Tooling 4-5 oz. leather?

[Cecil]

Cecil,

Any drawing book would introduce you to the concepts. I would also say that Stohlman covers it in his books but it is interwoven in all the instruction. Take another look and you might see it now that you are looking for it. Peter Main and and Paul Burnett also have it inter woven in all their instruction. Go to Peters site and look at his work a lot of which is done on thin leathers. The big thing is to let go of your preconceptions and emotional attachments and just see what is actually there. Do the cuts vary in thickness or are they the same thickness through out? Do the lines radiate from a point or are they helter skelter? What is happening with the pear shadeing is it a single hit or does it start big and gradually taper down? Is the beveling all the same widthe or does it widen and narrow depending on where it is on line. Is anything on top of anything else? When things come together is it beveled so it looks like the beveling keeps going or does it abruptly stop? Just a few questions to ask.

David Genadek

David:

Thank you for the feedback. I have many of Stohlman's books. This topic is like a subtle undertone and is not clearly identified except in a few places. You have given me a sense of what to look for when rereading his books. I will also folllow up with your other sugestions. Thanks again.

[SCOUTER]

Hey Rookie- When tooling very light leather you might want to Rubber Cement it to a piece of good semi-thick American made coated cardboard. That helps many times by "giving" a little to the tooling and giving you a little more relief. Also the rubber cement solvent will evaporate thru the top of the leather. It's ok it will dry off.

[Cecil]

Cecil,

Any drawing book would introduce you to the concepts. I would also say that Stohlman covers it in his books but it is interwoven in all the instruction. Take another look and you might see it now that you are looking for it. Peter Main and and Paul Burnett also have it inter woven in all their instruction. Go to Peters site and look at his work a lot of which is done on thin leathers. The big thing is to let go of your preconceptions and emotional attachments and just see what is actually there. Do the cuts vary in thickness or are they the same thickness through out? Do the lines radiate from a point or are they helter skelter? What is happening with the pear shadeing is it a single hit or does it start big and gradually taper down? Is the beveling all the same widthe or does it widen and narrow depending on where it is on line. Is anything on top of anything else? When things come together is it beveled so it looks like the beveling keeps going or does it abruptly stop? Just a few questions to ask.

David Genadek

David - After rereading Some of Al's material and some of my old drawing books, I think this can be summarized by saying the thinner the leather the more your work has to be like a drawing and rely more heavily on techniques derived from drawing. As you move into the heavier leathers you can still use this technique or have the option of increasing the depth of the cuts and the amount of sculpting you do as you tool the leather.

[David Genadek]

David - After rereading Some of Al's material and some of my old drawing books, I think this can be summarized by saying the thinner the leather the more your work has to be like a drawing and rely more heavily on techniques derived from drawing. As you move into the heavier leathers you can still use this technique or have the option of increasing the depth of the cuts and the amount of sculpting you do as you tool the leather.

Yes but never loose the drawing technique just use the added thickness to whatever advantage that you can. If you have a 1/8 inch stem over a leaf it makes no sense to cut it 1/4" deeep and bevel it to the max when all you need to do is establish a seperate visual plane in fact it will make it look clunky. The one place it really helps is on background, then creating deeply pronounced visual plane does add to the design. I guess I like to think in terms of visual planes and try to establish as many distinct visual planes as I can. On thinner leathers you can add a lot of depth with your under cut bevelers. I think the important thing to keep in mind is you are trying to create an illusion no matter what thickness the leather is.

David Genadek

[Cecil]

Yes but never loose the drawing technique just use the added thickness to whatever advantage that you can. If you have a 1/8 inch stem over a leaf it makes no sense to cut it 1/4" deeep and bevel it to the max when all you need to do is establish a seperate visual plane in fact it will make it look clunky. The one place it really helps is on background, then creating deeply pronounced visual plane does add to the design. I guess I like to think in terms of visual planes and try to establish as many distinct visual planes as I can. On thinner leathers you can add a lot of depth with your under cut bevelers. I think the important thing to keep in mind is you are trying to create an illusion no matter what thickness the leather is.

David Genadek

Thanks David, that helps a lot. Now the trick is applying it.

[cowpounder]

I was wondering what I problems I might run into tooling the lighter ounce leather? Does anyone one have any suggestions or tips? I have only tooled the heavier ounce leathers.

Here is one that nobody has comented on yet. Consider the leather is thinner so you need to use a flatter angel on your swivel knife Blade and a flatter angle on your bevelers! I believe that is what Peter Main does.

[Blake]

I carve a lot of 3 and 4 oz leather for boot tops, counters and vamps and I use the same swivel knife, blades and bevelers that I use on my saddles without any issues.

I do use a different weight maul or stamping stick depending on the weight of the leather. The lighter the leather , the lighter the stick.. I think texture(checkered, lined etc.)from your stamps are important on the lighter leathers and will add some dimension. I think knowing your tools and materials and the limits is what is important. You just need to work with it awhile until you get a good feel for it.

Blake

Edited November 30, 2008 by Blake

[steveh]

I carve a lot of 3 and 4 oz leather for boot tops, counters and vamps and I use the same swivel knife, blades and bevelers that I use on my saddles without any issues.

I do use a different weight maul or stamping stick depending on the weight of the leather. The lighter the leather , the lighter the stick.. I think texture(checkered, lined etc.)from your stamps are important on the lighter leathers and will add some dimension. I think knowing your tools and materials and the limits is what is important. You just need to work with it awhile until you get a good feel for it.

Blake

Very nice tooling on your boots, I like the two tone on the left photo. How did you achieve that?

Steve

[Blake]

Hi Steve

Thank You but.......

They aren't my boots nor am I the maker. I only do the requested tooling for different Boot Makers usually using their patterns or designs depending on what their customer requests.

The 3 tone effect is pretty simple, I dye the background put resist (NeatLac) on the flowers or other elements that I want to leave natural and then apply a liberal coat of brown heel and sole dressing (which is water base) and wipe off the excess. let it dry 24 hrs and apply a sealer so it won't bleed or fade if it gets wet. This works extremely well on books and albums too along with a host of other items.

Here is another sample that was just done but it hasn't been sealed yet . The sealer tends to even out the colors. I use different brands with about the same results but I stay away from the high gloss .

Blake

[steveh]

Hi Steve

Thank You but.......

They aren't my boots nor am I the maker. I only do the requested tooling for different Boot Makers usually using their patterns or designs depending on what their customer requests.

The 3 tone effect is pretty simple, I dye the background put resist (NeatLac) on the flowers or other elements that I want to leave natural and then apply a liberal coat of brown heel and sole dressing (which is water base) and wipe off the excess. let it dry 24 hrs and apply a sealer so it won't bleed or fade if it gets wet. This works extremely well on books and albums too along with a host of other items.

Here is another sample that was just done but it hasn't been sealed yet . The sealer tends to even out the colors. I use different brands with about the same results but I stay away from the high gloss .

Blake

Blake ,Thanks for the explanation on your coloring process, very nice work!

Steve