RidgebackCustoms

Check out the post of a similar machine in Leather History. Some members have experience with them based on this thread.

Do not take them apart! If the sewing machines are functioning do not take them apart. Quite a few people who own these machines or want them do not also possess the technical knowledge to work on them. I can drive a car, but would be walking everywhere if I also had to know how to work on the transmission. If they're working, include video of them functioning in whatever post you're selling them in. You could also post a classified in Leatheworkers Journal and / or Illume magazine. You'll reach a target audience of serious leather workers.

Here's a cool video for similar piece of equipment/design that shows some application information. Probably more interesting than useful, but cool video.

I see a lot of traffic on alternative ideas for vacuum, but thought I'd throw in my two cents on how these units (the original picture) work. These type of units use high pressure air to generate a small vacuum / low pressure area just ahead of the nozzle. Material is pulled into the nozzle in the local area and rather than being "sucked" through the hose for the majority of travel, the scrap is pushed by the compressed air along the length of travel. They're useful when you want to push the scrap a long way or up a vertical section as pushing with compressed air is more efficient than pulling with vacuum. I would expect to see a set up like this in more of a industrial setting where instead of consolidating the scrap near the machine, several machines are ganged together and their combined scrap is pushed away from the workers. The unit will only run as long as the compressed air is running through the unit. Manufacturing facility air typically sits at 80 psi or so. Higher pressures create higher vacuum areas near the nozzle, but once in the pipeline a lower pressure would be capable of pushing the scrap. If you wanted to use this set up you would want to mount the vacuum unit (the piece with the compressed air fitting) as close to the scrap as possible as it doesn't tend to "pull" very well compared to other vacuum options. If not feasible, you would want the scrap to fall through the pipe with little to no bends or turns so that gravity is doing most of the work of getting the scrap near the mouth of the vacuum unit. If I already was in a shop with compressed air/big reserve tank I would set this up with a simple on/off valve and push the flow to a scrap area farther away. If I didn't have that already I'd probably go with one of the more conventional vacuum options (shop vac type system).

I use it to paste finish the flesh side of leather. It works really well for laying down fuzzy leather. Have to use a piece of shearling or something to get good coverage out of a given volume, but it's a go to for me.

That's an idea. I like projects with a lot of "canvas" to work from. Fair, I just worry about skin oil, sweat, etc. prematurely aging the work.

I want the art facing out when shooting. So right side for a right handed shooter, etc. Probably my only option for adding function to form with these designs. Fair

Made these mostly to practice the tooling, but wanted to start fleshing out a stock cover design as well. Genuine question: Does anyone think there's a market for purely decorative covers? Maybe in the SASS? I like the real estate provided by the project for decorative tooling, but not much function to it.

Great read! Thank you for the history and insight.

UPDATE: Made some changes to the line drawing. Haven't gotten around to re-tooling though. Shortened the beret up on both versions. Dropped from 4 tusks to 2 on one of them. Personally I like the 4 tusk version still, but like the shorter beret.

I really like the logo.

Thank you!

Latest guitar strap done! I wanted to do a tooled portrait, but my skills aren't quite there yet. I think the faces turned out well, but didn't bear enough of a likeness to Chester. The guitar strap is tooled leather, Fiebing's black pro-dye for the background. I used dark brown antique for the hands and a matte resist. Although to be honest I don't see much of a difference between the matte and the high sheen after a few days, comparing it to other straps I've done. The inlay is sanded stingray. The leather is 6-7 oz, so to get the cutouts to sit lower I hand skived the back to reduce thickness along the stitch line. Lisa Sorell's book The Art of Leather Inlay and Overlay was a great teacher for that technique. As an aside, I'm trying to get my hobby to pay for itself, but having trouble finding a place to sell my work at cost that doesn't cost me money to post and sell. I feel like posting to facebook / instagram only gets me in front of the same 30 people and the support I get there is great, but they're not customers. I don't want to pay for advertising since I'm practically giving my work away anyway. I'm at a loss. As always compliments and criticisms are welcome. And criticisms are more important for improvement. Thank you! -Ben

Detailed pictures of the pick pocket construction:

They are pick pockets. I stitched a false top across the top of the pocket and then finished the stitch attaching to the strap itself. So there’s an opening at the top to put a pick but it’s a complete border just looking at it. There’s also a little tab on the inside of the pocket to keep the pick from popping out. I’ll post a pic soon.

Fair. I definitely want to try this design again to continue practicing hands.

Been on a guitar strap kick recently. Some of these designs have been kicking around my head for a couple years. Finally decided to sit down and get them knocked out. Each one was done to practice a particular thing I needed more reps with. As always, criticism is appreciated and more valuable than compliments for continuing to improve. Thank you!

Very true. I called around to a few shops before I found the good stuff and most were incredulous I would even ask. But if you're in the Anderson, SC area I know a place lol.

I favor thicker slabs over thinner slabs. Not so much an opinion on material. FYI before you order one, if you have a local granite/marble shop that actually does the fabrication you could see if they have any scrap. Local granite place has a massive pile of off cuts (circular cut outs for garbage bins in countertops/small squares from sink cut outs, etc.) and they just treat it like garbage. Told me to take as much as I wanted when I asked if I could have a piece.

Rocky Mountain Leather Supply has a fair assortment of Italian leathers. You can order $1 sample sizes too to do color comparison. Maybe try the conceria Walpier Buttero in Chestnut. https://www.rmleathersupply.com/products/copy-of-conceria-walpier-buttero-veg-tanned-leather-18-colors-3-oz-1-2mm-for-full-inventory?_pos=2&_psq=buttero&_ss=e&_v=1.0&variant=39903324766317

First instinct, I'd punch out the rivet on both sides and replace both (so that they match). Find a leather of similar consistency/color for the repair. If it is for personal use/non-professional repair, I'd use a 29 series sewing machine with a swiveling head to stitch the repair on and through the liner. It will look a little rough on the inside of the purse, but the outside will look the same. Otherwise you would have to pop the stitches around the liner to do the same repair, but then have to put the liner back the way it was. Lots of work for something that's only on the inside. I'd be curious to see what the good side looks like.

Looks Great! Also dig the tool set up you have!

Not speaking to the structural / protective effects, but when oiling carved work I find it easier to get a more even (although not as dark) color using the compound. I think because it is less viscous.

Pattern is an amalgamation of some free pattern/image references with modification. Posted the same in the Show Off topic and getting good feedback. Going to revise and try again at some point as well. Feel free to use for personal projects.

Got the tool. Just looking for education resources / how to's that are specific to hair/texturing.