooling Calf

9153-00 2-3oz Petite Tooling Goat

9157-32 2-3oz Craftsman Oak Tooling Side

9157-33 3-4oz Craftsman Oak Tooling Side

9157-72 2-3oz Oak Leaf Tooling Side

9157-73 3-4oz Oak Leaf Tooling Side

9003-02 3-4oz Royal Meadow Tooling Side

3500-00 Tracing Film – 1 yard

35048-00 Swivel Knife w/ Blade

Filigree Blade (8027-00 Ceramic, 8014-00 Steel, or 35051-04 HCS1055)

Craftool Stamps: (B803, F891, F902, F976, F900, S631, B61, S864, B701, F899, P972, S633, S931, S932, F895, B199, F896)

8039-06 Modeling Tool – Fine/Small Round Spoon

8039-01 Modeling Tool – Point/Stylus

8116-00 Bone Folder

PATTERN: Christmas Card Pattern

Directions

“Here’s “How” to wish a Merry Xmas and a Happy New Year of Carving” with Al Stohlman, from the How to Carve Leather book by Al Stohlman.

Make the tracing and cutting patterns. Be sure no lines have been omitted. Cut the leather to size.
Dampen both sides of the leather. Allow surface moisture to evaporate until leather returns to its natural color.
Center the tracing on the damp leather. Transfer the design to the leather using the stylus. Push just hard enough to make a clear impression.
Before removing the tracing lift one corner at a time and check to be sure that none of the lines have been omitted.
Use care in tracing and cutting all lines, the finished carving will be no better than its outline. Do not cut the dotted lines. They are merely guides for beveling.
Strop the blade of the swivel knife. This insures easier cutting and better work.
Cut the outlines of the design holding the swivel knife vertical, do not lean the knife to the right or left.
Refer to the photo-carve pictures for stamping tools and location of use.
Use the spoon modeling tool to smooth and add roundness to beveled edges.
After all stamping is done, and the leather is dry. It is time to color your cards as desired.
Apply a finish of choice to seal the pores of the leather.
Punch holes for lacing or stitching.
Moisten and fold creases with a bone folder.
To cut out letters, snow and interior of wreath…use Craftool filigree blades. (Practice on scrap leather.)
To simulate snow…use white leather or heavy white paper behind filigree.
After backing filigree with desired color…cement edges. Lace or stitch as desired.
You can also use the 4903-01 ¼” Alphabet Stamp Set to easily customize and personalize your cards.