Posted on: December 6th, 2015 by Jamie @ Leathersmith Designs
Stamping Extremely Thin Leather?
Earlier this year, a customer visited my shop looking for some leather tools to decorate a bookbinding cover he was working on. It turned out his name is Ronny Fritz, owner of Peregrino Press in Dartmouth, Nova Scotia who does professional bookbinding. He wanted to buy some leather stamp tools for a particular job he was doing which involved bookbinding an old book that was falling apart.
He showed me a sample of the vegetable tanned calf skin which he was planning on imprinting with the new leather tools. Like other bookbinding leathers, it was very thin and I could not imagine how he could imprint such thin leather by striking the stamp tool with a hammer without going right through the leather. I myself am not a bookbinder and work with much thicker leathers and leather craft tools for belts, dog collars, knife cases and guitar straps etc which take deep impressions.
However Ronny said he would send me some info on how he successfully can imprint on these thin vegetable tanned calf skins. He graciously shared these photos and info on how he beautifully imprinted, rebound and restored this old worn book.
Front covered design stamped with leather tools that were heated.
Titling with a gel pen.
Design lines made with wheel of map measure tool.
Heating Leather Tools For Stamping
The technique he used to imprint the thinner leather was to use heat with light pressure as opposed to pressure impacts with a hammer which would leave too deep an imprint. He made wooden handles for the metal stamp tools so he could pick them up from the hot plate without scorching his fingers. A 1/4 ” hole was drilled about 3″ deep into 1″ x 1″ x 6″ wood. He used an electric hot plate to heat the tools. (See photo below). Without a thermostat he had to keep testing the tool shaft against a damp cloth until it just sizzled. He tested hand pressure and dwell time on scraps and when things were looking good, he imprinted the actual leather on the book.
Some leather tools used by Peregrino Press for imprinting leather and bookbinding.
Design Layout For Imprint Tools
Layout of the design elements–lines, fleurons, title patch–was done on tracing paper. This template was used as a guide to transfer the designs onto the leather. First, a light cold impression was made through the tracing paper template. Then the final heated impression was made with the template removed. Just hand pressure was used to push the leather tools into the dampened leather so as to not cut through the delicate calfskin. He did a few touch ups to try to make all impressions the same “intensity”.
If you look closely at some of Ronny Fritz’s tools (shown above), you will see some non-traditional items that were used with ingenuity as leather tools to imprint the leather. Lines were made on dampened leather with an unheated tiny wheel of an old map measurer drawn along a straight edge, and the terminal dots with the head of a 3d finishing nail. The title was written with permanent ink using a o.5 mm black gel pen.
Bookbinding Project Notes
To see the long process of rebinding this book that was falling apart and refurbishing it, view the the photos and notes below that Peregrino Press shared with me. Bookbinding is a trade in itself as you can see from the many steps such as removing worn parts, cleaning, trimming, hand sewing, mounting, rounding, molding, pasting, polishing, titling & tooling. Many thanks to Ronny Fritz of Peregrino Press for all the information provided for this article on this particular bookbinding project.
Posted on: June 29th, 2015 by Jamie @ Leathersmith Designs
Basement Leather Workshop
At age 12, my first leather workbench was a cement block sitting on the floor of my parent’s basement in Dartmouth, Nova Scotia, Canada. In 1975, my father helped me build a number of proper heavy duty wooden workbenches and shelving units so I could start my first leather workshop. My Dad and Mom (Gerald & Verna Hartling) were very supportive in allowing me lots of space in the basement of their home to grow my leather business.
My mother, Verna Hartling by leather splitter in basement leather workshop.
Mr. Mumford, a neighbour across the street even came over one afternoon with his chainsaw and made a solid level workbench out of a very large tree stump. The tree stump is still being used every day for a sturdy work surface for punching holes in leather. On top of the tree stump I bolted an anvil that a friend Russell Lockhart help me make. I even made a dye bench/storage unit from lockers I salvaged from Prince Andrew High School that were being replaced.
Building New Leather Shop
By 1990, I had fully occupied the whole basement of my parents home as a leather craft work area with stock, sturdy wooden work benches, tools and leather bench equipment. To grow my business, I needed more space for more equipment. My parents generously allowed me space on their property to construct a building for a leather workshop in addition to continued use of their basement for stock. However, purchasing more equipment and a building required more money than I could afford.
One day when walking through my neighbourhood I stopped to talk to a hard working man originally from Turkey who owned his own upholstery business. I explained I wanted a building for my leather work but it was too expensive. He said “Since you are young and healthy, you can build it yourself to make it affordable.” His encouragement was nice but I knew nothing about construction.
Mr. Laybolt, a neighbour up the street suggested his son David who was skilled and knowledgeable at construction could possibly work with me building the shop. His son agreed and worked a good part of the summer on his days off and evenings and left at the end of the day with detailed instructions regarding what I had to complete before he came back the next time. My father helped me with the construction as well. Another neighbour across the street, Mr. Piercey, helped me lay the top flooring. Our minister, Rev. Snow even dropped by one afternoon to help secure some windows.
The excavation for this building was done by hand by myself with a shovel which took many evenings over a number of weeks. My brother Philip helped me remove a tree stump when he saw how frustrated I became with the difficulty of the digging and how long it was taking me. Our part of Nova Scotia has a lot of very large rocks under the ground.
In the summer of 1990, I am building the roof and my father is working down below on my first leather workshop building.
Moving Leather Shop Building
In the summer of 1999, we had outgrown our old leather shop and needed a larger workshop. My wife Gail and I considered building a larger building on another site but it was very expensive to rebuild as well as the high cost of having the heavy leather equipment moved. My brother Lester suggested I look into moving the whole building which I already owned. To my surprise, it wasn’t that much more expensive to move the whole building with the equipment in it as opposed to only having the equipment moved to a new location.
We had it moved to our new location next to our larger shop which was just renovated for us by Forrest Brothers Construction. They did a wonderful job adding new windows, doors, walls, insulation, gyp rock and siding. Wiring in the building was done by O’Malley Electric to accommodate leather machinery with large motors. No way was I going to excavate this site by hand with a shovel after my experience of doing it with the first building. I contracted a company to excavate the ground for the placement of the old leather craft shop building but I can’t remember their name. After they finished, my friend Mike Haikings came over with his survey equipment and we accurately levelled the gravel area.
It was quite the move involving approval from the telephone company, cable company & electric company. Routes had to be checked, wire heights for all the utility companies had to be measured. Some overhead wires had to be raised, permits had to be arranged and scheduled moving time with the Halifax Regional Municipality had to be approved.
Before the move, electrical wires and telephone wires had to be disconnected from the leather craft shop. Machinery had to be securely bolted to the floor. Boards had to be nailed to the outside of the building to protect the exterior from the strain and pressure of the cables.
Moving original leather shop building to new location in 1999.
All our leather equipment was inside the building that was suspended by the crane. My livelihood was virtually suspended by the crane cable so we were very relieved when the crane finally successfully lowered it at the new location in another part of Dartmouth. Some of the leather equipment such as our leather clicker weighed a couple thousand pounds and other pieces close to 1000 pounds each. The crane operator was surprised that such a large crane was booked for our building. However, when he started to lift it and the crane registered how much it weighed with all the leather equipment inside, he understood why. He had to stop and reposition the crane to deal with the heavy weight load.
Sagadore Cranes did an excellent job of moving the building. The city of Dartmouth was cooperative with the scheduling times as we needed daylight to see since the building had to be lifted over trees and over the roof of another building but couldn’t be moved during busy traffic. There was manoeuvring in quite tight spots. The crane operator and crew were very skilled.
Relocating heavy leather equipment within the larger leather shop.
The metamorphosis from a tiny concrete block workbench on a basement floor to a large professional leather shop took many years. Most of our business is on the web selling our custom leather products such as guitar straps, dog collars, money belts and leather craft supplies. However we love it when customers and tourists visit our leather craft shop.
Combined leather shop. Older shop next to larger renovated shop.
You can watch the following video of the “Big Shop Move”, which shows how our leather shop was lifted by the large crane and moved through the streets of Dartmouth (Halifax Regional Municipality). In the video, excavation was first done at the new location for the old workshop. After the building move, leather machinery was transferred between leather shops by the crane.
Posted on: January 27th, 2015 by Jamie @ Leathersmith Designs
Quality Increased by Finishing Leather Edges
When I was in my early teens, I first discovered the importance of finishing leather edges well. The finishing methods learned and discussed in this article apply to vegetable tanned leather which is a firmer leather as opposed to soft garment or soft bag leathers.
In the 1970’s, while still in Junior High School, I was selling my leather goods at the Festival of the Arts. A stranger commented that he liked my work. However he nicely pointed out that if my leather edges were smooth where the leather was sewn together, it would add to the overall quality.
It turned out that this stranger was the internationally recognized leather sculptor Rex Lingwood that was living in Halifax at the time. His sculptures have been exhibited widely in North America, Europe, Great Britain and Australia in both group and solo presentations. I also proudly own a leather craft book he wrote called “Leather In Three Dimensions”. When I asked for some suggestions, he kindly invited me to visit his studio and he shared some edge finishing techniques with me. The main thing I was neglecting to do was sand my edges smooth.
Sander For Finishing Leather Edges
Over the years since then, I have had different pieces of equipment set up for sanding leather edges by various sanding drums. Some drums were home made wooden wheels with foam and sandpaper attached that my Uncle Clint Wilson made for me on his lathe. At one point I even bought a 7 foot shoe maker’s finishing machine that had numerous wheels for working on edges. As my shop became more congested with tools and workbenches, I sold this large shoe repair leather edge finisher as it was taking up too much space for what I needed to do.
Finishing leather edges of knife case by sanding it smooth.
Twenty some years ago I converted a furnace blower motor into a edge finishing sander. I had asked a furnace repairman to save a motor for me when a furnace was being discarded. At the time I used a sanding drum from Sears. I bought a bunch of sanding sleeves at the time but many years later, when I tried to buy more sanding sleeves I found they were no longer carried for that size drum any more. Apparently Sears had discontinued that tool line.
I called many wood tool companies trying to find an alternative and got great results with Lee Valley Tools. Bob who works at Lee Valley Tools in Halifax came up with the solution for me when he asked what I was trying to do. He sold me a nice drum set kit and a shaft adapter. He suggested I could pick up a 1/2 inch drill chuck from Princess Auto since he no longer carried them. I wanted to continue to use my motor and hold my leather products vertically to sand the edges. I suppose I could put a sanding drum in a drill press and run my work horizontally but I was used to finishing leather edges this one way for decades. As well, I was used to seeing work held vertically for sanding at a shoe repair shop I used to visit regularly after school when I was a teenager.
Motorized drum sander made for finishing leather edges.
This homemade leather edge finisher that I use in my leather shop everyday consists of a furnace blower motor with an electric switch purchased at a hardware store for turning it on and off. An extension cord has been cut and attached to the motor so I can plug the motor into a wall socket. You can check with an electrician to do this as well as switching wires to change the rotation direction of the motor should you have to do so. The board is C clamped to a workbench for easy removal in case I need the bench space.
The shaft adapter attaches to the motor shaft with two allen key bolts. The drill chuck screws onto the threaded end of the shaft adapter. Choose a sanding drum size and sanding sleeve grit from the Lee Valley Tool kit and tighten it in the chuck with a drill key.
To cut down on leather dust from the sander, I screwed a leather strap loop to a piece of wood to insert my shop vac tube into near the sanding disc. I still advise using eye protectors and a shop mask even though the shop vac captures most of the leather dust from sanding the leather edges.
Beveling Leather Edges
Rounding corner of leather edge with beveler leather craft tool.
After the edges are sanded, I continue finishing leather edges by rounding the corners with a beveling hand tool. The larger the number on the beveling leather tools, the more leather is removed from the corner of the edge.
Coloring & Burnishing Edges
The last step of finishing leather edges seems to vary from leather worker to leather worker. Each leather worker seems to have their own preference for coloring and burnishing the leather edge. There are a lot of leather dyes and finishes to choose from.
<img class="wp-image-665 size-full" title="Black edge coloring applied with foam brush for finishing leather edges c20 cialis.” src=”http://blog.leathersmithdesigns.com/wp-content/uploads/2015/01/edge-finish-application-1.jpg” alt=”Edge finish applied with foam applicator along edge of leather.” width=”500″ height=”289″ srcset=”http://blog.leathersmithdesigns.com/wp-content/uploads/2015/01/edge-finish-application-1.jpg 500w, http://blog.leathersmithdesigns.com/wp-content/uploads/2015/01/edge-finish-application-1-350×202.jpg 350w” sizes=”(max-width: 500px) 100vw, 500px” />
Applying edge kote with sponge applicator to leather edge.
I have used Fiebings Edge Kote for years to give a hard color leather finish. The leather can be smoothed down by burnishing the edge with a denim cloth that had been coated with beeswax. Burnishing is smoothing the leather edge with friction by rubbing it with a cloth in one direction for a number of times until smooth.
For years I used to attend craft shows where a fellow leather craftsman used to apply Fiebing’s Leather Dye to the edge of belts. Then he would rub paste saddle soap into the edge and burnish with a cloth. The edge was slicked very smooth with this leather edge finishing technique.
A saddle maker from years ago that had his leather carvings displayed in art exhibits used another technique that gave a smooth glass edge finish. He dyed the edge with Fiebing’s Leather Dye. Then he dampened the leather edge with water and slicked it numerous times with denim or waxed paper.
When I used to visit shoe repair shops, they would use an edge ink on the edge of the shoe’s sole. This edge ink contained a wax that made a smooth waxed edge when the inked leather sole edge was heated from the friction of a rotating rubber finishing wheel.
Some leather workers even made their own finish from a mixture of corn starch and water which they applied to the dyed leather edge. Other leather crafts people use acrylic leather paint while others just apply the leather dye without doing anything else.
If the leather edge is nice and smooth, you have lots of leeway in developing your own personal preference for finishing leather edges with different dyes, waxes, finishes and burnishing techniques. A well finished edge improves the overall look of your leather craft project.
Posted on: October 2nd, 2014 by Jamie @ Leathersmith Designs
Keon Maskell Making Knives Since Age 13
Over the years I have met different people with unique talents that have walked into my custom leather shop. Last summer, I had the pleasure of meeting Keon Maskell who enjoys making knives from his home workshop in Westphal, Nova Scotia, Canada. He wanted to order a custom knife case to fit one of his latest creations. He showed me a beautifully made knife that he had just finished. What is really interesting is that Keon is a young man of age 16 in grade 11 high school that taught himself how to make his own unique knives.
In elementary school he had an interest in swords and knives. At age 13 he wanted to own a good quality knife but did not have the money to buy one. He was totally self motivated and decided to teach himself the craft so he could have an unique knife. At that young age he started to forge his own knives all by himself. He researched the internet for articles, watched instructional youtube videos, read books and experimented. By age 15, Keon started to get requests for his work and has shipped his custom knives to places as far away as Sweden, Ohio, Pennsylvania in addition to doing local orders.
Process in Making Knives
When he found out that I was interested in the process he used to make his knives, Keon shared the following video showing his knife making steps using a forge and machine tools. To my surprise, he even included the custom knife case I had made for one of his knives in the video. It is very interesting watching the process of making knives which he starts with a plain piece of spring steel and transforms it into a beautifully finished knife with a real deer antler handle.
Video showing the steps to making a knife.
Keon starts making his knives from a piece of 5160 spring steel leaf spring for the blade. He explains that this type of steel is a good balance between being too brittle and too soft. After the spring is separated, it still has a curve in it. To flatten the curve and to flatten the bevels that will later be ground, the steel is first heated red hot to soften it. Then it is pounded to shape on an anvil with a heavy hammer and then cooled in a bucket of cold water.
Keon pounding flat a red hot blade that just came out of the fire.
With a hand grinder, Keon shapes the blade. Sparks continue to fly from the grinder until he gets the desired bevel into the blade.
Sparks fly as the bevel is ground in the knife blade.
Quenching which transforms the property of the metal is the next step in making knives. It involves heating the metal to a high temperature and then cooling it extremely quickly. The extremely high temperature is obtained by dipping the hot metal in a quenching oil. This makes the steel very hard but brittle. To take the brittleness out, the steel is then tempered by adding a constant heat.
Quenching is an important step in making knives.
Real deer antlers are used to make the handle. Keon obtains antlers from family members that hunt. First the antler is cut to size. The antler is then boiled to soften the marrow. This allows the tang to be more easily inserted in the handle after the hole is drilled. The handle is pinned and the ricasso (unsharpened part of the blade) is wrapped in brass wire. Both the wire and handle are then epoxied. Engraving of initial in the antler is done with a Dremel tool. Danish Oil is applied to the handle to give a beautiful polish as well as for sealing and conditioning.
Engraving knife handle with Dremel tool.
To sharpen the knife blade, Keon hand hones it on a coarse stone. For the final touch, a fine stone is used. People interested in contacting Keon about his knives or for custom knife requests can do so by clicking on the youtube button on the above video and leaving him a comment.
Custom Leather Knife Case
I was pleased to be able to craft a custom leather knife case for one of Keon’s original knives. A thick leather blade guard was sewn around the inside of the leather knife case. The perimeter of the hunting knife case was sewn with two rows of thick thread on our harness stitching machine. It was very interesting to make a personalized knife case having met the actual knife maker. Thank you Keon for sharing your talent in the process of making knives.
Custom knife case by Leathersmith Designs for handmade knife by Keon Maskell.
Posted on: July 9th, 2014 by Jamie @ Leathersmith Designs
Tourists Discover Leather Craft Shop
Margaret MacKenzie, a tourist from Glasgow, Scotland, arrived at our leather craft shop near the beginning of her trip to order a custom guitar strap. When she returned to Halifax a week later, she picked it up. She has been enjoying spending her vacation in many of the quaint towns throughout Nova Scotia, Canada.
She said she wanted a personalized hand made craft from Nova Scotia to give as a gift to a musician in her family living in Europe. She arrived at our studio with “The Guide To Craft & Art In Nova Scotia” in her hand which enabled her to find our custom leather craft shop. The free Guide to Craft & Art made her aware of the many talented craftspeople throughout the province. I agreed that the “The Guide” is a great resource for finding unique shops and gifts from the area as well as for meeting the craftspeople that create these original products.
When I asked what were the highlights of her stay in Nova Scotia, she responded “My, there are too many highlights to narrow it down to just a few”. However she did mention enjoying visiting the following communities such as Lunenburg, Mahone Bay, Pictou and Truro. She said the people were very friendly and would go out of their way to be helpful. Aboriginal Day events were most interesting. Jazz music was enjoyed at the Public Gardens in Halifax as well as visits and participation in many of the churches. Most of her touring was done on the public transportation system.
After she made her purchase, my family had to go to Halifax. We offered her a drive as opposed to waiting for the bus. Ms. MacKenzie graciously accepted. While on the way, we pointed out the sights before letting her off on Spring Garden Road to continue her touring. I mentioned the ferry, Citadel Hill and the MacDonald Bridge make great spots for taking photos of the city and Halifax Harbour. It is enjoyable meeting tourists at our leather craft shop. Over the years we have met some very interesting people from various parts of the world.
Margaret MacKenzie enjoyed her vacation touring Nova Scotia. We were pleased she discovered our leather craft shop through “The Guide To Craft & Art” when she visited Halifax. In the other hand she is holding a custom guitar strap we made for her.
Meet Talented Crafts People Throughout Nova Scotia
You don’t have to be a tourist to check out the quaint studios tucked away in interesting communities throughout Nova Scotia. Let the beautiful full coloured free booklet called “The Guide To Craft & Art In Nova Scotia” guide you to the many interesting studios run by individual crafts people and artisans. See where the pottery, jewellery, paintings, glass work, woodwork, weaving, blacksmithing, folk art, leather crafts, stone work, textile creations, basketry, photography and other fine artwork are created and designed. It is available at most tourist outlets and other tourist destinations throughout Nova Scotia.
What is great about the “The Guide To Craft & Art In Nova Scotia” are the several versions that are available. The printed version is an easy carry size and very interesting with all the full colour images throughout the booklet. The web version is great to do some research in advance on your computer or laptop. For convenience when travelling, all the same info is also available in a mobile version as well for viewing on your iPhone etc. Google maps shows the location for each studio beside each artisan listing. You can easily search by region, type of craft, business name or for demonstrations.
Web version of “The Guide To Craft & Art”. It is also viewable in a mobile version.
Great Info In “The Guide To Craft & Art”
What makes The Guide so useful is it’s geographical divisions of Nova Scotia for easy travel. Each geographic section has short descriptions about the studios and artisans so you can do some checking to see which interests you the most.
As many shops are small family businesses, I would advise checking to confirm business hours in case they are closed due to participation in craft shows or away for some personal reason. Contact info is provided with each listing along with the normal business hours or a recommendation to call first before visiting. Although our leather craft shop has normal business hours, we still advise a call first in case we have to step out of the shop for a business errand.
The Craft Guide has tons of useful information. The artisan’s social media links are provided with their listings. Many studios are designated in “The Guide” that do demonstrations. Tour the workshops to see the crafts being created. At our leather craft shop, we will walk you through, explaining the equipment and tools used in our trade. In addition to the craft studio listings, other useful info included are listings of the craft shows, craft organizations, art shows, shops and galleries throughout Nova Scotia.
With so much repetitive mass produced products in malls, it is a breath of fresh air to be able to be guided to crafts people throughout Nova Scotia making quality original unique products and gifts. How many places can you actually claim that you met the makers and designers of the products and gifts you just purchased? We hope you can visit our leather craft shop in Dartmouth as well as the many other interesting artisan studios throughout the province.
“The Guide To Craft & Art” booklet is a great resource for discovering the unique artisan studios throughout the province of N.S., Canada.
Posted on: May 28th, 2014 by Jamie @ Leathersmith Designs
Tree Stump For Leather Craft Work Bench
When I was in school in the 1970’s at Admiral Westphal Junior High School, some friends came home with me on the school bus to help haul this tree stump out of the woods and down the basement stairs at my parent’s home. A neighbour came over with a chainsaw to level off the top for me. Although I now have my own leather shop, this tree stump has been moved to several locations over the years and has been continually used for punching holes in leather and for holding leather craft tools.
A tree stump is very common in leather shops since it is so solid that their isn’t any bounce when pounding holes in leather or for setting rivets. On the side of the tree stump is attached a wooden block with holes drilled in it hold the various sizes of leather hole punches. More leather craft tools are held in place with short strips of leather nailed to the tree stump. I have been using this same tree stump work bench for many decades.
Hand Make Leather Craft Tools
The anvil on it is actually a train rail. My metal shop teacher in Junior High allowed me to come in on many many noon hours to use a hacksaw to saw the bottom off the train rail. A friend of mine helped me carry it from school to his house about half a mile a way where we took turns with a large electric hand grinder trying to smooth the narrow end which someone had originally cut with a blow torch. I still use the anvil for setting, rivets, setting snaps and pounding leather.
In the background you can see a red handled awl in a cork block which my uncle made for me out of screw driver. I have been using it since I was a young teenager. Other tools made at that time which I still use from time to time are imprint stamps that were made by hand filing and grinding designs into spike heads or metal rods. With my father’s guidance, we built a workbench out of 2″ X 4″ studs and heavy plywood for cutting my leather. Sometimes when I was able to pick up larger rusty items cheap like metal shoe lasts, another neighbour sandblasted off the rust and painted it for me so it look brand new. Even the local furnace repair man saved me some old furnace fan motors from replaced furnaces. I converted the motors into grinders and drum sanders with some attachments cialis versandapotheke.
Involve Other Leather Hobbyists
You could also get someone else involved with your leather craft hobby so you could go splits on the tools to make it more affordable. My brother did leather work with me for about half a year when I first started and he bought some beginner leather craft tools. However his interest was only short lived.
When I was a young kid, I was lucky to have so many people support me and help me get started in my business since I did not have the money at that age to buy a lot of tools. Many of my original tools were made by myself or with the help of others. Every year for birthday or Christmas gifts, I would always ask for a new leather craft tool to start building my collection of tools which would expand my leather crafting capabilities.
Tree stump used as work bench for punching holes, riveting and holding leather craft tools.
Posted on: May 18th, 2014 by Jamie @ Leathersmith Designs
Leather Hide For Making Customized Guitar Straps
First a premium piece of tooling cowhide must be chosen to avoid marks and nicks that could be visible in the finished leather craft project. 5 – 6 oz leather thickness works well for making customized guitar straps to give the required strength but also enough suppleness. We choose leather that has been properly prepared on the underneath side from the tannery so there will be no fuzzy pieces of leather coming off on your clothes when you are wearing the guitar strap. Leather hides are supplied in various thickness for different leather craft projects.
All our custom guitar straps are cut from quality premium tooling cowhide.
After the leather guitar strap has been cut, we dampen it with water on the top surface only. A firm solid flat surface to work on such as a piece of marble or granite is used when making customized guitar straps. When stamping the guitar straps, we need a firm and solid surface so the stamp tool will not bounce when we hit it with the rawhide mallet. As we stamp the design down the guitar strap, the water will start to dry out so we will have to dampen it again with a wet sponge. If we want to stamp in a name, now is the time to do that as well. This is a labor intensive process since not only each stamp has to be lined up neatly but each stamp has to be hit with the same hardness so the design will all be the same depth. There are lots of leather craft stamps available to decorate your special leather project.
When making customized guitar straps, designs and lettering can be hand stamped into the damp leather.
After the water has dried from the leather, we are ready apply leather dye the top surface of the leather. Professional oil dye by the Fiebing Company is used for coloring our guitar straps. It penetrates deeply into the leather while allowing the natural grains of the leather to be seen. Although it is more expensive, we choose to use it so we will not have to worry about rub off like some poorer quality leather dyes. However, Eco Flo dye also works well and is less expensive to ship since it is not flammable, it does not have to be shipped a special way and therefore is often less expensive to ship. We have a folded piece of flannel cloth nailed to a wooden block cialis canada. The cloth makes a nice applicator to rub the dye into the leather. The wooden block allows us to hold the applicator easily. Protective gloves are worn so we won’t have to have our hands dyed for weeks. The dye is rubbed on the guitar strap being very careful not to get it into the stamped design. This is a tedious time consuming process when making customized guitar straps. Many applications are applied to get an even coverage and the desired darkness we want. Keep in mind that this leather dye is meant for natural undyed vegetable tanned leather and not meant for redying leather that has already been colored.
The custom leather guitar strap is dyed by hand, being careful not to go into the imprint.
Once the dye has dried, we can make a boarder design along the guitar strap with this groove tool. This adjustable groover tool is also used for making stitch grooves for doing sewing for other leather craft projects. There is a small set screw which allows us to adjust how far from the edge we want the groove to be. This groove tool is also a great leather craft tool to make channels for sewing other leather projects.
A boarder line adds a nice touch to our imprinted guitar straps.
Rather than have a square edge, we round the edge of the guitar strap with this beveller for a more finished look. There are different size bevellers for taking off a little from the edge to a lot. When making customized guitar straps, we even bevel the underneath side for a more comfortable feel on the shoulder. Although we bevel both the top and bottom side of our guitar straps, the bottom is a lot harder to do. Using proper leather craft tools makes the job a lot easier. Now that all the design work is in the leather, we dip the guitar strap into a vat of neatsfoot oil compound to keep the leather from drying out and to give it some more suppleness. After the neatsfoot oil is absorbed over a few hours, we touch it up a bit more with some neatsfoot oil on a brush to even out the color since the neatsfoot oil darkens the leather.
The corner edges are rounded with a bevelling tool.
The edges of the guitar straps are dyed with a different dye than the surface. We use Fiebing’s acrylic dye because it holds down all the edge fibers of the leather. Since it is a hard finish, we burnish the edges when dry with beeswax using a denim applicator. Now the surface is ready to have a couple coats of polish, letting each coat thoroughly dry before the next is applied. There are many polishes for leather that will work well. However, we choose Fiebing’s Resolene since it helps seal the dye as well as giving a brilliant quality finish to the leather. There is also other types of leather polish that give a nice finish on the leather. The leather polishes we supply are made for vegetable tanned leather.
Dyeing the edge of the guitar strap.
Slot Hole Punch For Making Customized Guitar Straps
We punch the slots for adjustment and the round holes for the guitar knobs using a heavy rawhide mallet and an oblong slot punch. So we will not get bounce when we punch the holes, we use a solid wooden tree stump as a work bench. These oblong leather hole punch tools are also used for the slot when using a buckle in a leather craft project.
Punching oblong holes for making customized guitar straps adjustable.
Guitar Strap Finished
Now the customize guitar strap is finished and ready to be worn by a musician. This quality personalized leather guitar strap will last for many years and will become more supple with wear. You can see what has been involved in making customized guitar straps from the unfinished piece of leather to the finalized leather craft product. See more of our finished guitar straps on our web page custom leather guitar straps. If you do leather craft work and enjoy making customized guitar straps, check out our leather craft supplies pages for leather hides, leather tools, hole punches, leather craft stamps and leather dyes.
Finished custom guitar strap on cowhide it was originally crafted from.