Help With Hand Sewing Inlays.

[StrigaMort]

I'm going to be starting inlay work with smooth snake skins. I'm okay with patterns and making the leather windows, but I'm not sure about the best way to sew the skin to the leather.

For sewing my typical 8oz I use the following-

Stitch groover

Over stitch wheel (usually 5spi, but I have 6 and 7spi wheels)

Drill press with a large (unsure of size) needle chucked up

Then I groove the back and sew using 1.4 Ritza waxed thread and 00 John James harness needles.

I'm thinking that the groover and 7spi wheel will be fine. I need to know which thread and needles I should be using. Do you use waxed thread? I'll need a freehand groover so I'll already be ordering, just need advice on what else to order. Source might help too.

Lastly,will the sewing materials be the same when sewing, say, shark, gator, ray?

I really need advice here so anything will be appreciated.

Thanks.

Oh,I make knife sheaths if that matters.

[camano ridge]

When doing inlays I use the same thread I would use if I was not doing an inlay. I use waxed thread on most all of my holster, sheaths etc. I have an awl blade chucked in my drill press (not turned on) that I make my holes with, it slides through the stingray and gator backs with no problem. The way i sew and what I use does not change wether I am doing inlays or not. Except the awl blade in the press makes it easy to put holes in the stingray. Not sure how your needle will do.

[StrigaMort]

Thanks. I don't know why I wrote 1.4mm up there, the thread is 1mm. I went ahead and bought some Ritza. 8mm I'm not sure if it'll look any smaller, but I want to go 6 or 7spi around the window and 5 for the welt. I also bought a shark hide and will be using that. Shark is really nice, not at all rough like I thought.

[katsass]

From the grumpy guy: Basically I do as camano ridge does. Most items (such as holsters) I cement (Weldwood Contact Cement) the edges of what will ultimately be stitched down around the window, portal, hole, whatever the hell you want to call it. DON'T forget to burnish the inner edges of that hole before you do anything else. As far as making stitching holes -- do whatever works for you. I then use my stitching groover on the grain side of the outer piece, run the overstitch, punch holes and go to stitching. I then slather on a coat of contact cement on the back (flesh) side of the piece, (including the inlay) and the lining piece, This covers the stitching you just did, and prevents wear on it. Slap those pieces together when ready, lay it on a smooth surface, lay a slab of marble or anything smooth and heavy on it, NOW, chase mama around the house, try and milk a duck ---- DO ANYTHING but screw with your masterpiece before the next day. Now, continue to assemble as normal.

Here are a couple of pics of some of my inlay work. The first is ostrich shin inlayed in a holster for a colt 1911. The second is a bit different. I start as already stated BUT, I mold a figure of liquid latex stuff in the shape of the inlay cutout window or whatever the hell you want to call it.. I do this on a piece of 1/64" plywood. You MUST carefully form the snake skin around the molded figure and cement it down, It also must fit the cut 'window' tightly. (The one shown is a chunk of Karung snake) The difference between the two is that I don't stitch around the molded slither critter. I then slather the flesh side of lining and front piece and CAREFULLY stick them together. I use an old wallpaper roller to ensure good adhesion. then allow the thing to set for a day (or so to) cure. I usually do this type of inlay on knife sheathes, because there is very little bending on a sheath and the wood holds firm but I also do it now and then on holsters. I also inlay arrowheads, etc. in a similar manner except I cut the 'window just large enough for the pointy (sharp) thing to sit level (or as close as possible) to the top or surface of the shell (outer piece) of the rig. I use epoxy to keep the thing in place and on the plywood. Most of my sheaths are for exhibition knives. Probably clear as mud, but I hope this helps a little. Mike

P.S. Sorry but somehow I reversed the order of the pics.

Edited July 16, 2014 by katsass

[StrigaMort]

Very nice Mike! I appreciate the words, they definitely make sense. I like the figure too. Is that machine stitching or hand? It's beginning to look like I didn't leave enough room on the top panel for stitching both the inlay and welt. May have to just stitch the welt, all the layers and Weldwood, there's no way the inlay would ever come loose, just not sure it'll look right.

Oh, what do you use for lining leather? I have a hide of 1-2oz veg tanned pig but haven't tried using it. Don't like to try too many new things at once!

[katsass]

OK --- after re-reading my earlier comments, I find that I forgot one step in the 'snake' inlay. After gluing, sticking, or cementing the top layer in place I use a couple of old socks (no holes in them) half filled with lead shot. Drop them over the molded object to assist in keeping the top piece down tight 'till the cement cures. If you really want to know -- it's # 7 1/2 shot I used in loading shells for trap shooting. As to stitching, that is hand stitched on all of the pieces -- and all items that I make. I learned to stitch from a WWI 'horse soldier' when I was a kid, and have never found the need to go to a machine. On the holster I use an outer layer 6/7 generally, with a lining of 2/3 oz veg tanned dead cow skin. On most sheaths I use 2/3 oz for lining over 3/4 oz outer shell. If the knife is big and/or heavy I use heavier leather for the shell -- actually, that goes for holsters also. Bigger and/or heavier = heavier leather in the shell, but the lining is always 2/3 oz. The pigskin should work well for most projects unless there are pointy/sharp projections internally on the project -- in that instance I'd go the a bit heavier veg-tanned cow skin. Mike

Edited July 16, 2014 by katsass

[StrigaMort]

This is for a custom that has a 4" blade on a 4.5" handle. I've made about 20-25 sheaths, only two were overlays and I'm now of the mind that I'll charge less for a full overlay only because the inlay is so much more work. Glueing a skin to a leather piece and welt stitching it is super easy by comparison.

Lead shot. That's brilliant. I had a heavy piece of granite on top of the work and I had thought about using a towel to give weight to the areas that aren't flush, but decided against it. I don't reload so I'd have to use sand or something, but it'd certainly be better than nothing.

I'm using a top piece of 4oz on top of another 4oz with a piece of the same under the shark. The back will be 8oz.

You should be proud of that stitching. I could probably fit all of my stitching ifi had your skill.

I'll take some pics later so you can see what I'm up to.

Thanks for your help.

[katsass]

Thanks for the kind words and I would like to see your overlay work. My problem with that kind of stuff is that I have seen waaaay too much work, that although done well, seems to end up looking unfinished. BUT that's just me Mike.

[StrigaMort]

I like the overlays that I've done, but I don't like that they were snake just because I don't feel that it's durable for that kinda work. Sheaths I mean.

Anyway,here's the top panel.

I didn't sew the inlay and I kinda wish I had tried. I dunno, I may just re-do this.

[StrigaMort]

Meh,I'm gonna cut a whole new piece and re-do it. This time I'll leave room for stitching, make the panel under the shark larger, round the interior corners of the window and burnish better. Sucks to start over but I won't let something leave my shop that I wouldn't buy myself. I've given the customer the option for an overlay and I think it'd work nicely that way. Just waiting for the Tiger thread to arrive.

I'll post the results.

[StrigaMort]

Went with the overlay. I need to work on this inlay business. Maybe I'll do some key chains for practice with scraps.

[katsass]

Just as an observation, For inlay work (and what few overlays I have done) I try to look for the following ---- first, color contrast, and second, variation in texture. I have found that a single color of the two pieces, such as black on black, even with texture variation, is one of the more difficult ways to go satisfactorily. The lack of variation between the two pieces make them 'flow' together and fail to draw the eye, which is one of the main reasons for doing the overlay or inlay in the first place. BUT, as said, those are just the observations of a grumpy old man and I would dare not consider myself the expert on inlay OR overlay. Mike

Edited July 23, 2014 by katsass

[StrigaMort]

Nah, I appreciate your input a lot. The customer wanted all black. I had a bit more leash on this snake overlay.

I dyed the back but left the edges natural. Maybe next time I'll suggest a little break in the solid colors.

Edited July 23, 2014 by StrigaMort