silverwingit

Don't forget for apply some form of resist (Tan Kote, Bag Kote, Resolene...) before you apply your antique finish. You want the antiquing to stay just in the deeper cuts and wipe right off the flatter areas. Otherwise you might just dye the whole piece a darker color.

FWIW you can get a 9"x12"x3" granite surface plate for $40 delivered from http://www.grizzly.com/search/search?q=granite%20surface%20plate&cachebuster=417378007726428.3 Larger ones are available. Surface plates are used by machinists as a reference flat surface for their near absolute flatness. I have two, one on my leather workbench and the other for my wood shop in the garage. Their thickness (and hence mass), their (relative) portability and their guaranteed flatness all work for me. Tooling occupies only part of my time. I have smallish leather workbench and like to be able to move my pounding surface out of the way. I found some cabinet liner material that is slippery on one side and kind of tacky on the other. I cut a 9"x12" piece and put it upside down on the underside of the surface plate. This allows me to easily "slide" my 40lb. slab of granite into and out of my immediate work area as needed. When the block is stowed toward the back of the bench it is still within easy reach to set a snap or cut a belt end with a quick blow or two from my maul. I also use the surface plate's guaranteed flatness when I lap my splitter/skiver blade to a high polish using 3M's abrasive polishing papers. In terms of bang for the buck, my granite surface plate is one of the most cost-effective and useful tools I have. The only thing is that it bothers me from an ecological point of view. I can't reconcile in my mind how a precision block of solid granite can be cut and highly polished in China, shipped to Grizzly stateside, and then finally delivered to my home workshop for $40. I don't even want to think about the carbon footprint involved...

I just took a look at your web site, Jimbob -- very impressive! What machine do you use for your holsters, shoulder bags and pouches? Thanks, your new fan, Michelle

I couldn't agree with electrathon more. There will always be projects and parts thereof that will demand to be sewn by hand. From where I sit, being able to hand-stitch well is what makes a Leatherworker. If you can't hand stitch almost as well as well as Nigel Armitage, you will remain a hobbyist in my and many other folks' eyes.

+1 on the Kydex! It's very easy to work with. It would be a snap to make a wooden mold for your bolt channel around which to form the hot Kydex. Kydex also comes in different colors. You could get creative if you want to with the available color schemes. Plus, you can stitch Kydex right into the surrounding leather with the appropriate machine or by hand. It could be the difference between something slapped together versus something designed right in.

For me, a lot of my success with basketweave stamps depends upon the angle from which I view my work. Try viewing your project from different angles, e.g., along the centerline or along the axis of the stamps. I find it crucial to get this stamp's footprint EXACTLY on top of the previous one's. Whatever angle from which you can view your work that gives you the best view of placement of those critical end-bars is the one to use.

I agree about Springfield Leather being a great company. No other company will cut leather for you. And if it's just veg-tan you want, they carry Hermann Oak and you can't go wrong with that. At any given time they have a great selection of leathers to choose from. For one-off projects, SL can't be beat. However, many of their leathers other than HO veg-tan are available either on a one-time only or spotty basis. So if you want to make more than one _____________ (fill in the blank), it is a dice roll whether you will be able get the same leather on subsequent orders. On the other hand, Weaver Leather is a very consistent supplier. They will send you a sample book of all their leathers, and there are ~many~. You can be assured that you will be able to order the same type of leather on a consistent basis over time. Bottom line, if you are a hobbyist making one-off items, Springfield Leather is a mother lode. OTOH, if you plan on production work where you need consistency from your suppliers, there are other, perhaps better, choices.

Mike, have you seen Nigel Armitage's log workstation? You could put it on casters. http://youtu.be/lCFTDqQaEIc

OK, I'm not into armor, but...1) go to the Re-enactment forum and search. A very rich resource. 2) Good leather sources: Springfield Leather (forum sponsor), Zack White (forum sponsor) or if you have a tax ID, Weaver Leather. I think you want veg-tan leather (suggest either Hermann Oak or Wickett & Craig). 3) You'll need a better hammer or even better a maul (I suggest Barry King mauls, also a forum sponsor). 4) You will want a solid, weighty surface on which to do your pounding. Most use a marble slab or granite surface plate. 5) You didn't say what knives you have but if you get serious about leatherwork you will want a round or head knife (Suggest Weaver or CS Osborne). 6) You will be cutting a lot of leather so you will need to get some good sharpening equipment and to learn how to use it (suggest diamond stones, and make your own strop -- there's a Sticky note for that in the How do I do that? forum)). Hope that helps.

My bet is that there is nothing defective, but that a motor setting somehow got reset or that there was a simple error in setting up the machine when you got it home. Steve sets up these machines before letting them go. Something is not quite right. Has the machine ever worked for you? Did you get the pulley on correctly (small pulley to the outside)? Can you hand-cycle the machine using the pulley (only move the pulley toward you, counterclockwise, never away)? If you take the belt off does the motor turn? Can you cycle the motor by manually pulling down on the lever where the chain is attached? Have you jammed the machine by failing to keep ahold of the threads for the first few stitches? These are a few things you can check before you get to Steve.

Better break this down, evaengineer. Too much to digest in one helping. You'll get better response if you ask specific questions.

Good advice. A few little tips: The hole in the end of the ram should be 3//8" in diameter. Not all tools are 3/8, but many if not most are. Those that are larger can be turned down to that diameter on a lathe. Those that are smaller will require a split bushing to bring their effective diameter to 3/8". I have my ram's side hole tapped for a thumb screw so I don't need a wrench to use it. But... I don't think even a 2-ton press will do the job on veg-tan with that large of a stamp. And, I know it won't work on bridle leather. You may need a hydraulic shop press for that.

Hi, Shannon - Looks like we'll need more detail about what you mean here. If it's finishing your edges properly, you need look no further than here: http://leatherworker.net/forum/index.php?showtopic=18101. Hide Pounder is the expert! Good luck, Michelle

Outstanding! I love the way you let your carving art break out of the beautifully done border. And the deep cut and very expressive carving. Inspiring to say the least.

I'd give Bob at Toledo Industrial Sewing Machines a call 866-362-7397, http://www.tolindsewmach.com/

I have been bitten thusly and Nige, it was with some expensive American Wicket & Craig English bridle leather. After recovering from my initial shock, I was able to convince myself that the wrinkled finish looked kinda cool. I'd work on that mental approach and act as if it was on purpose. As to the poor appearance of the flesh side, that is from the poor quality of the Tandy leather you used. If you used a belly cut, all bets are off with the flesh side finish, regardless of the tanner. You must use a quality cut from a quality tanner if you expect to have any decent appearance on the flesh side without some work. Even then you might need to try applying a sealer like Tan Kote, Bag Kote or Gum Tragacanth and then buffing it with a bone folder or coarse cloth. With a poor quality cut of leather, you can try using a fairly coarse sand paper, travelling only "with the grain," coupled with a sealer and buffing, but don't expect much. Bottom line, if you really care about the appearance of the flesh side of the leather where it might be seen, you should line it with one of many options in lining leather.

I add a couple notes to what Nige said. You not only can't dye oil-tanned leather, you can't "form" it like you can wetted veg-tan. That might have a major impact on its suitability for armor. It won't absorb the water. It's a project just putting your maker's mark directly on oil-tanned leather. I think Nige uses big C-clamps. Others use an automotive-style hydraulic press. Still, it's wonderful stuff to work with. It makes beautiful belts and other items and has a terrify "hand." You should take a look at Nige's web site if you haven't already. http://www.armitageleather.com/

A few tips on wet-forming. 1) I don't think you need to use boiling water. That does weird things to leather, grossly shrinking and shriveling it up on the top of the list. I use tap water warm enough to still run over my hand, no hotter. Then I soak until the bubbles stop for the most part, 30 seconds or so. I'm also wary of "cooking" my leather, so I dry over night. The leather still comes out hard enough to knock your knuckle on. 2) There are two basic methods. Both involve making a wooden form or last. With the first, method "A," only one side of the leather is wet formed. It is then stitched to a flat piece of leather to make the pouch. With the other, method "B," the leather is stitched first and then wetted and stretched over a form. This makes both sides of the pouch wet formed. 3) Start with method A, which is used to make pouches for items like knives, such as in the above post. You need to make a wooden last of the appropriate size and shape screwed to a base board (may take some fine-tuning). Then you gradually form the wet leather to the last with fingers and tools such as a bone folder or antler tip. Be patient, take your time. I don't know what you're making but I'd use 5-6 oz. leather to start off. Thicker or thinner can be done, but they are much more difficult and take some practice. Start with 5-6 oz. 4) At that point it is your choice, tacks or a companion last that you clamp down onto the main last with the leather sandwiched in between. With tacks you can tack the leather as close as possible to the last (you'll cover up the blackened tack holes with your stitching later on. With the companion last, you work the leather onto the bottom (main) last and then clamp it down. I've had more luck with the clamping method. 5) With method B, think cigar case. The last may once again take some fine-tuning depending on how exact the fit of the final pouch must be. The wood must be sanded very smooth and I recommend applying several coats of glossy lacquer or polyethelene wood finish, sanding in between. The last can't be too slick.. Even then, depending on the size and shape of he article you're making, you may have to apply neetsfoot oil liberally to lubricate the last well enough to stretch the leather over it. Hope this helps. If not, ask more questions. Michelle

That is a good find, SooperJake. I made an index after viewing it so many times. Michelle [

That is a good find, SooperJake. I made an index after viewing it so many times. Michelle [

OK, then steveh, I'm going to try that again, concentrating on lifting the presserfoot and moving my workpiece , then lowering the presserfoot again to resume stitching. Thanks for taking the time to explain. Michelle

Thanks, Gents! SooperJake, just how one stretches or crunches stitches accurately is what I've been trying to figure out. steveh, I have tried lifting the presserfoot but with some of my larger, more clumsy projects, it's very difficult not only to adjust stitch length but to simply keep the stitches in line.The Cobra 4 has a stitch length/direction adjustment lever. I have been trying to come up with a reproducible method using that lever where I could, for example, put a long stitch a few stitches back from the corner, but then have the last stitch end precisely at the corner. That would draw less attention to the stretched stitch, not having it right at a corner. That's what I'd do if I were hand stitching.

Hi, cem - Clearly you are up on on Tiger threads. I guess Nige must be confused, though knowing him that seems unlikely. I guess I'll just ask him to clarify. Thanks, Michelle

mj, I would hasten to avoid trying to add anything to the inestimable Wiz' fine post, but in a very similar situation I recently managed to get my machine's timing out of whack by jamming my new Cobra 4 when the lower thread was jerked from my grasp at the start of stitching. Steve suggested an easy test to see if my bobbin was out of time with my needle. He told me to loosen the needle and reset it down about 1/16"-1/8". He explained that doing that, in effect advances the timing. If your machine then sews OK, you can either set your needles like that henceforth or adjust the timing. I chose to learn how to set the timing. It is explained in both Steve's video and in his instruction booklet. It isn't difficult, but it took me a few tries to get it right. Best advice, call Steve. He'll get you back up and running. BTW, as a new Cobra 4 owner, if you haven't seen Al Bane's instructional video, I'm sure you'll find it helpful. I know I have. I've viewed it many times and keep finding it helpful.

cem, Nige clearly states that he prefers Tiger Bonded Nylon thread at 9:51 on this video. http://youtu.be/zeQt-nvLWyo