Handicraft Simplified Procedure and Projects in Leather, Celluloid, Metal, Wood, Batik, Rope, Cordage, Yarn, Horsehair, Pottery, Weaving, Stone, Primitive Indian Craft

INTRODUCTION

We must turn from the machine made products of modern life to contrast the lasting value and charm of almost anything made by hand. Something is contributed by the personality of the maker, expressed by the skill and effort with which he worked, that enhances the value of anything to the extent that it is hand wrought. We almost instinctively realize this value and our appreciation is part of the heritage of the past.

The beginnings of craftwork go back beyond the traditions which preceded history, back to prehistoric man, from whose relics we know, that one of the first steps toward civilization was taken when he learned to fashion crude weapons and implements which he soon began to decorate with a surprising degree of artistic skill. The earliest material seems to have been stone, then bone and ivory which were first engraved then later inlaid with metals and combined with wood in the making of handles, which were attached or hafted with thongs to knives or axes of flint.

Metal came into use in the Iron and Bronze Ages and articles for decoration as well as for utility were constructed. Gold was soon after introduced and the art of making colored enamels was developed. By this time man had learned to make furniture for his dwellings, altars and images for his temples, increasing his skill and improving his workmanship through the centuries until we find the first written accounts of his craftwork in the records of ancient Egypt, in Greek literature, and in the Bible. Through the Dark Ages some of the attainments of the ancient crafstmen were lost, but many others were fortunately preserved in the abbeys and monasteries where later they were brought to a high degree of perfection, as in metal working wood carving, tapestry weaving and the embossing of leather bindings for hand written vellum manuscripts.

With the revival of civilization in the Middle Ages, the cherished knowledge and skill of the monks was restored to the people and the development of crafts through this period is closely linked with the history of the Guilds. A thoroughly fascinating and authentic picture of the medieval craftsman is presented by Katherine Gibson in a library volume The Goldsmith of Florence which is termed A Book of Great Craftsmen. It will charm and inspire the modern craftworker and should be read by all who would catch the spirit of this great age of Arts and Crafts.

In this country we have a twofold heritage of attainment in Arts and Crafts, that of the early American colonist who brought from Europe the best of the culture of his native land, and that of the first American, the Indian, whose decorative arts were developed centuries before the coming of Columbus. His contribution to American culture is only now being recognized and appreciated and noteworthy efforts are being made to restore and preserve for both the Indian and the white man his music, his tribal pageantry and especially his decorative arts, which are largely the symbolic expression of Indian history, philosophy and religion. A sympathetic study of these two contrasting streams of culture should encourage and inspire us to adapt in our own work as much as possible of the unique beauty and charm of both the Colonial and Indian arts and crafts.

THE STORY OF LEATHER

Early Egyptian records give us first knowledge of the use of leather as clothing, furniture ornamentation, shields, and coverings for ships. From the Hebrew Talmud we learn that the Babylonians knew how to make leather, and the legend of the founding of Carthage has preserved the tradition that Queen Dido when promised land that could be covered by a bull’s hide, cut it into a thin strip and encircled the land on which the city was built.

Homer’s Iliad describes a tanning process in which the skin after being thoroughly washed is softened with oil beaten and rubbed into the stretched hide. The essential procedure in this primitive process is still used with modern machinery and is called Shamoying. The Romans also learned how to tan hides with barks and roots and the word tan comes from the Latin tanare meaning oak bark. Another modern word which seems far removed from leather is pecuniary which came from pecus or hide and refers to the fact that leather was once used as money by the Romans.

In the Roman period the leather tanners and workers were slaves but in the middle Ages they formed one of the strongest guilds.

In Colonial days when many of the Guild craftsmen came to America, they were surprised to find that the Indians were already well versed in the art of tanning. Theirs was a third method of tanning and it has never been determined whence this knowledge came. The process which the Indian still uses and which manufacturers have adopted with little modification except in equipment is called Buckskin or Indian Tan. The primitive red man, or rather his squaw, loosened the hair with a solution of wood ashes, scraped the hide with a section of sharpened bone to remove both the hair and all flesh tissue and then rubbed into it a mixture made from the liver and brains of the animal. Finally it was hung for days in a small tepee constructed over a fire made of rotten wood so that it would be thoroughly impregnated with smoke which would keep it soft and pliable after wetting.

The first shoes made in America, other than moccasins constructed in the Indian manner, were made in 1628 from hides brought from England by the Plymouth Company, which also brought two shoemakers for this special task. In America, as in England, the crude tanning methods of the Hebrews continued to be used until about 1800 when other sources of tanning than oak bark were discovered, and a chemical process was developed which used chromium salts and resulted in a product more satisfactory for many purposes. Machinery was perfected to take the place of hand labor in the tanning processes and another machine was invented to split the heavy cowhide into several thicknesses, each of which could be utilized, in contrast to the old method of shaving the leather to the proper thickness, a process which wasted a large portion.

Today the finest leathers in the world are made in America from hides which come from all parts of the Western Hemisphere and to some extent from Europe, Australia, Africa and China. The materials now used in tanning are collected from many countries and the importation of vegetable extracts and chemicals for the tanning industry has become an important foreign trade.

Leather is classified in two ways, first by the name of the animal from which it is taken, and, second by the kind of tanning process to which it is subjected. A brief description of the domestic animal skins commercially used may be of interest.

Steer and cowhide are heavy coarse grained skins, used mostly for straps, cases and luggage. Many varieties of leather are also made from cowhide, besides the stiff, heavy strap leather with which we are familiar. In the original state, or after the preliminary tanning processes, cowhide is very thick and heavy, and in this state is finished mainly for saddles, harness, machine belting, shoe soles, etc. It may, however, be thinned or split into several layers. The grain surface is polished or glazed and used for belting, traveling bags, cases of various kinds, or. in lighter weights finished in a wide variety of grain effects in imitations of other skins for book binding and manufacturing many different articles. The sections split off are finished or buffed in different thicknesses or weights, dyed and used for slipper and moccasin soles, shoe linings, the palms of work gloves and the like. Selected splits are given a soft finish and are known as suede or velvet splits. These are used for bags and garments instead of sheep suede, as they are stronger and more durable.

Calfskins are fine grained, light weight and close textured, and are used more widely than any other leather for shoe uppers, purses, bags, book bindings, and art leather work. They are dyed many colors and finished in grains to imitate every other kind of animal or reptile skin. Beautiful cloth like effects and designs are secured by embossing, which is a process of running the skin between rollers with the design engraved on the upper roller which is steam heated.

Sheep skins are porous and open textured. They are finished mostly by buffing on the flesh side and are known as velvet or ooze sheep. Skivers are made of sheep skin using the grain surface, and from this also is made imitation Moroccos and the cheaper embossed leathers.

Goat skins are mostly imported from the Alpine countries or Ural Mountains. This is the toughest and tightest grained skin known, the texture being the result of the cold endured by the animal, or developed as a natural protection from icy winds. The Morocco leathers, highly prized by the early book binders and leather craftsmen of the 16th century were made from goat skins, and this is the leather used by the modern Spanish and Italian leather workers for the finest quality hand tooled and embossed articles.

Leathers are also classified by the three kinds of tanning methods used; chemical or chrome tanned, bark or vegetable tanned, and chamois or oil tanned.

Craftwork Leather

Until the beginning of the 20th Century the leather generally used for fine tooling was a calfskin known as Russia Calf, so called because it was said to have been first made in Russia by means of a vegetable tanning process, using white birch bark from which it received a characteristic odor. It was frequently dyed a rich red color with dye made from Brazil wood and this leather became especially popular for book bindings.

The term Russia Calf is still widely applied to vegetable tanned calfskin, both natural and dyed colors and in the tanning industry any natural or undyed leather is classed as Russet. Consequently there is some confusion as to the color indicated by this term. Throughout this book it will be used to designate the natural or undyed leather.

Spanish or Mission Steerhide is a vegetable tanned leather which has been developed in this Century. It is a beautiful and durable tooling leather and is available in the natural russet, also in a variety of shaded and two tone effects. It has a characteristic boarded or grained surface which contrasts effectively with smooth tooled or modeled areas and though it is somewhat more difficult to tool than the softer calfskin it is well worth the effort since the finished article will retain its beauty almost indefinitely.

LEATHER PROJECTS—TOOLING STEER AND CALFSKIN

The descriptions following should enable the craft worker to apply to many selected project the detailed procedure of decoration and assembly given in Sections G and H, Chapter II. Space limitations make it impractical to give dimensions or exact pattern outlines.

1.The group of Coin Purses shown in the illustration may be made of either Steer or Calfskin. Both may be used unlined but the inside finish of the Steer is neater if lined. A simple single coin purse as No. 1 involves less assembly detail than other purse projects and is desirable as a first attempt for beginners.

a.Single Coin Purse. (Calfskin.) Dampen, crease edges and transfer design as detailed on page 44.

b.Apply tooled decoration and permit the leather to dry.

c.Skive the edges which are to be united.

d.Cement the front and back together along the edges only and deepen the edge crease.

e.Start at one corner and punch the holes, using the gauge punch. Adjust spacing if necessary to bring the holes in the corners. The method is shown in A and B, page 64.

f.Lace, starting about three holes below one top edge of the front.

The same procedure is followed when steer hide is used except that the front edge is turned under at the top, see page 63. If a lining is used see a cementing of linings and method of holding to avoid folds in the lining, page 63.

1

2

2.Double Coin Purses and Card Case Coin Purses are constructed in about the same way except for the insertion of the additional pocket or purse flap. These must be skived thin at the edges so that the combined thickness will not be out of proportion with the single flap. Cement carefully in position before punching, and trim if necessary to make all margins straight. Nos. 2 and 3, double coin purse and card case coin purse are made of Steer hide and the edges of fronts and pockets are turned under as shown. No. 4 is gusset type double coin purse with a folded pocket of the type described on page 76.

4

3

3.Folding Coin Purse. (Tooling Vealskin or heavy Calfskin, Goat.)

a.Firm leather is required. The illustration shows vealskin carved, and goatskin stamped. Method of tracing design and carving is detailed on pages 53 and 54. Stamping is shown on page 58, also under Morocco Stamping, pages 30 and 31.

b.Assembly detail is shown in the sketches, pages 75 and 76.

A

B

C

4.Key Purses.

Unlined Key Purses may be made of heavy Calfskin or Steer and these are not necessarily laced. The key plate is attached directly to the outside piece as detailed in Sketch A, page 79.

a.Dampen, crease and apply design. A panel, either a monogram or conventional design is usually applied to the center as illustrated, though a small design may be tooled on the flap if desired. If the purse is not to be laced edge creasing and staining (if the leather is dark) will complete the project. The key plate and snap fastener may be attached either before or after the design is tooled. It should be done last if it interferes with the design.

b.The key purse, Cuts A and B, is a swivel plate type of steer, lined with matching goatskin. The key plate is attached to the lining and this cemented and laced to the outside piece which has been tooled. See tooling, cementing and lacing procedure, pages 44 to 47 and pages 63 to 68.

Cut C shows a post type keytainer.

5.Memo Pad Purse an Bill Fold with coin pocket. (Steer or Calfskin.)

a.Dampen and apply panel decoration, as illustrated, monogram or emblem to the ends, fold in position and dry.

b.Skive edges and stitch the coin purse section to the lining.

c.Cement the pocket, which has been creased or turned down at the top, to the lining and then the lining to the outside, smoothing from the center fold to the ends to prevent buckling. Trim uneven margins.

d.Punch and lace, starting near the upper edge of the pocket.

5A. The Coin Pocket Bill Fold is assembled in the same way except that the Bill Fold has an additional bill pocket which must be stitched along the upper edge after pockets are in place. If cut of dyed leather the unlaced edge should be stained. Steerhide is especially satisfactory for this project as thinner sections may be used for the lining and pockets. A neat finish for the top of the pocket is obtained by cutting the lining sufficiently wide to permit the unlaced edge to be skived and turned down before stitching.

e.Punch upper outside edge and lace first, cement lining in position with outside folded, and lace together around remaining three sides. Cut A shows lining.

6.Bill Fold for Small Bills, Double Pockets. (Steer, Calfskin.)

a.Cut B shows the appearance of the lining section with the double pockets in place and stitched along one edge.

b.Assembly follows that detailed for No. 5A.

7.Photo Holder and Identification Card Case.

a.The parts consist of an outside piece, window for photo or card, celluloid, lining and in the Identification Case an additional card pocket.

b.Tool the outside front and back panels as previously directed, permit to dry folded in position.

c.Stitch the celluloid (along the inside edge only) to the window section, which has been creased.

d.Cement the lining, window and pocket in position and crease guide line for punching.

e.Punch and lace using wide or narrow lacing. The lacing should start at a point that will permit the ends of the thongs to be concealed under an inside edge.

8.Photo Frame, Easel Type. (Steer or Calfskin.)

a.The decoration is applied to the frame opening which is suitable for many forms of border and corner designs.

b.A metal easel may be attached or a leather easel constructed as indicated in the sketch which also shows method of attachment to the back, and slit for inserting photo. Soft leather is stiffened by cementing to strap leather, Sketch B.

c.Decorate frame and permit it to dry.

d.Cement together at the edges, the frame, celluloid the same size, and the back to which the easel has been attached.

e.Crease, punch and lace, using wide or narrow lacings.

2

2A

9.Envelope Bags.

Three styles of envelope purses are illustrated. No. 1 is without gusset, and has two straight pockets and a stitched coin pocket. This is constructed the same as the flat square cornered coin purse except that the pocket must be stitched in place before the parts are cemented for assembly. Concealed snap fasteners are attached to the pockets as shown in the illustration. The use of the handle is optional. Lining required.

No. 2–2A Envelope Bags are constructed as follows:

a.Dampen and decorate the flap of the outside piece, also back panel if desired, and permit to dry in a folded position with tissue paper inserted to preserve the shape.

b.Construct gussets as directed under assembly procedure, page 66.

c.Skive and turn inside edge of purse section over lining.

Cement the lining to the outside, smoothing from the folds outward as directed on page 65. If pockets are desired these should be stitched in place with the upper edge skived and turned under (cemented down). These should not extend to the edge of the lining unless skived very thin.

d.Insert the gussets and cement lightly along the edges as directed.

e.Punch the holes, using spacing gauge. Start about 1/8″ from the top of one gusset and punch around the gusset, flap and second gusset. Care must be taken to hold the punch horizontally when punching the bottom curve of the gussets so that the holes will not slope outward. Also be sure to estimate distance of holes near the tops of the gussets and space so that no hole cuts through the top fold of either gusset.

f.Start lacing about three holes from the top of gussets and lace both gussets in place. End the lacing at the front edge as shown under lacing, page 68. Lace the flap last, using a single long thong (six times edge length). Splice into gusset lacing as directed on page 67.

A

B

9.Envelope Bag—Two Piece.

This purse illustrated in Cut A is constructed with square corners and a straight bottom gusset which is inserted in the same manner as the brief case gusset described on page 73. The gusset is cut in one piece with a flare at the top of the sides, the outside piece 3/8″ longer to allow for turning back over the edge of the lining as detailed under assembly procedure, page 66. The front is cut any desired rectangular shape and the flap may be rounded as illustrated or cut with square corners to come to the bottom of the front. The ornamentation is effected by the tooled fan-shaped piece which extends to the bottom edge of the back and forms a handle. This is edge laced and attached to the flap, which may be of contrasting non-tooling leather, with the three hole fastening through the corners.

Assembly of Two Piece Envelope Bag.

a.Apply decoration to the flap piece, permit this to dry and lace the edges using whip or lay over stitch.

b.Stitch the pocket in the front lining and cement it to front. Attach the ornamental piece to the back and flap, using the three hole fastening, see page 81 for detail. Cement the lining to this part, allowing for the fold in the flap. Another pocket may be stitched to back if desired.

c.Cement the gusset to the back edge, folding the corners as directed, Punch the holes and lace. Refer to corner detail under lacing, page 71. Continue lacing around the flap.

d.Lace the front to the gusset in the same manner.

e.A mirror may be cemented to the flap.

No. 1

10.Vanity Purses.

A vertical type vanity purse is illustrated in No. 1.

a.Decorate both sides of the purse with the same or different designs.

b.Purse No. 1 is easily assembled since the pockets are laced in flat. The handle is attached with a metal fastening before the lining is cemented in place. Note that the edges of the pockets and flap have been turned under. This step is not necessary if calfskin is used. This purse is held together with a tab which is attached with snap fasteners at both ends. One is tightly riveted so that it cannot be detached.

The mirror may be cemented or inserted in the pocket.

2

2

No. 2 shows a creased design which has been colored. This purse is cut from natural steerhide, using a thin section of the skin for the lining.

This is made from natural calfskin with natural steer lining. Steer would be satisfactory for both outside and lining or suede lining may be used with pockets of outside material.

c.Purse No. 2 has a mirror cemented in position underneath an opening cut in the lining of the flap. The mirror is first cemented to a piece of thin lining and this is cemented evenly across the flap so that the mirror is held in place. A very little glue is used at the edger to attach them to the mirror. The gusset detail for this type of purse is described on page 76. Wide lacing is used for assembly which is simplified by the rounded corners. Invisible fasteners are attached to the lining.

1

2

11.Strap Hand Bags.

Two styles of the three cornered gusset type bags are shown in the illustration. No. 1 is two piece with separate gussets, made of steer hide with a tooled decoration. No. 2 is a small hand purse cut in one piece with a vertical handle attached with the three hole fastening, see page 37. Suede lining was used in both bags.

The handle of No. 1 is inserted in slits cut in the outside gussets about two inches from the top, and cemented firmly in position between the outside and the lining. The tops of the gussets are finished as shown on page 66 and the lacing detail is sketched on page 68.

12.Metal Top Bags.

The essential detail in the successful construction of metal top bags is the proper cut of the pattern and the careful finish of the gusset tops. A material must be selected which will permit the edges to be skived very thin and it also must be soft enough to fold into position when the bag is closed. Steerhide is recommended.

a.Dampen the entire outside piece and tool one or both sides.

b.Prepare the gussets and cement in position as instructed on page 66.

c.Punch around the gussets, using spacing gauge. Special attention must be given to the punching around the curve of the gussets to avoid any slope toward the outside which will result if the punch is not held horizontally.

d.Lace the gussets in position with lay over stitch. The last hole at the top should be whip laced, leaving 2″ of thong for ending.

13.Book Ends. (Steerhide as illustrated or Calfskin.)

The outside pieces are cut 3/8″ larger all around with additional length at the curve of 1/2″ to allow for the bending of the metals. The inside lining is cut larger on all edges except at the bottom where it may be about 3/8″ shorter. Sheet wadding is required for padding the outside.

a.Apply decoration to the design area of the front section. A creased line is shown which gives a border effect, but this is not necessary. Relief tooling is attractive and very suitable for book ends since the metal forms prevent any flattening of the design. Slightly Dad with sheet cotton wadding to fill out the raised design.

b.Cement the lining to the bent metal form, smoothing out all wrinkles. A thin piece of the steer is satisfactory for this purpose. Stretch the sheet wadding over the outside and cement along the edges and at the fold. Carefully place the outside in position and cement to the wadding and to the edges of the inside lining which extends beyond the metal edge.

c.Punch carefully, avoiding contact with the edge of the metal. A margin of 1/8″ should be creased and followed as a guide in punching.

d.Lace, using wide whip lacing.

14.Desk Sets, Blotter Pad Corners. (Steerhide, Calfskin or Morocco.)

This desk set consists of a blotter pad to which are attached the four corners or end strips, small blotter and letter holder. The holder requires a metal form and is constructed in the same manner as the book end previously descibed. The small blotter is edge laced to the lining and a piece of blotting paper attached with a metal clip or with thongs. The corners are assembled as described on page 72.

15.Note Books.

A slip over style note book cover is illustrated here. Pockets are laced to the cover which is slipped over the original note book cover to which the clips are attached. It must be cut 3/8″ larger than the cover which is to be inserted, with an additional width of 1 inch for the fold. This cover is suitable for a regulation book cover as well.

Lined note books with metals attached with rivets or base plate are described on page 36. Attachment detail is sketched on page 80.

16.Bridge Set.

A Bridge Set and a Playing Card Case are shown in the illustration, which also shows the inside of the bridge set with the cards and score pad in place. The set is made of Steerhide and the single case of Calfskin. The Bridge Set is described on page 28.

In the Bridge Set an outside piece, suede lining, pocket piece for cards and for base of pad are required. The piece for the card pockets is shaped as illustrated and sufficient width is allowed to permit the insertion of the cards. This piece is edge creased, skived on the ends and stitched in place exactly in the center. The ends are cemented to the lining and then laced in with the outside. The score pad pocket is cut slightly longer than half the shaped card pocket piece. This is stitched on the inside edge to which is attached a loop for the pencil. Wide or narrow lacing may be used.

17.The Writing Portfolio illustrated is made of tooling steer in a two-tone mottled brown and laced with wide matching brown thongs. It is an advanced project requiring considerable skill but may be constructed without difficulty if the directions are followed exactly.

a.Apply a tooled decoration to the outside piece. A panel design which may be simplified and used for the back as well is effective. A name or monogram may be worked into the bottom panel as illustrated. Crease the edge for the punching guide and allow to dry in the folded position. Attach the base of a Portfolio Lock, see page 37, or Bag Plate post and cage in position, see page 79.

b.Overlapping pockets, two or three as shown, are cut long enough to turn under for the finish at the top edges. These are skived very thin along all edges and cemented to the gussets which are prepared as in sketch H. If any small pockets are desired sections of the outside pocket may be stitched as on page 66.

c.Punch and lace the over lapping pockets to the gusset and end the thongs by inserting the last inch back through three loops of lacing.

d.The base for the blotter pad, also the two inner corners are cut 3/8″ longer on the upper edge to permit stitching in place as indicated in Sketch D. All edges of the corners are skived thin and the diagonal is turned under and creased. Stitch the inner edge of the pockets and the pencil loop as shown in Sketch D, turn them back, Sketch K, and cement the other edge to the lining. Cement the seam to the lining and cover the surface with a thin piece of skiver. Turn under, cement and crease the outer corners along the diagonal and then cement them to the lining edge.

e.Insert a piece of buckram between the suede lining of the portfolio and the outside, cement the blotter pad section to the suede along the edges, and then cement the whole suede lining smoothly to the outside, folding at the center as in sketch. C.

f.Punch and lace the blotter pad section to the outside, then cement the gussets to the lining and the outside. Punch around the remaining edge and lace along the gusset edges then across the bottom as far as the center where the fastener strap is to be inserted. This is cut double of thin sections, cemented and laced around the sides and end. The Bag Plate is attached and the strap inserted between the outside and lining. There should be about one inch open space between the covers when the snap is fastened. Position the strap exactly and mark the two rows of holes as indicated in Sketch E. Remove the strap and punch the holes as marked. Replace the strap in position and cement the edges together, making sure that the holes coincide. Continue lacing, using the ends of the strap and edge thong to form a double cross lacing. Insert the ends between the lining and the inner pocket, pull through smoothly and cement to the back of the pocket. Insert blotter, or a smooth writing surface of celluloid or press board may be substituted if desired.

This portfolio may also be constructed with a straight gusset as shown in brief case, page 37.

18.Morocco Style Handbags and Purses.

The illustration shows a morocco style pouch hand bag. This type of stamped decoration combined with straight and circular lines is applied to natural Steerhide which is very attractive and much more durable than the morocco bags of sheepskin. The stamping detail for the hand bag is shown in the cut, page 31, and the complete assembly step by step in Fig. 1.

Fig. 1

LEATHER PROJECTS—STEERHIDE

The Coin Purse, Card Cases, Envelope Bag and Bill Fold, illustrated are assembled with wide edge lacing following the procedure described on page 37. A fascinating variety of designs may be secured by using the few simple stamped motifs in combination and repetition.

The border and design lines shown in Cuts 78 and 79 are creased first. The stamped background is then applied. Stamping procedure is described on page 57.

LEATHER PROJECTS—COWHIDE AND VEALSKIN

1.Neckerchief Slide—Tube Type. The slide shown in Sketch B is made from a piece of strap leather with stamped decoration applied as indicated. The procedure in laying out two kinds of rosettes with the pine tree stamping tool is shown on page 34. The method of punching and lacing is sketched below. The jeweled ornament may be applied as described on page 62. Other decorations may be painted or tooled, using Camp Emblems, Totems, or Indian designs. The steps in making the neckerchief slide follow.

a.Bevel the edges, dampen and crease.

b.Stamp or tool, apply metal ornament.

c.Lace.

2.Bag Tag. The Bag Tag illustrated may be made from 4 oz. cowhide or tooling veal. It shows a stamped border decoration around the card opening. A stamped motif or a tooled design may be applied to the back. The card and a piece of celluloid is inserted before the strap is attached. See page 82 for strap attachment.

a.Bevel the edges, dampen and crease. (Omit beveling on vealskin.)

b.Stamp or tool.

c.Lace the edges and attach the strap.

3.Knife Sheath. (Cowhide.) Plaiting, stamping and edge lacing are combined in this project which offers excellent opportunity for practice in these forms of leather craft, before more difficult projects are attempted.

a.Bevel, dampen and crease outer edges and belt slits.

b.Punch top and bottom holes in front and back and tie together.

c.Punch the two thicknesses from left to right, starting from the upper corner hole.

d.Untie and lay the front over the fringe as in Sketch A. Mark one row of holes through those already punched and another row on the fringe at the edge of the front and opposite the first row of holes.

e.Punch the fringe holes as marked and tie the three parts together at the corners. Lace the straight edge first, using lay over stitch to the tip. Continue lacing through front, fringe, and back, using whip stitch.

f.Plait keeper thong and tie sliding knot. See pages 89 to 94 for plaiting instruction.

4.Axe Sheath. (Cowhide). This project is similar to the knife sheath, but the fringe is not included in the illustration. It may be inserted if desired and laced as indicated for knife sheath.

a.Bevel the edges. dampen and crease.

b.Stamp the flap and corner of the front.

c.Punch and lace the back edges as shown on page 74.

d.Lay front and back in position and punch end holes. Tie these together and punch remaining holes.

e.Lace, using whip or lay over stitch.

5.Camera Case. (Cowhide, 4 or 6 oz.) Since this project involves the setting in of gussets it is more advanced than the preceding four strap leather projects. However it is readily done if the procedure in lacing is carefully followed. The illustration shows two styles of flaps, also buckle attachment with shoulder strap and two strand Turkshead fastening.

a.Bevel the edges, dampen and crease.

b.Tool, carve or stamp the flap decoration.

c.Follow punching and lacing procedure detailed on page 73.

d.Attach dee loops and straps. Fasten strap ends with knot or buckle as illustrated. See attachments, page 81.

6.First Aid Kits and other cases having square corners are assembled in the order detailed for the Camera Case except that the stitch is doubled or tripled as necessary for the corners.

Belts, Hatbands, Dog Collars

7.A Stamped or Carved Belt of natural cowhide or vealskin (vegetable tanned, unglazed) is readily made after the detail of stamping and carving has been mastered as described on pages 53 to 58.

a.Carefully bevel the edges, dampen and crease as in previous strap leather projects. Omit the beveling for vealskin.

b.Plan a suitable stamped or carved motif for the section which will be the center of the back. A group of belt panels is illustrated above. A carved design requires a tracing which is transferred to the dampened surface of the leather as described on page 53. Stamped designs should be planned on paper so that the space will not be crowded, and the designs balanced for arrangement.

c.Apply the decoration and permit the belt to dry flat.

Polish the surface and edges, using a leather dressing.

d.If a dyed leather has keen used, the final step before polishing is to stain the light edges.

e.Attach the buckle using the three hole fastening described on page 81.

A Dog Collar, several styles of Hatbands and a Three-Strand Endless Braid Strap, are illustrated above.

8.Dog Collars are usually decorated with metal ornaments, with buckle and dee fastening as illustrated. The method of attaching metal ornaments is shown on page 62.

9.Hat Bands are decorated in the same manner as belts. Methods of attaching the buckles or deer with the three hole fastening is detailed on pages 37 and 81. The cinch type fastening for a hatband is shown in Sketch HC.

A buckleless belt is shown in Photograph B. One end of the belt is shaped with three notches on each side. The other end contains a wedge shaped slit. Insert the notched end of the belt in the opening and rotate the two ends until the space between the notches rest against the end of the wedge shaped slit.

The construction of belts split three strand for endless braiding is described on page 84.

10.Note Book Covers may be made of 4 oz. cowhide, tooling veal-skin, or tooling steer. Unlined Cowhide may be used with the rivet type note book metal. Other leathers should be lined. The illustration shows left to right: 4 oz. Cowhide with tooled decoration, Vealskin, with Girl Scout emblem tooled and Steerhide, also tooled.

a.After the decoration is applied the outside piece should be folded before it is dry so that it will be flat. A fold of paper or cardboard about the size of the note book leaves may be placed between the covers until the leather dries.

b.Attach the metal to the cowhide with rivets as detailed on page 79, or if a lining is used follow the instruction for attaching base plate metal on page 79.

c.Assemble with wide lacing starting near the top of a pocket.

Note Book Covers

Brief Case

11.A Brief Case may be constructed as an advanced project. 4 and 6 oz. cowhide should be used according to the size selected. The illustration on page 37 shows a simple stamped panel design. Monograms or metal letters may be applied to the flap panel if desired. Stamping and carving detail is described on pages 53 to 58.

a.Bevel the edges, dampen, crease and decorate. Allow to dry with the flap folded in the correct position.

b.Attach the handle, buckle straps and fastening plate. (the catch is attached after lacing) as instructed on page 37.

c.Lace the flap first, using wide lacing. Start the thong through from the underside at the middle point. Pull through to the center of the thong and lace toward the corners so that the direction of the lacing is the same both ways. Leave sufficient thong to conceal ends in the gusset lacing later.

d.Locate the center of the gusset strip, punch about four holes, using the same spacing as in the back of the brief case, tie in position and continue punching toward the corners. Compare spacing occasionally as the softer gusset may stretch in punching. Estimate the hole spacing for about one inch from the corners and increase spacing slightly if necessary to make the end hole come exactly in the corner. Fold the gusset and lace as shown in Fig. 2, Sketches A to E, page 73, also page 37.

BRIEF CASE AND ASSEMBLY DETAIL

e.Lace the front or pocket to the gusset in the same way.

f.Apply leather dressing and polish as directed.

Music cases may be made in the same manner as the brief case, or a single pocket music case is satisfactorily made with the curved gusset as in camera cases.

ARCHERY EQUIPMENT

1

2

3

4

12.Archery Equipment.

No. 1 shows a quiver with top and bottom of strap leather. These are lapped and laced to the split center and the body thus formed is joined and laced to the strap bottom as described on page 74. A strap loop is attached with a three hole fastening after the quiver is assembled.

No. 2 is an all strap quiver.

No. 3 is an Indian type quiver made of a skin folded and laced together with the edges fringed. The bottom may be tacked to a circular or oval piece of wood. No. 4 is a flat type quiver with the bottom turned back. It is cross laced as sketched on page 74.

ABC

The illustration shows a two strap arm guard, a cuff type arm guard and a shooting glove.

Bow Grip Suggestions

Three types of Bow Grips are illustrated. The upper one is made of Split Cowhide, cemented to the handle with the junction extending along the back of the Bow. Above and below the split grip, strips of colored leather are cemented.