California Style Saddle

[Goldshot Ron]

I've commented on other folks work, so I thought I'd better put my money where my mouth is. It's been about a year and a half to complete this saddle. The first three months was planning and design, starting with the saddle bags. The tree is a Butch Casidy style built by Timberline, and the leather was W&C.

[sheathmaker]

Beautifully designed and executed. Attention to detail and overall artistic work is some of the best I've seen.

Paul

[Big Sioux Saddlery]

Nice work

[rktaylor]

Ron,

That's really cool. You give us newbies something to shoot for. The only question I have is: Why a year and a half? Thanks for sharing.

Randy

[Goldshot Ron]

Thanks guys for the kind words. Randy, to answer your question, I didn't want to mess this project up. Other than the fenders, I practiced tooling each pattern before actually stamping the saddle pieces. Then, each piece had to be oiled, blocked dyed, resist applied and antiqued. As I've mentioned in other posts, some pieces had to be redone because I didn't like the results, or they just didn't fit after completing them. Heck, the stirrups alone took me over three weeks. I used Bob Klenda's tap pattern, and the results did work the first time (a first for any paper pattern that I've ever used).

Oh yeah, this saddle has an all leather ground seat, rawhide covered stirrups, and drop ring rigging set at about (+/_) 7/8ths. position. I hoped to capture the early California Vaquero Style but using modern measurements.

Thanks again, Ron

[CWR]

That is really a nice rig Ron. Might take me 2 years to get one carved like that. Then it probably still wouldn't look that good.

CW

[BondoBobCustomSaddles]

Nice job Ron! There is a lot about it that I like. Looks a lot like what I am planning to make for myself, if I ever get ahead of orders.

Bob

[GrampaJoel]

Geez Ron, you stamping depth is incredible! How heavy is your maul?

I tried to see the rear cantle stitches, but I'm betting they are the hidden kind. It looks really nice and clean.

I think you did a nice job at putting the modern, and vaquero styles together.

The saddle just has a nice overall californios look to it.

Nice job!

Joel

[Goldshot Ron]

Joel,

Thanks for your kind words. I find the hidden cantle stitch easier than the stitching showing on both sides. The depth of the tooling is enhanced by the antiquing. I have several mallets and mauls that I use. Which one I use is determined by the arthritis pane in my elbow at the time. I must pass on that there is a CD by Cary Schwarz that gives some tips on flower tooling and using petal lifters and shaders.

Ron

[Josh Ashman]

Great work Ron, thank you for sharing it!

[Billy H]

Nice lines on your saddle!

What kind of W C leather did you use, it has a good color to it. The last batch I got from them I was disappointed.

Regards Billy

[Goldshot Ron]

Billy,

The leather I used was the retanned saddle skirting that was a special for Steve Siegel who used to have Siegel of California. It had a couple of rawhide spots around the rump, but so will H.O. The color was produced by oiling after tooling, applying resist, then applying Fiebing's Antique Acrylic saddle tan. I've also used their chestnut skirting on a couple of saddles, and I really like how it comes out. When tooled the design pops out quite well. My only complaint has been that delivery isn't real quick from the East Coast to the West Coast.

Ron

[Billy H]

Thank you Ron,

I would agree that their Chestnut is a nice color and I think one can get a lot of color out of the stamp.

The last two batches where Russet and seemed to have a lot of what I call fatty lines. When oiled grain side turns a bit to red for my taste but the flesh side looks good.

Really like your saddle, would love to see it on a horse. Regards Billy

[rktaylor]

Ron,

Could you share some details on the antiquing method you use. I know there are some other tutorials, but I am just curious about your method. I really like the way it looks, so it's ripe for emulating. Thanks,

Randy

[Goldshot Ron]

Randy,

I'd be glad to share the dying technique that I used.

First, after tooling, I lightly oil the leather with neats foot oil, and let it absorb into the leather.

Next I block dye the edges with dark brown oil dye. To do this, I use a dry/hard cellulous sponge (palm size) covered with a clean cotton cloth (old tee shirt). I apply the along the bottom edge of the sponge (about 1' wide strip), and blot off most of the dye on the flesh side of some scrap leather. Test on scrap to make sure the sponge isn't still too loaded with dye, it needs to be almost empty of dye (seems wasteful, but that's how it works). Gently in a circular motion wipe the sponge from the edge inward to where you want the dye pattern to end. DON'T push too hard, and be patient. I try to make my pattern look like clouds on the leather.

When the block dye is dry, wipe with a paper towel or sherling to remove foreign particles. Apply at least two coats of Tan kote to the project. Let dry thoroughly.

The final step is to apply antique acrylic stain to the entire project (only the piece that you are working on at this time), and using a damp closed cell sponge (the type you wash cars with) wipe off the excess stain down to the color that you are trying to achieve. Rinse out the sponge frequently, and wring out well. When the project is dry, buff with sherling or a soft cloth to remove any lent and application particles from the leather.

I like the affect that this process offers, and it sets off the dyed and burnished edges. Also, it covers any mistakes or bleed over when dying the edges.

Hope this helps, Ron

[rktaylor]

Ron,

Thanks for the tips. I printed it and put it in my file. Is there an equivalent to Tan Kote?

Randy

[Goldshot Ron]

Randy,

I can't answer your question. Tan Kote is recommended for saddles because it doesn't seal the leather like other products. The Tan Kote is used as a resist prior to antiquing; yet, allows for added oiling of the leather after dying if you want. If you use a resist such as Leather sheen, Resolene, or RTC oil will not be absorbed into the leather as well. I experimented with this technique prior to building and tooling the saddle, and found that it gave me better results; however, if making a tooled calendar cover or decorative item, the other resists give you better antiquing results.

Ron

[oltoot]

I'm certainly not criticizing anything or arguing with anybody's praise. Just sharing a few observations over time in trying to figure out some of the virtues of old that have been pretty much lost.

1)Tapaderos-it took me some trial and error to get to the point that I was completely satisfied. In order to get the stirrups to hang first vertical and finally just a little forwarward without relying on hard and fast lashing to the stirrup leatjers which was not Californio. The wing design is the trick. If they are gracefully and subtly swept way back at the tips, that makes it and the plate on many could even help that as well as shape retention.

2)General-i finally figured out that some of the features of the early 1900's that were difficult to replicate were because of the differences in cattle hides and therefore leather-thin dense, mature grass fat cattle vs thicker, less dense, younger feed lot cattle. on the up side though, deeper, more intricate tooling designs vs more open designs.

Keep up the good work and remember that the good old days weren't always really good, just old