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    Leather Craft and Design
    Leather Craft and Design
    Leather Craft and Design
    Ebook87 pages40 minutes

    Leather Craft and Design

    By Gladys J. Shaw

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    About this ebook

    Originally published in the 1930s. A beginners guide to leathercraft with many examples of methods and design. Contents Include : The Kinds of Leather Used Design and Methods of Decoration Blind Tooling Staining Modelling Embossing Filling Incising Other Methods of Decoration Lining Making a Lined Gusset Thonging To Thong a Flat Seam Stitching The Fixing of Press Buttons Tassels and Other Finishes The Construction of Examples Illustrated and Describes A Case for Visiting Cards A Case for a Pocket Comb A Circular Pocket Mirror A Slip in Book Cover A Shopping List A Cigarette Case A Tobacco Pouch with Rubber Lining A Folded Purse A Semi Circular Purse An Oblong Two Flap Purse with Squared Gusset A Bag with Piped Gusset, Draw Cords and Greek Plait Handles Including A Captive Purse, A Season Ticket Holder A Needle Case A Ladies' Handbag A Shopping Bag. The book is well illustrated. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Home Farm Books are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
    LanguageEnglish
    PublisherHome Farm Books
    Release dateDec 1, 2020
    ISBN9781528761529
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      Book preview

      Leather Craft and Design - Gladys J. Shaw

      LEATHER CRAFT

      CHAPTER I

      TYPES OF LEATHER AND DECORATION

      TYPES OF LEATHER

      LEATHER is produced in many qualities, colours, textures, and thicknesses. It ranges from soft flexible kid and chamois, through suède, velvet calf, morocco, levant, etc., to sheepskin, calf, and cowhide. For the beginner who has not yet discovered the characerisic qualities of leather, or the manner in which it should be manipulated, soft suède or velvet calf is perhaps the bes. It is cheaper and more easily handled than modelling leather, though the decorative scope is more limited. It is not suitable for modelling or embossing, though it may be sained, coloured, tooled, pierced, or inlaid.

      PURSE

      Paper Pattern.

      We might jus as well commence by making something useful, and the purse on Fig. 1 is as good as aught else. We firs decide upon the size of the purse, which might be 5 inches wide by 3 inches deep. In order to avoid disappointment and wase of material, it is wise to cut a paper pattern, and to fold it into shape, so that we may judge of its effec before beginning upon the leather. The purse is made in one piece, so it is necessary to arrange for the back, the overlapping flap, and the front, which forms the pocket of the purse (see pattern on Fig. 1). This procedure should be adopted for every piece of leather work, whether it is mentioned or not in future exercises, as it minimises the chances of wase and discouragement, consequent upon cutting the material without proper care and thought. Having made the pattern, lay it upon the leather chosen for the purpose. Here again the pattern is valuable, because we can alter its position upon the skin until we have decided which is the mos economical. Cut the desired shape from the leather with scissors, or a sharp knife upon a sheet of card or glass.

      PIERCED DECORATION

      The next sage is the decoration, which in this case is pierced, with a piece of leather differing in colour from the purse itself laid beneath to show through the intersices in the pattern. Plan the decoration firs upon the paper, and transfer it to the smooth back of the skin by means of carbon paper. Now upon the sheet of glass or cardboard with a sharppointed knife cut out the parts which have been decided upon.

      FIG. 1.

      Planning Design.

      A word of warning is necessary here, or the design may lack cohesion. When planning the pattern, see that each opening is as simple in shape as may be, and is bounded by leather adequately supported. Avoid long srips floating about, with attachment at one end only. See that both ends are fixed, otherwise considerable difficulty will arise when the underlying piece is fastened in position. The treatment is exacly similar to that employed for a sencil plate, which if properly designed is compac, and well knit together in every part, with the ties or binding pieces frankly accepted as features in the design.

      FIG. 2.

      On Fig. 2 some simple patterns are illusrated designed expressly for use as pierced decoration, or, if desired, as sencil plates. The firs series are simple borders composed of the easies possible shapes, and are included to show that pleasing pattern is not necessarily complex or elaborate. A severe, geometric border such as these will often serve the purpose far better than a design which is elaborate and fussy. This fac should be impressed upon the beginner in particular, for there is no idea so common, or so erroneous if the subjec is properly approached, as the idea that design is difficult, and only possible for the favoured few. There are really very few who are so unfortunate or so deficient in tase and ability as to be unable to make their own designs, if they only had a clear conception of what design acually is.

      Good design depends mainly upon the article itself; anything which is added thereto

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