chocolateducttape

That is really really really cool! How do you go about doing the beading, if you don't mind my asking?

Thanks! Randy, if you do another pair of boots, put up pictures!

It took like a bazillion years to locate but the Smithsonian had one! So I thought I'd pass along the link in case anyone else needs it. http://www.sil.si.edu/DigitalCollections/T...f/sil10-202.pdf

Thanks for the post! Yeah I've been over there before but that was back in the day before I discovered leather. The food really is incredible... and gelato, yummm... I can't wait!

So I'm about to spend a semester studying abroad in Italy, just south of Rome, and I was wondering if anyone knows of anything leather-related (shops, people, museums, whatever) that are must-sees over there. Actually anywhere in Europe, as I have weekends and a ten-day break to go wherever, but mainly in Italy. My ambition is to find a shoemaker or saddlemaker or handbag designer or some such person and ask to observe them at work, but given that I have no command whatsoever of any languages besides English and Spanish, that looks rather unlikely. Anyway, if anyone has any ideas of that sort, they would be much appreciated!Oh also if anyone knows of any European toolmakers I could go visit, that would be SUPER cool.

thanks!

Thanks y'all! It really is addictive... I think I have more saddle pattern doodles than actual notes in my school binders. Oh well!

aww thanks!

Those are great! The dragon seat is my favorite.

wow!! That is awesome.

So, the latest assignment in my sculpture class was to take the basic idea of a cane (like a walking cane) or staff, and adapt it to our place in the twenty-first century. My original plan was to make an actual cane and affix a saddle to the top of it, taking the saddle from a means of comfort while on a horse to a means of support on the ground. (Well, to be perfectly honest, I just wanted to make a mini saddle; that was what my teacher read into it so I went with it.) I wanted to use natural wood, so he suggested using something with good gestural lines to break up the visual space. Then I went wandering in the woods and I found the most perfect branch ever. It was big enough that it looked fairly tree-like, so I decided to put my little saddle up in the tree. Then the play on words came to me (you know... saddle tree... haha...) and I fell in love with it. So here is the result of that. I have to keep explaining to people why it's funny though. The contemporary elements are in the carving pattern; basically I tried to make that as modern-looking as I could while still holding onto the basic floral carving scheme. The critique was really useful and I got a lot of good ideas out of that. My professor suggested trying to meld the different parts a little more, since at the moment it's kind of blocky- there's the saddle, and then there's the tree, and then there's the pot, and they don't really have a whole lot to do with each other on a visual level. So if I do another project along these lines, I'm going to work with tooling and dyes and see if I can come up with a bark-like pattern to put some continuity between the tree and the saddle. While I was working I was also intrigued by all the similarities between working wood and working leather; you use a lot of the same finishes, they're both organic so you have to pay attention to natural imperfections as you work, iron will discolor both of them, they both swell and become more pliable when you get them wet... and so on. So that got me thinking about how the saddle can kind of grow out of the tree, literally and figuratively, since you get both tannic acid and the actual saddle tree from trees. There are also a lot of things I'll want to improve next time. I made the tree (the one inside the saddle) myself, and it turned out kind of awkward because the fork wound up with not the greatest shape; the bars are way too thick and flat. This affected the shape of the saddle, obviously, which is extremely wide and flat. Also the skirts are really smooshed together at the top. I wound up making the horn out of clay wrapped around a little wire nail, and it kept breaking as I was covering it, so I think next time I'll use a bigger nail and give it a horn-like shape instead of trying to cover it with clay to get the shape. The stirrups will take some more thought too. I learned a lot while doing this though. It was definitely a fun project.

On the subject of who won what, I just wanted to point out that the winner of the Beginner category (first of the saddles with the green tag- oak leaf pattern) is only 15 and did it all without any firsthand instruction. I thought that was quite an accomplishment.

It accompanied me to Wichita Falls and got me a lot of good comments and constructive criticism, which was great. That was pretty much the best weekend ever. (And we even made it back in time for dinner this evening. Not that I have a lead foot or anything.)

Thank you to everyone for making it a fantabulous show! This was the first time I went and it was AWESOME. I'm definitely going back next year.

sweet!

http://www.sil.si.edu/smithsoniancontribut...o/SSHT-0039.pdf It's a booklet thing by the Smithsonian on the entire history of the Western saddle. Like starting back in the day of the Moors in Spain, around 700 AD. There are zillions of pictures and it's really fascinating. (I haven't read the whole thing yet, obviously, as I only just came across it, but what I have read so far is promising.) It's a pretty big file though just to warn you.

Thanks y'all! Roger- I know nothing whatsoever about guitars (to the point that if you look closely you'll see I strung it backwards... oops...) and I've never heard this one played, so I have no clue. I'm told, though, that the general effect of a guitar cover is that it muffles the sound somewhat. But, I can't really tell.

my first guitar cover There are a bunch of little blah spots but overall it turned out better than I expected. There's more on the sides and there will be a matching strap but I'll put more pictures in here when I finish the strap.

Generally, I just use Neatlac. I just take a little piece of sheepskin, trim the hair down to 1/4" or thereabouts with a pair of scissors, brush it off on my jeans to get the loose fibers off, and dampen it with Neatlac, then rub the Neatlac into the leather. I used to use the spray kind, but I had a lot of trouble with it flaking off; then, thanks to this forum actually, I discovered that 1) aerosol sprays are great but they don't really work themselves into the leather too well, and 2) I was using waaaaay too much. You don't want to underapply, but you don't want to overapply either, and getting it worked into the leather is important. And then if I'm using an antique, I apply the antique after the NeatLac, wipe off the excess, let dry, and then apply TanKote over top the same way I did the NeatLac. You can use any number of products, there are a bunch out there, just find what works for you.

Yeah... I was kind of reckoning on the front and back being the same. But, due to guitars being slightly convex on the back, they aren't. This will take a little more thinking.

Oh I was just talking about in terms of it being an awkward thing to punch slits around (like how would you go about punching slits in something that's on a guitar) but I think I've figured it out. I tested a theory on some scraps and if I punch slits in the front and back, punch slits in the side, then glue the pieces to the guitar and lace it all up, it'll work.

Hi y'all! So, I'm making a guitar cover, and I'll be lacing the edges. The only problem is, I have no idea how to go about punching slits on something three-dimensional like that. Any ideas?

haha... sole... thanks!!

Nice tooling, especially on the letters. Wow!

Those are so COOL!