NVLeatherWorx

You should use any of the contact cements that is specifically designed for use with leather so as to ensure that you get the proper bond. What types of leather are you using?

Been using Pure Neetsfoot Oil for over 40 years and never had an issue with it creating discoloration, splotchy patches, or even breaking down the leather or linen thread. I have also used the technique of pre-heating my oil to about 85 degrees before applying and ensuring that it is applied lightly and evenly. I give it a 24 "curing" period and give it another light application and another 24 hours "curing" period. If the item is to be dyed then I will do the oiling after the dye has been applied and it is has "cured" for 24 hours. Now, it is a fact that if you over oil anything that it will cause problems with the leather. You will start off with a finished product that is excessively stretchy/gummy, you will have major dye/stain color rub-off, any top coatings of acrylic, resolene, other conditioners will not have an effect (because they can't penetrate the fibers), and it will start to become rancid after awhile. And this applies to any of the oils that are intended to be used on leather, including Olive Oil. However, if applied properly you will find that your finished projects will have a much longer lifespan. Regarding the use of the "adulterated" products; wouldn't the addition of any flammable petroleum based product (i.e. kerosene) turn a natural product into that very "adulterated" product? And of major consideration, is it wise to treat leather with a flammable product? Again, everyone will have their own way to doing their reconditioning but for those of us who have spent decades learning our trade, the materials used in our trade, and the proper methods of using these materials, the idea of trying to find the "next best shortcut" or "more economical method" is not something that we venture into unless it is truly beneficial to the improvement of the final product. I have never fallen into the shortcut approach when it comes to the finished works and that is just my way of doing things. As with every other piece of information taken from the comments of others, find what works for you and if that is the direction that you want to go then go with it. But, it is always important to heed that critical advice or information that could be the difference between successful end products and inevitable failure of a product. Oltoot has it right, at least as we have been taught over the years, NATURAL IS BETTER!

Guess I am going to have to look him up. He is just 3 hours up the highway from me so I can maybe take a day trip up there and spend some time just hanging out with some other friends that I have in Elko. Thanks for the tip on the quality of his tools.

It is just easier to use Pure Neatsfoot Oil on your leather than to try looking for some shortcut method that will only cost you more in the long run and require more work to apply it properly. Besides, the word soap means just that, it is a soap that is intended to be used to clean the leather when it gets extremely soiled. Much the same as saddle soap is. All of these cleaners are mistakenly used by many as a conditioner and they are not, even the manufacturers make this clear, and if they aren't used properly they can cause some serious issues with your leather and can even damage it in some circumstances. Regarding the Mop-n-Glo use, this stuff is not intended to be used on leather. I spent 24 years in the Army and remember very well when all of the guys would try and shortcut the spit shine process when we were in Jump School by using Mop-n-Glo to get that perfect mirror like shine. All it took was for a Blackhat to push down on the toe cap of your jump boots and all you would see was a spiderweb of cracks in the finish. Not to mention, it also had a very nasty effect on leather and will dry it out beyond repair. I know there are several who advocate the use of these types of products but my years in working with leather (and they are very many) has taught me what works with the leather and what does not.

And the chance of being able to get the Croc and other hides in small strips is most likely not an option. Most of those who carry these items sell the entire skin and are very clear about the fact that they do not cut. If you were here in the U.S. I could give you a source right now but as it is, it would do you no good at this point. Good luck with your search.

Those would be the ones that the OP is looking for. That pamphlet carries a lot of designs that have long been discontinued from the Craftool line. I am assuming that the Jueschke tools are made from high grade stainless steel. At those prices they better be and they also better be made personally by him.

The set with the star in the center is G9009-03, -02, and -01; there was a set that had crosshatching that was G9011-03, -02, and -01. Hope that helps.

It is one of the many discontinued Craftool stamps that Tandy used to sell. I still have my set of 3 (different sizes) but they are the version with the star in the center section. The circle appearance is achieved through the stamp placement only and not actually a part of the stamp design itself. I am not aware of anyone who sells them anymore, not even under one of the lesser copy-cat brands. If you have a Tandy store nearby maybe give them a call. They frequently find old tools sitting in their warehouse or storage areas that are what would be referred to as Vintage and they typically sell them for a buck a piece.

First question I would have is what leather are you using? And for that I would more specifically ask: who are you buying it from, what grade is it, and what (if any) brand is it? This would, believe it or not, make a very big difference in how this question may be answered in more detail. It is very common for veg-tan that is of the "value" class as well as just about all of the Tandy leather line to have blotchy areas when finishing them; this even happens with dyes not absorbing evenly. Another thing I have noticed over the past years is that you need to pay close attention on how well the grain structure appears on the leather. I have worked with some beautiful, high-quality veg-tan and found that when there is a grain surface area that appears to be a little tighter (appears to be smoother than the surrounding areas) that the penetration of the dye/stain/antique is not equal and tends to come out lighter than the rest. Most of the time this is just a natural characteristic of the hide and there really is nothing to do about it aside from work around it when cutting (increasing waste) or do what I have done and make it clear up front to every client that each piece of leather will accept dyes and finishes differently and that there may lighter and/or darker spots (depending on the finish technique) which are natural to the materials being used and unavoidable. Doesn't sound like much help but this is an issue that we may just have to deal with sometimes and I just use it as an added way to promote the fact that I use real leather that has not been specially treated in way to make it appear perfect and that these naturally occurring things are what gives each item its own unique character. On the issue of the antique flaking after having applied the leather balm, what type of antique are you using? There is a big movement towards the water-based lines of products and I have done some of my own testing and found that they just don't mix well with the more traditional (and longer lived) leather conditioners/finishes that we older (by time in the trade) leatherworkers use. I have seen everything from total color bleaching after applying top finish, to crackling effects, to straight flaking like you have seen. My final findings (for my own personal business use) is to stick with the brand I know and trust and to continue to do things the way that I was taught decades ago. How does that go? If it ain't broke, don't fix it. Good luck with this and hopefully it is just a one-off issue for you.

Sorry to break it to you but the tools book has never been valued at $600, it is available brand new from Tandy Leather for $20.00 or it can be downloaded from their Leathercraft Library for less. I have pretty much everything here (aside from those specific stitching wheels) and they are currently listed at $22.50 each right from Vergez-Blanchard (just verified their price 5 minutes ago). At best you might be able to get $100 for the lot, before shipping. Sorry about that but we all tend to make sure that anything we are investing in is actually has a value to us and is worth what is being asked. Just simple business sense.

Have you thought about installing a ceiling mounted fan just like the one's that are installed in laundry rooms or bathrooms in your house? I have a similar style of fan installed into one of my exterior walls that fits the bill just right.

And Spence, if you would like to know how I break it all down, just PM me and I will send you the details. Hope your Christmas is very Merry and may we all have a prosperous and awesome 2015.

Spence, this is one of those topics that is indeed tough to figure out and we all have our own methods of going about pricing such work out. I too work as primarily custom only but I do always have a few cash & carry items available for when I participate in fairs and shows. One thing I always do is make sure that what I have for cash & carry is priced the same as it would be if a client were to request a custom work. Typically, my cash & carry items are either simple (plain, no stamping/tooling) or include some simple linear design work along a border or two but that helps me to set the "tone" of a conversation when a client starts talking other needs they are looking at. My base price on a standard (plain) item is where all of my base pricing for the individual item starts, the same goes for the one that has some simple stamping on it. And all of these prices are based on the same pricing strategies that any other manufacturer of goods will incorporate to ensure that all of their overhead, materials, and labor are captured and that a fair profit is achieved. I personally factor out all of my operating overhead, my labor rate (and I am a one-man shop), and my materials. My labor rate is based on the actual time required to make the item as it is displayed/advertised and I do this by taking the extra time to document every process or step from cutting to packaging. Now none of this goes directly towards the value to the customer, so to say, but it does have a direct impact on how the customer perceives the item by selling them on how you make each piece, why you use the materials/techniques that you do, and how they make your product better than what they can get from another source, especially the "mega-mart" outlets. This is where the value to the customer comes into play and that value is our work and how it can help them if they buy it. Because of the materials that I select for each item and the fact that I pretty much design everything that I make (and I have the drawings to support that), coupled with the fact that I have been in this trade for over 40 years and have made everything from a simple wallet all the way through to some very ornate saddles, I tell each one of my potential clients that I will guarantee that they should never have to buy another item to replace the one that they will get from me (unless they get bored with it and want another one) as long as it properly used and cared for, and I remind them that they won't get that type of service from ANY major designer brand and definitely not from any big box store or outlet. I struggled with this very issue several years ago because I would always hear that response, "I can get it at (enter garbage retailer of choice here) for a fraction of that", or "I have a fiend who does this as a hobby so I will have them make it for me because it would be cheaper". And they were in essence correct with those comments. But that made me start thinking about who I am competing with and where I could set my pricing at to possibly capture those sales and then it dawned on me, I am not competing with anyone because there isn't another person in my area that is doing this type of work at this level and with the quality of materials that I use. I also realized that although there are several hobbiests in my area that none of them design or create anything original and only work from a kit based model (and we all know how substandard those materials are). It was then and there that I set my goal of selling my skills and the quality of materials as the value in the pricing and if a potential client wants to take their business elsewhere no problem, they just told me by that action that they aren't into it for the value, just the price. I always lay it out for every customer that value is not a price based concept it is the concept of understand what you get for your money, it is an investment in quality and craftsmanship and the return is the long-term lifespan of the product received.

The reason that we wait until the leather has appeared to return to the original color while still being damp is to get the deep burnishing that you see around your beveled edges, where any shading is done, and it also helps to give you a more consistent result when doing any background work. Mushy/overly wet leather will not give you the contrasts that you are looking for and it also allows the leather to stretch excessively which can ultimately lead to your finished piece now being the wrong size or looking "out of shape/distorted". Very rarely should your leather be soaked or, the more common method of dipping it in water until all of the bubbles quit rising, unless you are either working with moulded items as indicated by juxtaposed2 or you are working with thick saddle skirting that needs to be heavily formed and shaped into place. The best way to case your leather for common stamping/tooling use is to wet it well with a sponge, allow it to sit for a bit until the leather appears to return to the original color, and then check it for a cool feel. It should feel cool to the touch but not wet. During your stamping/tooling, if the leather starts to dry out too much just run some more water over it with the sponge (just enough to moisten the leather) and allow it to return to color again. Patience is the biggest thing that everyone, regardless of experience level, tends to fight with but it is a necessity in this trade and probably one of the things that you will forever be working on nailing down. I have been doing this for over 40 years and still find myself wanting to accelerate a process only to slap myself down and get a grip on the reality that I can't rush something. Clients pay good money for a quality piece and I would be doing them a serious injustice if I were to shortcut in any way.

Zayne, You never want heat leather to dry it as it will stiffen up and, the thinner weights, can shrink quite quickly. Anytime that you add a dye/finish, oil, or anything else to the leather it is best to let it set and dry at least overnight (I always let dyes and oils set for 24 hours to ensure that they have achieved full penetration and properly set). To case your leather (unless you are doing some super duper Repousse work or wet forming/moulding) you can use a sponge or a spray bottle with a fine mist to apply the water. You still want to give it a good application but you don't need to make it soggy; soggy leather takes almost twice as long to dry and can even get brittle or shrink a bit. When applying your oils what I do is use a piece of sheep's wool (or similar material) and apply a good coating, not heavy, to the leather. I let it set for 12 hours and if the leather appears to be the normal color then I will give it another oil application just the same as the first. I only apply the oil to the grain side for the thinner leathers and that is because you can get too much saturation is you oil both sides and that saturation could create major issues when it comes dying, staining, or finishing by allowing the color/finish to not set and bleed or create color transfer (and that is something that you don't want a customer coming to you with). The drying times between treatment/application is what creates your actual production turn-times and the best method for success is to just allow everything to set/dry naturally before you move to the next step/process. This craft requires more patience than most as you can see.

@zaynexpetty: I have sent you a PM with some stuff to look at and consider.

Yes, that is what was called a "turnback" and they were used to bevel the small shaped areas around the lettering stamps. There was the textured set and a smooth set to cover both styles of beveling. The object was to stamp down the pointed or recessed sections of the stamped letter impression and then finish it off by using a corresponding beveler along the straight sections. I believe Leathercraft Library still has a downloadable Tool Conversion Chart where you can verify what size it is you are looking for before you go shopping for them. The most likely place you will find them is through eBay but you might find most of them will be shipped from overseas so shipping may be an issue depending on Country of origin. Hope this helps.

@zaynexpetty: I too go with a more minimalist approach to it and I do this by using true 2 to 3 oz. cowhide for my interior pieces, more specifically, the pockets. I also use the T-style pocket but I cut in from the edge on average 9/16" to 3/4" and then taper the tongue inwards. This creates a nice professional look and feel to the pocket stack. The bottom edge of the pocket tongue is then stitched to the base at 1/8" from bottom edge. I am currently working on a new design that I just drafted out today and would be more than happy to share the results with you if you would like.

After spending some time looking at the images provided I believe that I have figured out how it goes, I just don't have it drawn out to share with anyone. However, I can tell you that it basically requires you to cut two pieces of leather the same shape (the back and the interior base) making sure that you flip your template after cutting the first one so as to ensure a mirror image so that the flesh sides will face each other and match up. The innermost line of the zipper assembly (the one towards the center of wallet) needs to be sewn through the interior base, the zipper tape, and the back to create the zippered pocket which is the angled section with the snaps. The interior base also needs to have the open sections shown in the image cut-out. The card pockets are basically stacked onto the interior base section and then stitched down as shown in images. If I were to make one of these I would use the "T-shaped" pocket idea as it would help reduce the overall thickness (I have however started using a 2 piece pocket design in my long wallets that allows the top section of any pocket not being used to actually nest down as if it were not even there). In the last two images the flap pocket also shows another cut-out that looks like another pocket, in this case another piece of leather has been stitched to the back side of that opening to create that separate pocket (this looks like it is intended to be a checkbook section or even another currency pocket). I am not a master of the CAD system nor do I have the time available to sit down and draw these designs out as I have my hands full with filling orders. However, anyone should be able to sit back and get the general idea by just looking at one piece at a time and then putting their take on it and create some general layout templates from any images available. It takes time and it also doesn't hurt if you have a little bit of design background of any kind (mine is Architecture) and can apply those techniques to the process. I always try to visualize these things in a "blown up" fashion, just like those instructions that come with anything we buy that requires assembly. And for anyone who is going to try and brave this one on their own, it appears that the leather used here is a combination of 2 to 3 oz. and 3 to 4 oz., maybe lighter on the 2 to 3 oz. pieces. Another thing to consider here is whether or not the creator of this item, Tanner Goods, will authorize you to use their design. I would recommend that you contact them first and clear it with them; if they hold a design patent on this item then you would be in violation of the laws regarding Copyright infringement. One thing we all need to keep in mind is that just because we see a cool design somewhere on the web, doesn't mean that we can automatically go about copying it and using it ourselves. There are several designs in the market that are produced by professional tradesmen that are actually registered which gives the designer some serious leverage against someone who is using their intellectual property. Just food for thought. On the flip side of that equation, if you make some unique materiel changes to the design so that it has "your own artistic influence" included to it then you have now created a new design which doesn't create an issue.

To answer your question cradom about is there a difference and does it matter, I offer these words. Regarding the differences, the method of tanning does indeed make a difference when it comes to how well the leather will "case" which ultimately makes a difference in how well the leather will stamp/carve & tool. It also makes a big difference in how well the leather will absorb the dyes/stains, oils, and finishes. Regarding your question about whether it matters or not, the answer there is simple but will vary based on the leatherworkers standards. No matter what tannage you decide to go with, stick with that one brand across the board with your veg-tan. Being as we know that each method creates different results the last thing you want to do is mix leathers that will have different shades and finished appearance that could create that patchwork look that is not very appealing. Now I am sure someone in here is going to find a rebuff for what I just put out here but I have made sure that over my years in this trade that I have actually learned the true differences in the methods and the results, and not from YouTube or any of those other sites where you can extract "personal opinion information". My learning has been provided by the Masters of this trade before me, the Tanneries themselves, and the Chemists who create these recipes based on product available and the desired outcomes. In other words, true professional education. For those who rely on Tandy for their source of leather (as well as most bargain brand/quality veg-tan), your leather is tanned in either Mexico or some other South American country and their primary tanning blend is Quebracho. It gives the finished product a pinkish look when you case it and, when properly cased, will give you a decent burnish when stamped and tooled. It accepts dyes pretty good but with one caveat: if you didn't case the entire piece of leather you will be able to see the difference between the original color and the now pinker color of the cased area. This also creates an issue when finishing where you will have a two-tone effect because of the way the base color has been changed. This is caused by the cell structure having been altered in the cased area which has now constricted a bit more so it absorbs the dye/stain differently. I have always used a pure Oak tannage for my works and that pretty much only comes from either Wickett & Craig or Hermann Oak, and they are both right here in the U.S.; their blends use true Oak and give you a beautiful russet color which remains consistent throughout the use of the leather. It is darker when cased but it returns its russet color when dried. Their leather absorbs dyes evenly regardless of whether the entire piece was cased or only a section where the stamping/tooling has been applied. You also get a much better and darker burnish when stamping/tooling the leather (and that is what you want) and the quality of their leathers is far superior to those available as bargain/value products. Not trying to knock Tandy on this because they make it easy for someone to get into this trade at a reasonable price. For a maker/leatherworker that is serious about the product that they make and the quality of the materials being used, they are not the source that you should be going to. Furthermore, none of their staff actually know anything about leatherwork (you might find one or two here and there but this isn't their staffing model anymore) and can only tell you what they have been taught in their training classes, much the same as any salesman in any other industry; they don't know anything other than what the company or manufacturer sales pitch is. Sorry, but that is the truth and that is from the mouth of a Tandy store manager that I know very well. Ever wonder why most of the classes taught in their stores are actually taught by a non-employee? Here is your answer.

As RavenAus said, there is no back up to the glue process. I used to do wallet slots this way years ago using high quality poly fabrics but I always ran a stitching line across the top of each pocket edge to make sure that the fabric would have an extra "hold". I now use the stacked leather pocket process as it is much more durable and requires you stitch each pocket into place; not to mention, the result is a much more professional quality looking product when it is all put together. Still, a subscription to the Leathercrafter's & Saddlers Journal is well worth the price and you can even purchase some of the back issues if you like.

You get the same results with the Leather Balm with Atom Wax, it has to do with the waxes that are in the mixture. Good thing is that it doesn't last forever as once the waxes have fully penetrated (and that takes longer than other liquids do) you won't see it again. It is also a small reaction between the Pro Oil dyes and the finish but I have never had this issue when using the standard spirit dyes. Traditionally, I never use the Carnauba Creme because I get a better result with just doing my 50/50 of Resolene; which I then give a final coating of straight Resolene after the last 50/50 has set for 24 hours.

The Fiebing's paste gives you a true antique patina while still allowing you to see the texture of the leather grain; the Eco-Flo gel antique gives you almost the same coverage as if you had stained the piece. Additionally, if you are looking for a deep penetrating, permanent finish then go with the Fiebing's products as they are spirit based; Eco-Flo is water based and has a habit of rubbing off, regardless of how it is finished. I tried the Eco-Flo (and other water based products) when they first came out and found that they aren't a great alternative. I have been using Fiebing's products as long as I have been doing leather (and that is over 40 years) and have never been let down nor had an item returned because the finish/color came off. I would rather continue to make a quality finished product than to have to deal with a dissatisfied customer because I "hugged a tree".

You can use just about any of the finishes out there as a top sealer. Being as you used the Eco-Flo water based stain you should probably use the Eco-Flo Super Sheen as it is formulated to better work with that product. If you use the Leather Balm with Atom Wax you will see a darkening of the leather so, being as you have indicated that you have now gotten water spots on the finished product and they are darker than the remaining area, you may want to consider this as the "go to" product. You may also want to consider giving the overall piece a coating of Pure Neetsfoot Oil first and allow it to set in overnight. It will darken the leather as well and could help balance out the spots with the rest of the finish. However, keep in mind that no matter what top finish you use this item will naturally darken over time. Also, you need to be aware of the fact that being as you have used water based stain there is a risk of rub-off and any moisture that the finished product is exposed to could cause the coloring to run or bleed. This holds true for any water based product and that is why when you want a lasting finish you need to use the chemical based dyes and stains.

And that, St8LineGunsmith, is exactly the correct answer. There is nothing more to be said on that subject. If it was truly an issue, don't you think that a company like, Tandy for instance, would have an issue with some hobby guys making a living on just dying their kits, sewing them together, and then selling them for 3 times the kit cost AS THEIR OWN creations? I say this because there are some people out there in our market that are doing that very thing and some of them are making $5,000 per week, CONSISTENTLY, doing just that. These kits are sold to everyone who wants to buy them for the purpose of completing and then either giving away or selling them with no strings attached by Tandy (or whomever created the base kit). However, the instructions, designs, and other information included with the kit (which also happens to outline the individual parts) can not be sold or transferred to ANYONE else for the purpose of being used to create a finished product. When you buy that kit, YOU have the right to use it for your works; you can't share it with anyone else without violating that agreement with the seller. If someone else wants to make something like it then tell them to go buy the kit and all is good.