Tuesday, 24 February 2015

Mila Handbag Pattern By Charlie Davenport

 

February’s Flyer featured the Mila Handbag as the Kit of the Month!

Charlie Davenport created a Tracing Pattern that is available for free on the Leathercraft Library, however we wanted to supplement the image with some more in depth instruction.

Mila-Handbag-44318-Bonus-Pattern

 

Decorative Column

1. To begin, cut lines for the decorative column using a swivel knife.  These 4 cuts will run parallel to the left side of the front of the purse and will be approximately 6.5 inches in length.  It is recommended to use a stainless steel ruler to ensure straight cuts.

The first line: Cut a line 1 inch from the left outside edge.

The second line: cut a parallel line 1/8 inch from the first line

The third line: cut a parallel line 1 1/4 inches from the second line

The fourth line: cut a parallel line 1/8 inch from the third line

IMG_6208  IMG_6206 Cropped

 

2. Now that you have your column completed, it is time to use a decorative stamp to create the pattern.  We used a stamp from the Craftool Floral Stamp Set, roughly 1/2 inch x 1/2 inch in size.  Begin stamping near the top edge and space out the stamps with 1 inch distance between the centers.  Continue to stamp the design in the pattern shown in the picture below.  Create the dotted line pattern that connects the stamps with an awl or pointed stylus.

IMG_6211 IMG_6209 1 Inch

IMG_6215

 

3. Using a Beveler Stamp, bevel the inside lines.  You can also bevel the outside lines, or alternatively use a Round Spoon Modeling Tool to give a more gentle rounded edge for the outside cut lines.

IMG_6213 IMG_6218

 

4. Using a M884 Matting Stamp, matte the area to the left of the column.

*Tool Tip – The leather needs to be almost dry when using background matting tools.  If matted while damp, the surface of the stamp can burnish the leather.

IMG_6212

 

 

5. (Optional) Using a Craftool Hair Blade Tool, run down the centers of the 1/8 inch wide columns to add additional texture to your project.

IMG_6217

 

 

 

LETTERING

1.These letters were traced from the Alphabets For The Leathercrafter book.  Using a pencil, trace the letters on to tracing film and then transfer them on to dampened leather with a pointed stylus.  For our design, we used 3 initials and overlapped the letters provide a canvas with more coloring options.

Alphabet

2. Bevel the outside of the letters.  There are quite a few different looks that one can achieve with different Bevelers.  For this design, we used a Figure Carving Stamp on the outside to give a wider bevel and a steep, textured Beveler on the inside to give a steeper bevel.

IMG_6216

IMG_6214

 

DYING AND COLORING

This design used Blue and Red Eco-Flo Professional Waterstains, White Eco-Flo Cova Color, and Red Professional Leather Edge Paint.

We chose to use the Professional Waterstains for this project because they can provide a more even and opaque coloring.  They are also more rub resistant than other dyes and are less likely to fade than oil and spirit base dyes.

Note: Allow AT LEAST THIS LONG for drying between steps.

1. To achieve the light blue, we mixed Blue Water Stain with White Cova Color to reach our desired shade of blue.  Be sure to mix enough to coat the exteriors of both milled pieces.  We then applied it evenly over the entire piece (even over the letters) with a Pro High Density Sponge and wiped it off with a dry cloth to give the two-toned look on milled leather.

IMG_2359

2. Using a Detail Brushes, apply undiluted Blue Waterstain to the interior of the column.

3. Use a paint brush to apply Red Waterstain to the top and bottom letters, as well as the 1/8 inch thick borders for the column.

4. Use a paint brush to apply White Cova Color to the unoverlapped portions of the middle letter.

5. Mix Red Waterstain and White Cova Color to create a mid-tone color to paint in the overlapped areas.

IMG_2360

6. With a clean sponge, apply Eco-Flo Professional Gloss Finish to help seal the color in to your project.

IMG_2371

7. Using a Crafool Edge Paddle, apply the Professional Edge Paint where the leather meets on the side.  Apply multiple coats for a smooth, rounded finish.

IMG_2367

 

Sunday, 1 April 2012

The Good Shepherd with Charlie Davenport – Day 4 and 5

The Good Shepherd

with Charlie Davenport – Day 4 and 5

 

Day 4

Here I am continuing to rough bevel the last of the cut lines. As you can see the rough beveling leaves a “halo” around the beveled object. To eliminate this “halo” effect, all that is needed is to tilt the figure beveler back so none of the edges are in contact with the leather. The tilting back of the figure beveler switches the tool into a smooth matting tool.  Using the tool in this way to mat down the bevel will eliminate and/or reduce the “halo” for a more realistic look.

Once all the cut lines have been beveled, it is time to move on to the “dotted” lines of the pattern. By using the figure bevelers to bevel an un-cut line, the result will be a less defined and more rounded edge. This effect lends itself well to the folds here.

After finishing all the middle ground beveling, I stopped for the day.

Day 5

My goal for the day was to complete all the tooling, leaving just modeling and detail work for the next couple of days.

I used the F941 in the tight spots here to help define the leaves. As you can see, I try to drive the area outside the leaves down quite a bit so they will stand out more.

In the very tight areas, the F902 comes in very handy.

Pear Shaders work nicely for adding form to the rocks.

Here I used the F120 as a small double-sided beveler for the center of these leaves. I will come back later with the B202 R and B202 L to add additional texture to the leaves.

Using the F902 to start the grass takes a lot of time, but I feel is well worth the effort in the end.

After I have used the F902, I switched to the F926 to add the base texture to the grass areas.

Next, I used the F918 lightly to add some additional grass along some of the beveled lines. I also used it randomly over the areas that I used the F926 for another layer of texture for the grass.

I finished the day by added some additional texture to the areas between the rocks and grass with the M884 matting tool.

The remaining detail of the piece will done with modeling tools and a filigree swivel knife blade.

Friday, 30 March 2012

The Good Shepherd with Charlie Davenport – Day 2 and 3

The Good Shepherd with Charlie Davenport – Day 2

With all the swivel knife work done, I decided to start with the background areas first and work my way toward the foreground.  I started beveling with a F900 figure carving matting tool to push the background areas down.

I needed to utilize the sharp point of the F876 to get into the areas around the hair.

Once I had the outline beveled down, I went back over those areas with the F901 to cover a larger area and work my way out from the cut line. As I walked the tool out I reduced the amount of force I was striking the tool to a light tap to blend the texture with the un-tooled background areas.

At the cut line I was striking the tool enough force to press the leather down to depth of my previous knife cuts to get some depth to the project.

On the background on the right side I used the F901 to go along the top of the “dotted” lines to bring the background hills to life.

In the tight areas of the background the A99 comes in real useful.

I was able to get a small portion started by the end of day 2.

 

The Good Shepherd with Charlie Davenport – Day 3

 

With the right side of the background done yesterday, it was on to the left side today.

 

I used the F898 on the hills and a B936 to bevel around the small tree.

Using the A99 to matt down the small areas in between the branches.

Here I am using a F898 to matt down around the bushes and trees.

Once I had the bushes and small trees done, I started working my way forward to the grass covered hill. Starting at the top with the A98 tilted so as the heel of the tool was not making much of an impression. When doing something like grass I try not to be even in the force I strike the tool or in the spacing of the impressions. The more irregular the better it tends to look in the end.

I noticed that the matting around the bush and trees was a little rough, so I used the F901 to even the matting of the sky area.

After a few rows of grass with the A98, I switched to the F926. Here I started the base of the area and worked my way up the hill, varying my strikes with the tool tilted to straight up and down.

On the bush just above the sheep I used the F989 to give the bush a little different texture.

Now that I had completed the left side of the background it was time to move on to the middle ground and some rough figure beveling with the F895, F896 and F891.

I use the largest figure beveler I can use to assist in speeding up beveling, since at this stage I am more concerned with trying to get all the cut lines beveled so as to get the basic shape of the image to appear. I will come back and smooth out any uneven beveling and tool marks later.

Well I was able to finish the background, and most of the rough beveling of Jesus today.

Back in the bag until tomorrow…

Thursday, 29 March 2012

The Good Shepherd with Charlie Davenport – Day 1

The Good Shepherd

with Charlie Davenport

 

Last week I was asked to give a demonstration on coloring leather with our Eco-Flo Leather Dyes and Cova Colors at Oklahoma City’s GRAND RE-OPENING of their new store on Thursday, April 5th.  Great! Well, until I realized I needed something to color besides a blank piece of leather.

 

Then we received a question from a leathercrafter in Oklahoma who had downloaded, carved and tooled “The Good Shepherd” pattern from Leathercraftlibrary.com. The person wanted to know if we had any instructions on how to color the project. We looked through the archives and could not find any specific instructions or color photos of a completed project. Problem solved.

 

The following posts will be a daily overview of my progress through tooling “The Good Shepherd” project.

 

Day 1 (Tuesday, March 27th)

Step 1: I secured tracing film over the top surface of the printed pattern with tape, so the film would not move while I was tracing the pattern. Using a permanent marker I traced over the pattern.

Step 2: I dampened the entire surface of the 20“ x 26“ piece of 5-6 ounce leather (#9157-35) with a wet sponge.

Step 3: After letting the leather set for about 5 minutes to let the moisture to absorb down into the fibers of the leather, I placed the tracing film onto the leather and secured the film with tape again.

Step 4: Using a stylus (#8039-06) I started tracing over the lines with my normal writing pressure. I trace over the dotted lines as if they were solid lines, just with less pressure (just enough to visible). The reason I trace the dotted lines as a continuous line is that I tend to use too much pressure when I trace them as dotted lines. The resulting depressed dots in the leather are hard to camouflage when tooling.

Step 5: Once I had completed tracing the entire pattern onto the leather I removed the tracing film. I removed the film one corner at a time ensuring that all the lines have been transferred to the leather.

Step 6: Using my swivel knife (#8004-00) with a (#8026-00) 1/4” ceramic blade I started cutting all the solid lines on the pattern. I also cut the exterior dotted lines of the hair and the wool of the sheep to get better depth when beveling later.

Step 7: After I had completed all of my swivel knife cuts, I re-dampened the leather and placed the leather in a tall kitchen trash bad and taped the opening closed to retain the moisture content for the next day.

Wednesday, 9 November 2011

Simple Eyeglass Case Project

SIMPLE EYEGLASS CASE

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:

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

©2010 by Tandy Leather Factory. All Rights Reserved.

 

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.

©2010 by Tandy Leather Factory. All Rights Reserved.

 

Wednesday, 24 August 2011

Leather Luggage and Gift Tag Project

Leather Luggage & 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

©2010 by Tandy Leather Factory. All Rights Reserved.

Wednesday, 24 August 2011

Leather Teddy Bear Project with Charlie Davenport

Leather Teddy Bear Project

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

©2010 by Tandy Leather Factory. All Rights Reserved.

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.

©2010 by Tandy Leather Factory. All Rights Reserved.

Wednesday, 24 August 2011

Leather Christmas Card Project

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.

 

C. Davenport

©2010 by Tandy Leather Factory. All Rights Reserved.