sheathmaker

I have been involved with leather craft since 1951 so I've done my share of "hand made" "hand stitched" etc. I've also made a few observations in general and in this thread. Some of the things that are suggested that I do not agree with are: Hand sewn is no more attractive, stronger, or better quality in general than machine sewn. Either, if done with loving care and precision will look and serve just fine and neither is better than the other......but I can stitch two or three running feet around as many curves as you like in about 15 to 20 seconds. How fast can you hand stitch?? Mine will look as good as yours and I'll bet big money on that. Mine will last as long as yours and I'll bet big money on that as well. My inlayed goods are as good as any I've seen and they are all hand cut and machine stitched, a blending of the two methods. I make and deliver about 600 knife sheaths a year based on the last three year's production. Each one has it's own design pattern and is hand cut and machine sewn. I charge a relatively high price ranging from $75 to $300 depending on complexity and size. I've have a constant flow of orders, but because I utilize machinery in the process my turn around time is generally four days or less. Consistant quality seems to be the key along with speedy delivery that allow me to have little resistance to my pricing. Really fine hand finished edges are another thing I devote particular attention to. This is part of the customer's "first impression" which sets their mood as to whether it was "worth every penny" or not. The amount of repeat business I get makes me think it "was worth every penny". When you start to wonder about the whys of customer acceptance of your pricing, I think the first place to look might be the quality and CONSISTANCY of your work. None of this is meant to incite you to a flame war with me, but rather to offer you another perspective for improvement of your pricing acceptance. I am posting below a truly random photo representing the average of my production as it was the very last one I finished last Saturday. I certainly would not hold this example up as some of my very best work. Paul

The part you are looking for is sold seperately and then is coupled with a D ring. It rivets on both side of the D ring and is use mostly for top handle attachments and such. Weaver leather and Ohio Travel Bag both did have them. Edited for additional information. Ohio Travel bag catalog number P27 has them listed on page 38 at the bottom of the page starting with stock number L-643. I think they refer to them as Handle Brackets. I believe the last time I bought I used the D-18X which accomodates a 3/4" D Paul

Tandy/LF does have them. See link below http://www.tandyleatherfactory.com/home/de...avlocation=left Paul

Here's an old man's perspective. You're in Japan....7/8 oz leather is all you have (that's your biggest problem). !. See if you can find anything remotely close to a shoe repair shop. If so they might have a hand crank splitter or a 5 way. Take that 7/8 oz down to about 2/3 then glue up the 7/8 to the 2/3 and you have a decent weight for a belt. or.............................................................................. ................. 2. Make a single ply 7/8 oz. belt which in my opinion is too light for a belt, but if it is to be a fashion dress belt it might be okay. I would not stitch it if it was me. Hand stitching is way to corse for a really dressy belt. It would need tp not heavier than #69 thread and about 10 stitches to the inch minimum.......so my vote for a good looking belt would be NO STITCH. or...................................................................... 3. Talk the customer into waiting until you get home where you can do it right and then mail it to them. Hope everything works out for you. Paul

Beautiful work, J R. The finger cuts on the back are a reminder of works I've seen by Ray Poja and Bob Dellis. Clint's shop is about a mile from my house, so I recognize this as a very expensive piece of work with the fine craftmanship on your part and the sliver by Clint. Thanks for the chance to see it. Paul

Well I typed a long answer for you guys and just as I hit the button the site server crashed temporarily, so now here's the short version. The stud is custom made and was a gift from a good friend. Don't know the exact cost but it was expensive. The "Bow Tie" retention strap is something I thought up about 9 months ago or so. I needed something that would work with guardless knives or knives with one side guards. If you are forced to attach the strap on a sheath for a single guard knife, 90% of the time you are forced to position it in harm's way on the sharp side where it WILL be cut sooner or later. This little rig removes either right or left and can be removed completely if you want to. In field use just diconnect one side and let the other side hang from the front of the sheath by the Sam Browne stud (Tandy/LF). It is handy and very secure and has become a real favorite with my clients. If you like the idea, please feel free to copy it, improve it, whatever. Paul

I finally got caught up enough to build a sheath for me. I've had this beautiful Dave Kelly Fighter for about 6 weeks and needed to get something done for it. Alligator belly centerline overlays on Wickett and Craig chestnut. Paul

whats the stamp of the second from the right??...i can't tell in the pic but looks interesting... darryl It's a Jerimiah Watt (Horse Shoe Brand) tool. Kind of looks like a pineapple or an upright leaf. I stagger it and then fill in with Craftool S 631 dot. Paul

I finished up these four sheaths earlier today and tomorrow they will be headed to Cody, WY. I would have shown the knives also, but they still have a little bit of final finish to go and I'm sure the maker would not want to splash them all over the internet until they are truely ready. Wickett and Craig 7/8 oz leather in Russet, Chestnut and Brown. All pieces fully lined. Artisan machinery. thanks Paul

Here are a couple of pictures. Paul

Pella, this is my opinion and my opinion alone...not speaking for others. I believe there is no such thing as "cheap" skirting for building new or repair or anything else. The cheaper the price, the greater the probability of shoddy work due to inferior materials, premature failure due to inferior materials, dis satisfied customers due to inferior materials, and so on. When you consider all the probabilites and damage to your repuatation it all of a sudden makes the most expensive and best quality leather you can find the "cheapest" because you no longer have to build or repair the same thing twice or three times due to inferior quailty CHEAP leather. Paul

Nick you've seen my stuff first hand so if that's the finish you want on bridle or any other leather then it's one light coat neatsfoot oil on russet and chestnut, the dark brown and black get no oil. Then Feibing's TanKote, and finally a light coat of Tandy NeatLac. Been doing it just that way for years. good results...no problems

That is a great idea and design and the workmanship is great as well. Paul

Elton, I can agree with you on what goes into the making of pick up chaps. I made the chaps for the San Antonio Stock Show and Rodeo a couple of years ago. I made two and it was more like making 5 after I was through, plus they are REALLY heavy. On top of all that it was a rush deal. I had one week to get the material and get them made. Your chaps look great. I hope you got what they are really worth. Paul

I haven't posted in a while so here's what I've been doing to keep me out of the pool hall and off the streets. The usual leather, W&C in either russet, chestnut or brown. Dark brown Alligator inlay. NO DYES except on the edges where Feibing's Pro Oil Dye is used. Stitching by Artisan, of course both 797AB and toro 4000. Paul

Keith, I'll certainly agree with you that Artisan service and customer satisfaction is about the best here is to be had. They set the standard as far as I'm concerned. I'd be very curious as to what caused your disatisfaction with your 618. I don't have or use a 618, but I have had flawless production and success with my 797ABLTHR and my Toro 4000 (I would have gotten the T 3000 but it wasn't born yet). Early on in my ownership of both machines I was able to trace any minor problems I had back to operator error and not the fault of the machine. I'm not questioning your experience or ability, but just wondering if that could be a factor in your case. Paul

Excellent, sound advice. You would do well to follow it. There are some orders you should just walk away from. this sounds like one of them, and very likely if you do repair it and something else happens, then your repair will "have caused this". Pass them by!@ Paul

Yes, it is. Paul

I think so. I used Hermann Oak for years, but WC has been my source for the last three years and I don't anticipate a change any time soon. Paul

It's been a while since I posted anything, so here's some of my later production. This is one of the largest sheaths I've done in a while, maybe ever. The blade on the knife is about 14 inches long and the sheath is 4 inches wide. Over all length of the knife is about 20 inches. The inlay is shark and the leather, of course is my stand by Wickett &Craig in chestnut. Paul

A picture of the knife is below. I guess I should have posted it at the same time. Now to answer some questions that were asked. Jerry Fisk did make the knife from his own ladder pattern damascus. The stand is Mesquite burl and some of the most highly figured and beautifully colored I'v seen. It was made for me by my good friend Robert Hensarling who is a Master Wood Worker and furniture maker in Uvalde, Texas. He is famous for his fabulous Mesquite rocking chairs and makes other furniture items as well. The sheath is Wickett and Craig chestnut skirting split at the tannery to 7/8oz. It is fully leather lined with the same leather that I ran through my splitter down to about 1.5oz. The inlays are alligator and I hand pebble grained the lether inside the borders with a couple of Bob Baird's pebble tools and then carved the quilt pattern. I set two pins in the riser on the wood base and put matching holes in the welt of the sheath and then use epoxy to secure it along with a thin line of epoxy running the length of the riser. It is identical on both sides to display either way. The excellent and professional photography is the work of my good friend Jim Cooper (Sharp by Coop). The result as you see it in the picture is representative of the efforts and skills of four of us. The desk display and knife is owned by a gentleman in Chicago, but it will be on display at the Blade Show (World's Largest Knife Show) in Atlanta the end of this month. Paul

I knocked this little project out for a friend of mine in Chicago. the sheath is identical on both sides so it can display either way. Paul

Eat a Butterfinger candy bar and drink a chocolate milk shake.....................................it won't make the swelling go down, but you'll feel better while it's swollen. (Just a little Humor to lighten your load) Paul

When a substantial number of people have purchased your work and many are repeat customers you might then begin to think you are getting good. When your peers and people in the craft you admire starting complimenting your work, you might then also think you are getting good. When people you have never heard of start calling you on the phone and ordering your work because they have either seen examples or heard about it word of mouth, you might then think you are getting good. when your work begins to attract international attention, then you might think you are getting good..........................................But when you are convinced you are good, then you need to check out that fellow or gal down the road who is REALLY good and set you goals a little higher. I always want the very last piece I do (whatever it is) to be the very best piece I've ever done in my life and I move toward that goal with each and every project.

Doug, I've got a few and I'd be happy to help you out. My contact information is below in the signature line. Paul