Leatherwork E-Book

Chris Taylor

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Veröffentlichungsjahr: 2015

Beschreibung

Leatherwork is a centuries-old craft which is as absorbing and enjoyable today as ever. This book introduces the basic tools and techniques needed before explaining more advanced ideas for designing and decorating leather. With an easy-to-follow text, step-by-step photographs and explanatory line drawings, this practical book describes how to use those techniques to make handmade items with a professional finish.Topics covered include: a guide to leather and the tools used for leatherworking; basic techniques including joining leather and plaiting; design and cutting patterns; decoration - curving, stamping and colouring; projects ranging from making boxes to a bridle; care and repair of leather. The versatility of leather makes it an ideal medium for creativity and experimentation, and this practical book explains the techniques that can be used to make a range of objects. Beautifully illustrated with 180 step-by-step photographs and 20 explanatory line drawings.

Leseprobe

LEATHERWORK

A PRACTICAL GUIDE

CHRIS TAYLOR

THE CROWOOD PRESS

First published in 2009 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2015

© Chris Taylor 2009

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publishers.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 057 7

Photographs by Chris Taylor and Ian Wilson.

Line drawings by Chris Taylor.

Acknowledgements

Abbey Saddlery & Crafts Ltd for allowing us to photograph in their warehouse. J & E Sedgwicks & Co Ltd, Walsall (curriers of leather for the equestrian trade) for their time and information.

Please Note

As the majority of people are right-handed, including myself, the techniques described are from a right-handed person’s perspective. It would be tedious to describe every technique in both left-and right-handed manners. If this upsets anyone, I apologize; but I must emphasize that it is easy to adapt and all the left-handed students that I have taught have never had a problem.

Disclaimer

Safety is of the utmost importance in every aspect of leatherwork. When using tools and chemicals, always follow the manufacturer’s recommended procedures. The author and publisher cannot accept responsibility for any accident or injury caused by following the advice given in this book.

CONTENTS

Dedication

Introduction

1

TOOLS

2

LEATHER

3

BASIC TECHNIQUES

4

STRAP MAKING

5

DESIGN AND PATTERNS

6

DECORATION

7

PROJECTS

8

CARE AND REPAIR

Appendix

Leather Substances

Punch Sizes

Glossary

Suppliers

Index

Dedication

To my family, who have been a constant source of encouragement.

I would also like to give a special mention to my niece, Alex – the best person I have ever met.

INTRODUCTION

Welcome to the wonderful world of leather, a beautiful material with exceptional versatility. Up until the development of synthetic materials, leather could be found in many industries and walks of life. Apart from its use in equestrian equipment, leather was used in bellows, washers, fire hoses, buckets, drinking vessels (known as ‘Jacks’), as well as in clothing and shoes.

Although the first use of leather is unknown, it is not unreasonable to assume that early man would have quickly realized the potential of animal skins as a source of warmth and protection from the elements. Archaeological evidence has given us an insight into how old and how important the craft of leather working was. Although techniques in preserving the animal skins (tanning) may have changed the skills and tools developed to work the leather have changed little over the centuries. Today it is still a fascinating and rewarding craft which lends itself to self-expression.

This book has been written to encourage the absolute beginner and to impart advanced skills to the more experienced leatherworker, with detailed descriptions and instructions on the use of tools and techniques. The projects range from the very simple basic projects to the more advanced such as horse bridles.

As a working Master Saddler, I use some terms and names of tools that may differ from those in general leatherwork. Where possible the generic terms have also been given.

Tools stored on tool board.

CHAPTER 1

TOOLS

People say they always know if a stranger has been driving their car. The same can be said of tools, as they become very personalized. I always know if someone has used my round knife, and touch my stitching awls at your peril! My apprentices have their own set of tools, while students on training courses are allocated a set.

Browse through any leatherworking catalogue and you will see a vast array of strange and confusing tools. Obviously you do not need all of them, and what you purchase will depend on your circumstances. Good quality tools are always an asset and should last much longer than cheaper equivalents, but if they are only for occasional use then a lesser quality tool may be adequate.

The best advice is for you to decide what your first project is going to be and buy the tools necessary to do the job. Then add to them as you see fit. Quite often tools intended for other crafts can be adapted for use with leatherwork. (A woodworker’s spoke shave, for example, can be used as a skiver, providing the blade is honed and polished.) It would be impracticable to describe every tool on the market so I hope that by describing a selection of tools that I consider the most useful you can make an informed decision as to which items to purchase.

Guidelines on workshop safety are discussed at the end of this chapter. You will be using sharp tools that can cause serious injury so it is worth setting yourself a workshop safety standard from the outset.

Stitching Requisites

Various items required for stitching: stitching and loop clams, threads, needles and beeswax.

Awls

A variety of stitching and scratch awls.

STITCHING AWL

This is possibly the most personalized tool in the workshop. The handles and blades, which come in varying sizes and shapes, are purchased separately and have to be made up. A pear shaped handle and 2in (50mm) straight blade will suffice for all but the heaviest of leathers. Awl blades are quite brittle and will snap with misuse so always have spare handles and blades to hand.

Awls are purchased in two parts: handle and blade.

ASSEMBLING THE AWL

Place the blade into a vice; to protect the blade cover the jaws with a soft material.

Tap the handle into place.

Assembling the Awl

The blade will have an end with a black tempered finish that goes into the handle, and a shiny end. To assemble the awl place the blade vertically in a vice with the tempered end showing, ensuring that the jaws of the vice are covered with a soft material to avoid damaging the blade surface. There will be a hole drilled in the tapered end of the handle, place this over the blade and using a mallet tap it into position leaving 1–1¼in (25–30mm) protruding. Make sure that the handle is in line with the blade.

Close inspection of the blade will reveal a diamond shape with a rough surface and sharp point. If used in this condition the blade will snag the leather fibres making penetration difficult, so we need to polish the blade to allow it to cut cleanly through the leather. For this you will need a pair of electrical side cutters, fine wet and dry emery paper, a small block of wood, a piece of scrap leather and water. First wrap the emery paper around the block of wood and sprinkle water onto it (the water acts as a lubricant). Using the side cutters snip off the awl point. Then work the blade against the emery paper until it is smooth and polished (if the emery paper dries out, sprinkle more water onto it). This method of using fine wet and dry emery paper can be used to finely hone knife blades, but watch your fingers and always wrap the emery paper around a wooden block.

We use the wooden block to maintain the blade’s original diamond shape; the long sides should be as knife edges, not rounded, while the tip needs to be rounded with the end again being sharpened to a knife edge.

Periodically try to push the awl through the scrap leather. As the blade becomes polished you will notice the ease in which it slides through the leather. The awl is ready for use when it passes cleanly through the leather without snagging the fibres. Getting the awl to run smoothly is tedious and can take a long time, but persevere as you will reap the rewards for your efforts when you start stitching.

Placing the awl blade into the handle absolutely square is very difficult. For this reason make a notch in the handle in line with one of the flat faces of the blade. It should be large enough to be felt easily with your thumb. While stitching, if your thumb is always in this notch the blade will run through the leather at the same angle. If the blade keeps slipping out of the handle, or the hole in the end of the handle is too big, put a drop of super glue into the hole before tapping the handle into place and leave it for a few minutes to set.

If the blade breaks it nearly always breaks flush with the handle. There is a theory that the handle can be drilled and reused or a new blade can be tapped in alongside the broken end. Personally I just get a new handle and blade and start afresh. I have tried the two methods mentioned and found that they involve a lot of fiddling without much success. The best method is not to break the awl.

SCRATCH AWL

On heavier leathers, when marking out patterns or straight lines it is better to use a deep scratch line rather than drawing on it with a pen. Knife blades tend to follow a scratch line more easily than a pen or pencil mark. Having put a lot of effort into preparing your stitching awl the last thing you want to do is to ruin the end by using it for marking out leather. Instead we use a scratch awl. Any object with a point on the end will do, although clicker’s awls are cheap, come complete with handle and blade and make ideal scratch awls.

ROUND AWL

Like stitching awls, round awls come in two parts, a handle and blade. They are made up in the same manner as the stitching awl but do not have to be polished. As they do not have a sharpened blade they are useful when stitching over existing stitching because they do not cut the stitches. They can also be used as scratch awls.

The right and wrong way to finish the points on a new awl blade.

Stitching Clams (Saddler’s Clams)

There are various sorts of stitching clams in use, but they all perform the same function – to hold your work in place leaving your hands free. Whichever ones you use is down to personal choice.

Saddler’s clams are made from two pieces of specially shaped wood that are bolted together at the base. The pieces are shaped so that a sprung set of jaws are formed on the top. A bolt and wing nut placed further up the clams allows the tension on the jaws to be adjusted. On the inside of the clams is a staple. This is to accommodate a strap, called a stirrup, which is used to steady the clams and increase the pressure on the jaws if required. It also makes a handy foot rest. This type of clam is designed to be held between the knees, and as they are quite long you will need a high chair; a draughtsman chair is ideal.

A stitching pony consists of a bench with the clams fixed to one end. The position of the clam is set and cannot be adjusted. Some models have sprung jaws, the tension being adjusted by a wing nut at the base of the clams, while others require pressure to be exerted on some form of foot lever to close the jaws. To use the stitching pony, you sit astride the bench with the clams in front of you.

SETTING UP CLAMS

Whichever clams you choose the jaws should be covered with leather to protect the work. Cut two pieces of soft leather the same width as the jaws and approximately 6in (152mm) long. Remove the tensioning bolt and the two pieces should slide apart. Tack the leather over the jaws, replace the tensioning bolt and tighten to desired tension.

This may differ on stitching ponies in which case you will need to examine them carefully and decided how best to part them. If you are using a stitching pony then no further setup is required.

On saddler’s clams, the next step is to place the stirrup. Opposite the staple will be a slot – run the strap through this slot, around the staple and back through the slot. With the clams between your knees and resting against your left thigh, adjust the strap so that your foot rests comfortably within the loop. As you get more practised at using the clams you will probably find that the stirrup will need re-adjusting to obtain the optimum level.

The stirrup does not need to be made of leather – a strong piece of string tied in a knot at the right length will suffice, and while it is not essential it will prove very useful. Not all clams will have the staple and slot to accommodate the stirrup. The staples can be purchased, and it is a fairly simple task to place it and cut a slot opposite for the stirrup strap.

Loop clams

These can be thought of as miniature clams that fit into the jaws of the stitching clams. Their purpose is to hold keepers (loops) in place while being stitched. They are certainly a useful item if doing a lot of strapwork but not essential.

Stitch Markers (Pricking Irons)

These are sometimes known as pricking irons and are used to mark the leather ready for stitching. They come in a variety of stitch lengths ranging from 3–12 stitches per inch (25mm). They also come in a variety of widths, the most common being ½in (12mm), 1in (25mm) and 1½in (37mm). When starting out a good general purpose stitch marker is a 1 inch (25mm) marker with a stitch length of 8 per inch (25mm).

The stitch marker is not used to punch through the leather, merely to mark the surface. Place the stitch marker on the leather at the required position. Holding it firmly and at 90 degrees to the leather, give the end a sharp tap with a mallet. The marks need to be heavy enough to be seen when stitching.

Pricking Wheel

Another form of stitch marker is the pricking wheel. These come either as a complete unit or as a frame with interchangeable pricking wheels, which are rolled across the surface of the leather. These tools leave an adequate impression on natural vegetable tanned leathers, but on leather with dyed waxed surfaces the marks are difficult to see, and while they are quicker than stitch markers care must be exercised when using these as they can easily veer off line.

Needles

Contrary to popular belief the most commonly used needles for hand stitching are blunt to help reduce the possibility of splitting the threads. They are known as saddler’s harness needles and range in sizes from 1 to 4, with 1 being the largest and 4 the smallest. Further sizes 1/0, 2/0 and 3/0 are available for heavier threads (1/0 being the smallest, which is the reverse of the standard needle sizes).

If you intend to do any lacing (thonging) you will require a lacing needle. These differ from conventional needles in that they are flat and do not have an eye. Instead they have a flat sprung end that opens to accommodate the lace. One surface has two prongs that pierce the lace holding it secure.

Threads

The main threads used for hand stitching are made from linen and come in various thicknesses and colours. The thickness of the thread (commonly referred to as thread weight) is denoted by the thickness of a single strand followed by the number of strands twisted together to make up the thread. The most commonly used threads from the thinnest to thickest are 18/3, 18/4, 18/5 and 18/6. There are also finer threads such as 25/3 and heavier threads such as 16/3; the list of thread weights available would probably fill this book.

EXPLANATION OF THREAD WEIGHTS

Thread making is a centuries-old tradition and consequently gives us wonderful terms such as hanks and skeins, which have been mostly lost in our modern world. So long as you remember that 25/3 threads are thinner than 18/3s, which in turn are thinner than 18/6s, that is all that is required, but this section will hopefully give an insight into how these designations are acquired and will provide you to with an entry to the mystical world of thread making.

This gives the first part of the notation marked on threads. The second part refers to the number of strands that are twisted together. Hence 18/3 thread would have three strands of linen that have been stretched out to 5,400yd (4985m) twisted together; and although a 25/3 thread also has three strands, each strand has been stretched to 7,500yd (6923m), thus making it thinner than a 18/3 thread.

HANDMADE THREADS

The majority of threads purchased will be ready made, but balls consisting of a continuous fine linen strand can be obtained for the purpose of making your own thread. While this is generally the domain of saddlers working on heavy horse harness where thicker threads are required, it can be used to great effect on general leatherworking projects especially where a rough rustic effect is required.

The materials used for hand making threads.

The strand is pulled from the centre of the ball, which can collapse and tangle very easily. To prevent this it is a good idea to make a box to keep the ball in. When making a thread you will need something to hook the strands over, and if you intend to make a lot of threads it is useful to make a thigh pad.

For this explanation I have used a cup hook screwed into the workbench and will be making a thread consisting of eight strands. Beeswax and a small piece of thin leather will be needed (a piece of cloth may be used if the leather is not available) and make sure that they are placed within reach.

Hold the end of the strand in the left hand and place it over the hook. Move closer or further from the hook to adjust the length of the thread, ensuring that the two resulting sides are equal.

To break the strand, use the palm of the hand to roll the strand in the right hand against the right thigh while exerting a slight pull.

Line up the ends of the strands in the left hand and repeat processes 1 and 2 until the required number of strands to make the thread have been achieved. From this point on I will refer to the strands in the right hand as Bundle A and the ones in the left hand as Bundle B. (Left handed people can start with the end of the strand in the right hand and breaking the strand on the left thigh if required).

Using the fingers to keep the two bundles separate, transfer Bundle A into the left hand, then liberally apply the beeswax to both bundles in turn.

Return Bundle A to the right hand and roll it against the right thigh, thus twisting the strands together to form the thread. Keep rolling until a tight twist is achieved, then switch Bundle B to the right hand and repeat the process.

Wax the twisted bundles. Then using the thin leather between the thumb and forefinger, grasp the thread and rapidly rub the thread to remove any excess wax and help to melt the wax into the thread.

If done correctly the ends of the thread will be tapered. Trim the thin ends but leave the taper as this allows a thinner needle to be used. The thread is now ready for use.

Beeswax

Linen threads used in their natural state would quickly be shredded with the constant pulling through the leather, so they need to be waxed before use. Threads can be purchased pre-waxed but it is cheaper to buy the wax and threads separately. Wax is normally purchased in 1oz (28.35g) blocks. Most people use it direct from the packet, which is perfectly acceptable, but mixing it with boiled linseed oil gives it a softer, stickier consistency. To do this melt the wax over a gentle heat source then add the linseed, the amount depends on how soft you like the wax but 2–3tbsp to 4oz (113g) of wax is a good starting point. Pour a small amount into a bucket of cold water, work it into a ball and leave it to dry for a couple of days when it will be ready for use.

Over a period of time the wax block will pick up bits of thread, fluff and dirt, making it necessary to change it. Do not throw away the old wax – just put it to one side and when you have accumulated enough of them melt them down as described above. Pouring the wax through a flour sieve will remove the dirt. Unless you enjoy plumbing and are prepared to spend hours trying to unblock pipes, do not be tempted to do this in the kitchen sink!

Sundries

Other items required for stitching are a small pair of pliers for pulling through stubborn needles and a small pair of sharp scissors for thread cutting.

Knives

Knives for cutting leather come in all shapes and sizes, and it can be confusing as to which is required. There are leather scissors (known as leather shears) available, but they are really only suited to the thinner leathers. A sharp knife will give a cleaner cut than scissors.

Round Knives

The round knife is a very versatile tool and although not essential, the purchase of one is highly recommended. In the Roman Army Museum at the Roman fort of Vindolanda, Hadrian’s Wall, there is a round knife that was found in the cobbler’s shop, and you could be excused for thinking that it had come from a modern day leatherwork shop. Metals may have changed, but the shape of the round knife has remained the same for centuries.

There are varying sizes of round knives and, although beginners may find the smaller sizes easier to handle, mastering any of the available sizes is not too difficult given practice. Purchasing cheap round knives is false economy. The metals are of poor quality, difficult to sharpen and lose their edge quickly.

There are half round knives (also called head knives) which are basically as the name would suggest, half a round knife and are used in the same manner. The difference in cost between the two is minimal, but some people find them easier to master.

INITIAL PREPARATION

The cutting edge on any new knife will have been sharpened on a grinding wheel at the factory, giving the blade a rough texture. Try the knife on a leather scrap and you will find that it cuts, but like a new stitching awl blade it snags the leather fibres. Hone the blade using the wet and dry emery paper in the same manner used when making up a new stitching awl, or strop it on your sharpening strop (the making of which will be covered later on in this chapter).

CUTTING

Mark a straight line on a scrap piece of leather using the scratch awl. It is important to keep the edge of the cut square, so hold the round knife at 90 degrees to the leather with the curve of the blade on the line. Following the line, push the knife away from you making sure that your fingers are to the side. The main mistake that beginners make is to put too much pressure on the knife in an attempt to cut through the leather in one go, resulting in the blade digging into the work surface or skidding off the surface. It is better to use a lighter pressure and go over the line two or three times; once the first cut is made you will find that the blade wants to follow the cut line on the second and/or third passes. If the blade starts to lose its edge while working, flip it over and use the other side.

Working clockwise from 12 o’clock: round knife, half round knife, general purpose knife, clicker’s knife and Stanley knife.

Using the round knife to cut a straight line.

Cutting shapes with the round knife; the blade is tipped back for easier cutting of curves.

Another method is to hold the round knife as described, place it on the edge of the line and roll it forward. Move along the line using a ‘rocking’ motion. Beginners often feel that they have more control using this method, but it is laborious and the finished cut is often ragged. Try to persevere with the first method.

Once you are confident with cutting straight lines mark a shape on the leather, initially avoiding sharp angles or curves. Holding the blade at 90 degrees to the leather and use the point of the knife to go around the outline. The same principles for cutting straight lines apply; do not put too much pressure on the knife and be patient. To negotiate curves, tilt the knife towards you so that the knife is cutting on its point.

SAFETY

Blunt knives cause accidents as the blade does not bite into the leather and skids off. Make sure the knife is sharp. In my own workshop I always make a point of stropping my knife before starting a job. Always be aware of the position of your fingers – this is especially relevant when cutting shapes where it is easy to get your hand in front of the knife. Pay attention to your workshop safety standard (see end of chapter).

Craft Knives

If you do not wish to purchase a round knife, then you will require some form of craft knife, Stanley knife or clicker’s knife to cut your leather. If using a Stanley knife the carpet cutting blades are best. These blades are hook shaped which makes it easier to follow lines. Most of these types of knives have disposable blades. However, there is no need to be wasteful – these blades can be sharpened and re-used, and often they run better the more they are sharpened. A clicker’s knife is a very useful implement to have around the workshop even if you have a round knife.

CUTTING AND SAFETY

While the round knife is pushed away from you, craft knives are drawn towards you but the same principles of cutting and safety with the round knife apply. When the blade is new it may snag the leather fibres; in this circumstance it will require honing as previously described.

General Purpose Knife

To maintain your knives in good order they should only be used for the purpose that they were intended, so a general purpose knife is useful for doing all the other tasks (such as cutting parcel strings) where a knife is required.

Cutting Mats

Strictly speaking this is more of an accessory than a tool. It not only prevents you getting grief from your partner after you have gouged a large groove out of the dining room table, but it also helps reduce the wear on the blades of knives as wood will blunt a knife very quickly. Even if you have a dedicated work bench, cutting directly onto the surface will soon produce grooves which the knife blades will want to follow when cutting through leather. There are different types of mat, but I find the self-healing type approximately 24 × 18in (610 × 460mm) suitable, and they are available at most craft or stationery stores. In my workshop they take a lot of hammer and are used every day, but they still last three to four years. They can be used for punching, but it is not recommended as this will reduce their lifespan and the smaller punches tend to go through them.

Punches

Hole Punch

Hole punches can be purchased as single punches or as punch pliers. Single punches range in size from approximately 1/16 in (1.5mm) to ⅝ in (16mm) in diameter. The method of identifying and the range of sizes available will vary between countries and manufacturers; some use a numbering system while others will give the diameter size. Where a numbering system is employed the range is normally 1–16, with 1 being the smallest.

Punch pliers consist of an anvil and punch attached to either of the jaws. On some the punch is static and is unscrewed to accommodate varying sizes while on others there is a revolving head which accommodates the first six sizes of punch, these are generally known as revolving punches. A good quality pair of punch pliers should meet all your initial requirements.

There are also oval-hole punches and as the name implies they punch oval holes. They can be used to great effect on wide belts and give easier passage for the tongues of heavier buckles. These punches are identified in the same manner as hole punches, but the numbering system can be more confusing (for example in the saddlery trade oval punches are numbered 17 to 25). It is worth noting that where an actual size value is given it relates to the length of the oval not the width.

Wad punches, so called because they were developed to cut the wads for muzzle loading rifles, cut larger holes up to 2in (50mm) in diameter. If you search hard enough you would probably find larger ones. These are normally identified by diameter size.

Crew Punch (Slot Punch)

These are used to cut the slots (crew holes) in straps to accommodate the tongues of the buckles, and they also come in varying sizes. Choice of the correct size in relation to the buckle being used is important. Too small and the crew will not sit snug against the tongue of the buckle while too large allows the buckle to move about.

There are two schools of thought as to how to determine the correct size of crew punch. One is to use the crew punch with the same width as the strap it is to be used on. Unfortunately not all buckles are the same, so while being a good starting point it is not always accurate. A better method is to offer the buckle tongue up to the crew punch and judge how the leather will wrap around the tongue; this does take a little practice.

Trace end punches are basically very large crew punches and are generally used in the saddlery trade for the manufacture of horse harness.

(LEFT) Oval and round punches; (RIGHT) Stitch marker, crew punch, egg point chisel; the lead block is used to protect the punches.

Selecting the correct size of crew punch: If too small, there would not be enough room for the slot to wrap around the buckle tongue.

Selecting the correct size of crew punch: If correct, the slot will fit snugly around the buckle tongue.

Reaching for inaccessible holes with the punch pliers.

CREW HOLES ‘ON THE CHEAP’

If you are on a budget, crew holes can be cut by using the following method. Punch two holes where the crew is to be cut – the distance between the holes will be the size of the desired crew hole. Using the scratch awl and a ruler join the outer edges of the holes with a line, then carefully cut out the leather. Tidy the edges of the crew using sandpaper or a small file. It is very difficult to get the crew hole as neat as a punch, so if you are planning to make a lot of straps or belts a couple of crew punches will prove invaluable.

Strap End Punch

These types of punches are available in varying widths with either pointed (sometimes referred to as egg points or church windows) or rounded ends. They are used to give the ends of straps a professional finish. They are also useful when stitching two pieces of leather together, since a rounded stitch line can be achieved as opposed to two straight ones.

PUNCHING

Punching is a straightforward operation, but there are a few guidelines to observe. To protect the cutting end of your punches always punch into a soft material such as a lead block or piece of wood; it is preferable to punch into the loose grain ends of wood, but if this surface is very rough the underside of the work may need to be protected by placing a piece of scrap leather under it.

Punch over a supported area; unsupported areas give with the impact, causing unwanted movement. Never use metal faced hammers, which will mushroom the ends of the punches and can fracture the metal of cheaper punches. Always use soft faced mallets.