lightingale

Contributing Member
  • Content count

    250
  • Joined

  • Last visited

About lightingale

  • Rank
    Member
  • Birthday 10/17/1985

Contact Methods

  • Website URL
    http://salukifeathers.com

Profile Information

  • Gender
    Female
  • Location
    Ontario
  • Interests
    Saluki dogs, dog shows, horses, leathercraft, painting

LW Info

  • Leatherwork Specialty
    Dog Collars
  • Interested in learning about
    Braiding show leads, machine sewing leather

Recent Profile Visitors

5,980 profile views
  1. I'm pretty new to machine sewing (Artisan Toro), and I've been learning by doing. This is my first attempt at a lambskin dog collar. I'm happy with the stitching, the tension is right and the stitches are even. I wrappped the blue lambskin around a 4-5oz veg tan "stabilizer", and then cut another piece of lambskin for the lining to hide the seam at the back. I have two questions: 1. How do I finish the seam? I saw in a Youtube video that someone burned the thread ends with a match. Is that the right way to do it? Should I have attempted to backstitch two stitches (risking not going back exactly into the same holes)? 2. What's the best way to do a lining? I wasn't able to skive this lambskin, as it's incredibly soft. The edges stick out awkwardly and look... bad. How can this be improved? I'm temped to take a fine pair of scissors and try to cut it down as close to the seam as possible, as the glue is not near the edges. What do you think?
  2. Ah, I figured it out. I wasn't aligning the pin with the hole in the bobbin, so the bobbin wasn't in all the way, and jammed up against the trip latch. There was too much friction to spin. I need to stop being intimidated by this machine! Leaving this thread here in case it helps someone else in future.
  3. I'm still struggling to get the hang of the Artisan Toro 3200. I'm trying to wind my first bobbin, but the winder does not spin. I've followed all the instructions in the manual. I've tried with the "bobbin winder trip latch" both down and up, and it makes no difference. Is there a step I'm missing to engage the bobbin winder? I don't see any lever anywhere to do so. I've attached a photo of the machine.
  4. I can attest to this, Scholastica, as I went through the same thing this week on 3oz leather. Thought I was doomed until I put it back in the die and pressed a bit harder.
  5. My local leather supplier had this lovely bright red side (an extra from someone's large custom colour order) that I could not resist taking home.. it's unlike anything I've seen before. I think the base leather is from Wickett & Craig. It feels like regular latigo, and I was able to cut a swivel knife pattern on my first project (attached photo). On the invoice, it's listed as "motor latigo". What is that?
  6. Thanks for the walkthrough! I absoloutely love this look and have been looking into its methodology for dog collars. Did you use a welting foot on your sewing machine to get the stitch line so close to the piping? Or just use a single toe?
  7. This is gorgeous and beautifully put together! Can I ask how you did the straps? It looks like a folded edge with a strip of snake sewn on top?
  8. In art class, one of my teachers' mantra was "art is 10% talent and 90% hard work". Talent is only a small part of the equation. It's a matter of doing, learning, practice, and experience. And inspiration, as Twin said.
  9. Very nice experiment! I'd given up trying to resist with the stains and dye that I normally use, and just paint around with a brush or use liquid latex. This experiment makes a very good case for Clear-Lac. I've never seen it in Canada... where do you get yours?
  10. You don't need expensive or fancy brushes, the synthetic ones will do just fine. Walmart sells a pack of 10 or so brushes in different sizes. The best shape for detail is the round brush. The end tapers off so you can make fine lines. Round brushes meant for watercolour are my favourite. Be sure to have a separate brush set for blues, reds, yellows, and blacks because it's hard to clean the brush completely of oil dyes, the the "old" colour you last used can bleed into your project the next time you use the brush with a different colour. I find dye reducer to be the best solution for cleaning brushes.
  11. After spending a few hours researching it, a source of washers is what would be the difference between buying the jig or not. I'd rather not have to punch and drill each one by hand.
  12. What a neat idea! It didn't cross my mind that I could craft my own rivets from copper wire, but I'm loving the idea. I'll look into this further. Thanks for the suggestion!
  13. As you've used watercolours before, you'll already have a working knowledge of how spirit dyes will behave and how to use them to the best effect. Painting with spirit dyes on leather is nearly identical to normal watercolour, with these main differences: 1. You're painting on a 3D surface (your carving). As the dyes are translucent, you want to layer your colours. The effect in the photo is obtained with a very dilute dye (dilute it with dye reducer or rubbing alcohol), and allowing the pigment to pool in the deeper parts of the tooling. You can enhance this by brushing more and more concentrated pigment in these areas, allowing them to blend "wet-in-wet" (to use watercolour speak). "Washing" the area you want to paint with dilute dye, dye reducer or rubbing alcohol will make it easier to get an even coat. Be careful with "bleeding", as the dye will want to run into the lowest parts of the carving and can sometimes follow down a bevelled line when you don't want it to. Another thing to watch out for: don't do layers and layers of alcohol-based dye on large areas. I tried to do this on a collar once to get a gradient on the whole thing. Alcohol tends to dry out the leather to the point that no amount of oiling or conditioning can bring it back. 2. Dye absorbs into the leather faster than it does on watercolour paper. Anywhere you touch with the loaded brush will be dyed, and the longer the brush touches the leather, the more dye is applied (as it soaks into the leather). Therefore, you need to plan your strokes and work quickly. If you "overwork" an area, it will end up with more pigment and appear darker, or splotchy. 3. In watercolour, the white of the paper showing through the translucent paints is the "white" of the painting. If you're painting a swan, there is no pigment on the whitest part of the feathers. In leather, the lightest you can achieve is the tan of the undyed leather. This makes some colours difficult or impossible to attain without using opaque acrylic paints, such as light blue. Also, the base tan colour of the leather will darken over time as the item is used, exposed to sunlight, and conditioned. Consider this when choosing your colours! Hope this helps! This is a really interesting topic, and I'll plan to make a blog post with photos and maybe video at some point in the near future.
  14. I like my Osborne awl. It's better than some more expensive awls I've tried in terms of the size/length of the blade and the shape of the handle. It did need a little sharpening, but that's to be expected. To sharpen, I used a ceramic stone and then some rouge on a strip of cardboard. the awl rarely needs sharpening now, and it gets a lot of use! Groove your leather and run your stitch wheel on it. Use a stitching pony to hold your leather. Support the back side with a hunk of wax or a wine cork if you need to. I punch my holes first, and then put my awl down to sew them up, as I only have short stretches on my dog collars. If you're sewing long lengths, learn to hold the awl in your right hand (if you're right handed) while you're sewing and punch holes as you go.
  15. Hi, I don't see any included pictures in this post? Try replying to the original topic you've created. The folks who helped you there can see that it's a topic they're involved in, which will help them find you. It will also get bumped to the top of the "new content" list when you reply on it.