Russian LeatherCrafting 01 2016 HQ

Russian
LeatherCrafting
1
Womens cosplay costume. Page 44
2016
English E-Version
Our Dear Readers!

You are reading the first issue of
our magazine in English.
The magazine is very young, it
has existed only for one year. And
this is the first periodical edition
devoted to leather crafting in
Russia and the former SovietUnion. In the last year we have
issued one pilot edition, four
numbered ones and one special
edition on Arms and Leather.
For the moment they exist only
in Russian but we will probably
translate them into English in the
future if our magazine finds its
place in your hearts.
This year our plans have
grown. We would like to make
6 numbered editions and one
summer special edition which
will be fully dedicated to tooling.
The working title is Tooling From ABC to Masterpeace.
That
will
be
electronic
magazines. We tried to release
in print last year editions #3 and

#4. But our readers preferred
subscribing to the electronic
version and we have stopped the
printout for a while.
We have decided to release this
first edition free of charge in
order to give you an opportunity
to see what about and how we
write and make your decision
more balanced.
We see our task not only in
the description of some leather
crafting
technologies.
We
want to give our readers the
knowledge in different areas. The
knowledge which can be useful
for a leather craftsman. About
art as a science, painting, design,
engineering and business. So do
not be surprised at the variety of
our articles.
The magazine is designed for a
wide range of craftsmen from
beginners to professionals. It will
also be useful for those who work

in related industries and make
tools, chemicals, accessories,
furniture, etc. It is not a secret
that leather crafting is closely
intertwined with other crafts.
And we try to have a wider view.
In our pages you can share
your works. For this purpose,
we have a separate section
Our Masters Show. Write us
if you have something to ask, say
or share. You can send us your
articles or other materials. We
are open for communication!
E-mail for you:
i n f o@ l e a th e rc rafting journal.ru
regarding any issues!
Join Us!
P.S. We are removed some Russian
advertises blocks and English version is
shorter than Russian.
Eugene Solomin
Editor
Iskandar Akhmedzyanov
Director
The
Darth
Vader
character used on the cover
is copyrighted by Disney
Company.
It used here for cosplay
suit as allusion only.
Constitutors:
Eugene Solomin
Editor :
Eugene Solomin
(info@leathercrafting-journal.ru)
Director:
(director@leathercrafting-journal.ru)
Made by:
Eugene Solomin
Daria Solomina
Anastasia Kurmachyova
Y.I. Pustylnik
Athors:
Eugene Solomin
Daria Solomina
Marina Fux
Y.I. Pustylnik
Photos and Pictures:
Eugene Solomin
Corrector:
Gregory Kornienko
Publishing:
Eugene Solomin
Anastasia Kurmachyova
Table of Contents
ABC
Installing Zipper................................................................................ 6
Installing Case Lock......................................................................... 8
Leather little slipper
Cowboys boots............................................................................... 10
Silk Brush
Airbrush & other art tools................................................................. 13

Drawing lessons
Simple Coloring Technologies............................................................ 16

Rust Stain...................................................................................... 20
How-to...
Large space stamping...................................................................... 22

How to... 2
Vertical pockets for cards in the wallet............................................... 26

Issue Pattern
Mens Bag Made from Chrome-Tanned Leather.................................... 28

Designs.......................................................................................................................................32
Advertises:
Test-Drive
Internet distribution:
Eugene Solomin
Yury Litovchenko
Tips-Top...................................................................................................................................... 42
Phones:
Moscow +7 967 1 282 131
Omsk +7 913 973 89 50
English translations:
Diplomat Translation Agency
http://www.diplomat-omsk.ru
Translator Pavel Kacharian
E-mail: info@leathercrafting-journal.ru
http://leathercrafting-journal.ru
http://vk.com/leathercrafting_journal
The name of the magazine and its
sections, texts and pictures shall be
the property of the editorial board and
copyrighted.
Reprinting of any magazine materials
and use of its illustrations is possible only
with the express written consent of the
editorial board.
Letters and manuscripts shall not be
returned and peer-reviewed.
Russian LeatherCrafting Magazine,
2016.
The editorial board shall not be liable for
the content of advertising materials.
Frost &...Chemicals......................................................................... 38
Our Wears
Cosplay. Shield Cloak....................................................................... 44

World Art
Baroque Style................................................................................. 48
Business&Crafting..................................................................................................................... 50
Masters
Caracoda......................................................................................... 51
WorkBench
Swivel Knife Sharpening.................................................................. 54

Very SkillFul Hands
Hand Made Sharpener for Swivel Knife.............................................. 57

Braiding
Wide Turks Head............................................................................. 59

Our Masters Show.................................................................................................................... 62
Russian LeatherCrafting. #1
Russian LeatherCrafting
Subscription Rules
2016
This year it is planned to publish 6
numbered issues and one special issue
Carving & Tooling From ABC to
Workmanship.
Approximate schedule of
publication:
#1 end of February
#2 end of April
#3 end of June
Special issue end of July
#4 end of August
#5 middle of October
#6 middle of December
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Electronic copies of the magazine and
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Except for the first issue.
Drawings and designs published in the
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Rights of ownership to the articles and
materials published in the magazine shall
belong to their authors.
Steampunk appeared as one of directions of science fiction.

Though, this term came into general use in 1980s of the
previous century, the direction itself has existed since 1960s. It
expresses alternative reality in which steam engines reached
maximum perfection.
Nowadays steampunk is implemented as a subculture.
Its followers use original esthetics in clothes, furniture and
accessories.
Steampunk-fashion has no particular set of rules but it has
tendency towards influence of the Victorian age. It means
dresses, brassieres, skirts and bustles for women and costumes
with vests, coats, spats and military clothes for men. The outfit
has an apparent accent to specific accessories: pocket watch,
umbrellas, glasses (goggles).
The clothes and attributes are mainly made of real leather,
copper and brass.
Steampunk is an enormous area for artistic works of leather
crafters. Here, fantasy, design and style are much more
important than functionality!
We are discuss this topic periodically on our pages.
And will return again more...
(The pictures were taken from the Internet)
ABC
Installing Zipper
Pic 2
For installation, you can take a roll

zipper or ones of fixed length too.
However, in the second case, the length
of the zipper should be more than
enough. It is better to cut an excess off
during installation.
Threads used for zipper sewing can
serve as clasps in such installation.
First you need to mark the opening
for the zipper. It is better to mark on the
back, so as not to stain the face side. I
have used white pencil. You can take a
silver gel pen or others.
First, draw the center line (Picture 1).
It should run parallel to the edge (if the
zipper is installed in parallel).
From the edges, measure the
distances to which the zipper does not
reach the edges. They may be the same
or different. It depends on design of
the product. In our case we measure 1.5
cm from each edge. Make marks on the
center line (Picture 2).
In the example we install the zipper
of 3 cm wide. Its slider needs a hole of
1 cm wide. To find out the size it needs,
measure the width of the slider and add
2-4 mm for free movement.
Draw a rectangle for the opening.
From the central line lay 5 mm off in
both sides in the places where the marks
are. Match the marks with the lines, and
there you will have a rectangle. Its width
should be of 1 cm for our zipper, check it
after drawing (Picture 3).
Now you can cut a hole (Picture 4). It
can be rectangular as in the picture. Or
you can make it oval. To do this, on the
edges of the rectangle make the holes
with round punch with a diameter of 1
cm. Then join the holes with slots in the
drawn lines.
If the zipper has a stopper, you can
install it so that the stopper will be visible
in the hole (Picture 5). And you can hide
Pic 1
In the last issue we described how to terminate a roll zipper. Today we

will tell how to install zippers into sewn-in pockets. They are used in purses,
handbags, wallets and other leather things. Two such zippers are used in the
bag described in the Pattern of the Issue section.
1.5
Pic 3
Pic 4
. 1
Pic 6
Pic 9
Pic 7
Pic 10
Pic 8
Pic 11
Paste the second edge of the zipper

along the second line (Picture 10). Now we
can return the slider to the part that has
been pasted (Picture 11) and cut an excess
off (Picture 12). Paste the front part of the
zipper. Draw the zipper blade together
(Picture 13), then it will slow the slider
down and it will be hard to come off the
zipper.
Pic 12
Pic 5
it under the leather surface. In the second
case the run of the zipper will be longer.
After placing the zipper in necessary
manner, from the back side you should
mark the extent to cut off (Picture 6). Do
not place it exactly at the edge, it is better
to leave the zipper inside the product. So
cut more. However, the remaining part
should be enough to sew it to the leather.
The width of our zipper is 3 cm. The hole
for it is 1 cm. Draw another line along both
edges of the opening at a distance of 1 cm
from them (Picture 7). These are borders
along which the zipper will be pasted.
You can use different types of adhesives
for zipper installing. Rubber adhesive, PVA
adhesive and superglue. The type is not
important. If you just fix it for some time,
the rubber adhesive will be enough. And if
it is necessary to strengthen stitching, you
can take something more powerful. I often
use rubber adhesive. It is easily removed in
the event of wrong entering.
Adhesive is applied to the leather (inside
out). If the adhesive is required to both
surfaces, so it can be applied not on the
whole zipper but on the surface of about 8
mm wide from the edge so that the visible
part of the zipper is not stained.
First paste the back side, then one of the
edges (Picture 8). It is better to keep the
zipper closed to lay flatter (Picture 9). Align
the zipper edge with the white line.
Mark the places where you want to cut
the zipper (Picture 9). Do not rush to cut
it immediately. Otherwise, the slider can
remain on the cut pieces and it will be a
great piece of work to put it back on the
zipper.
Pic 13
Pic 14
Pic 15
Now, make a groove for a stitch around

the hole on the face side (Picture 14). The
holes for stitching can be done with the
help of punches with diamond-shaped

teeth of the necessary pace (Picture 15).
After that, the zipper is sewn with usual
saddle stitch. Thats all, there you are, and

the zipper has been sewn in. The main
thing is to do everything carefully!
INSTALLING CASE LOCK

It is easier to install a briefcase lock than
sew a zipper in. And even faster. But there
are some peculiarities which need to be
considered.
The lock consists of three main parts
(Photo 1):
Catch,
Lock
Backplate.
This set must be supplied with small
special slotted screws without caps.
Yet we need an additional detail a
tongue. It is easier to take the lock out of
the frame with its help.
The lock has a groove in the back side to
be installed on the cover of the product.
In addition, at the stage of product design
it is necessary to take into account the
thickness of leather which is intended to
enter this groove. If the thickness of the
cover, where the lock is to

be placed, is more than the
groove you cannot install it.
The thickness should be 1-2
mm smaller than the width
of the groove. This pair of
millimeters is intended for a
tongue.
The tongue must be thick
and strong enough so as
not to hang over the lock
and not curl up into a tube. Its size and
shape are quite optional. Anyway, it should
be convenient. Very often, a plate has a
shape of trapezoid expanding upward
with rounded upper angles (Photo 2). The
length of the lower side of the trapezoid is
usually equal to the width of the lock.
The place for the tongue and lock fixing
must be provided in advance.
Photo 1
Photo 2
The tongue is glued to the cover of the

product at the place of the lock installation.
And only after that they are sewed together
Pic. 1). The lock with its groove is installed
above them (Photo 3).
Hole for
screw
Catch
Screw
Cover
Tongue
Lining
Lock
Lock
Seam
Backplate
Pic. 1
Photo 3
Photo 5
Photo 4
Photo 6
It is much more important to determine

properly the installation places of both
parts at the stage of product design.
The method of the catch installation
directly on the product is most commonly
used. Lets start with it.
An backplate will help us mark holes
for ends of the frame. Put it to the catch
installation place and mark 4 holes for the
ends (Photo 6).
Punch the grooves. You can use a
flathead screwdriver with a suitable shank
width.
From the face side insert the catch with
the ends into the grooves (Photo 7). Do not
confuse the top and bottom of the frame!
The backplate is attached to the ends
from the inner side (Photo 8). If the lock is
When the tongue is installed (glued

and stitched together with the cover), fix
the lock. We put it to its place and mark
the holes for the screws on the inner side
(Photo4).
The holes are necessary. The slots of the
screws are very weak, if you try to screw it
directly into the leather, you can turn the
slot over. Then it will be very problematic
to remove the screw.
Remove the lock and punch the holes
(Photo 5). Their diameter must be equal to
Photo 7
large enough, there is a possibility to bend

the ends to the center (as the lower row
in the Photo 8). If it is small, then you can
only bend it outward (as the upper row in
the Photo 8). In any case, it is necessary to
bend everything either inward or outward.
You cannot do in the manner as it is done in
Photo 8 (one part outward and the other
part inward).
When bending outward, the ends extend
beyond the contour of the lock and, if there
is any seam around, be careful not to get
into the end with the punch. You can break
the tool.
This is especially important if you use
the second method of the catch installing
to the external pad. In this method, the
catch is placed to a separate leather piece
or a bit less than the diameter of the screws.

If the slots of the screw are flat and strong
enough, you can make holes with an awl. If
they are made for a cross screwdriver it
is better to punch.
Now you have to tighten the screws and
the lock will be installed.
Lets move to the catch. The order of
parts installation is not crucial. It depends
on the features of the product assembly.
You can put the catch first and then the
lock.
Photo 8
as
described
above
(Photo
9). And after
that, this piece
is sewn to the
product. There is more work here but the
ends remain between the leather pad and
the product and do not cling to everything
inside.
Also it is possible to install the catch on
the face side of the product and cover the
ends inside with the lining. Or just paste a
leather patch over the ends to cover them.
But this is not the best way.
Now you know what briefcase locks are.
Photo 9
The possibility of lock installation should

be checked even before the tongue gluing.
If the assembly does not enter the groove,
the tongue can be slightly skived from
below.
The lock should be installed tightly by
hands. Preferably without clearance.
There is one more peculiarity try to
keep the stitching and holes behind the
lock not falling on one line (Pic. 1.). If they
align, the holess will punch the seam and
tear the threads, loosening the stitching.
Author: E. Solomin
9
Leather little slipper
Cowboys
boots
At a small enterprise of
Alberta Boot Company
in Canada dozens of cowboy boots are made
every day. Among its customers you can find
the actor Brad Pitt, outstanding athletes and
police officers working in the mountainous
area.
It smells like leather in its premises. There
are posters of rodeo on the walls and pictures
in frames on the westerns motives. Diligent
Ben Gerwing passes back and forth between
the store and the workshop, consults his
customers, and is involved in manufacturing.
26-year-old manager
and a grandson of the
cowboy boots Companymanufacturers founder is
in time everywhere.
10
Since 1978, in Calgary, Canada, this

footwear is made by hand in the traditional
way. Its customers are not only the
cowboys and cowgirls from Alberta but
also fans of westerns across Canada.
In 1988 the Company was an official
supplier of cowboy boots for the Winter
Olympic Games in Calgary. Gerwing
casually wears his cowboy shirt over
trousers and dark brown oiled boots made
of cattle hide. His favorite footwear. I
have 5 pairs at home. Not many, especially
considering that I have been working for 12
years in the store, he says. I can wear
outworn boots and rarely make a new pair
for myself.
Kangaroo Leather Boots
for shoe upper, to protect the foot

from kicking of cows and horses,
oblique heel for firm position when
using a lasso and rib for spurs support.
In addition, there are various models
of tourist shoes and work boots, low
boots and shoes with lacing on the
store shelves.
Each day the manager makes 20-30

pairs of boots, and his worker a dozen.
There are boots of all shapes and colors
over 8,000 pairs on the store shelves.
The company produces not only
cheap goods, but also boots
according to specific customer
wishes and on request including
pink, green, decorated with
festoons, with the appearance
resembling reptiles, or classic
plain, with a monogram or logo of
the Company.
When the leather has been selected, it is put down under
The selection and design of
cowboy boots require the utmost
the hydraulic press. Then it is cut out to various parts required
care. First of all, it is necessary
for the footwear manufacture. Seamstresses connect the
to select the appropriate leather
parts. A machine performs labor intensive finishing seams
among countless large rolls in
the warehouse. Traditionally,
with a computer program on the cut parts of the leather.
they are made of cattle hide. But
Individual finishing seams are performed on a manual sewing
to meet the extravagant desires
machine. Then the fitting shape of boots is designed. Among
Gerwing offers exotic leather
types: from the skin of alligator
the hundreds of yellow foot models - the so-called lasts
from Louisiana, kangaroo from
they choose the desired shape and size, and moistened and
Australia, stingray or ostrich from
steamed leather is lasted and dried. They sew a sole, attach a
South Africa.
Leather on the Boot Last
heel and place into a cardboard box.
When Calling
the Police...
After about 4 weeks a customer can
come and take his wonderful boots. Their
price is 300-1500 euros. Gerwing is sure in
the quality of his goods. Any boots are
well-worn for 25 years, the heir of the
Companys founder thinks.
The most popular, as before, the classic
cowboy boots with sharp or rounded
shape of the toe in line with jackboots
models remain, as Gerwing explains. Welt
shoe construction method, durable leather
11
The head of the enterprise opens a box and shows

a very special pair: riding boots worn by Canadian
police in the mountains. Since 1999, Alberta Boot
Company has been an official supplier of the Royal
Mounted Police. During this time, there have been
produced more than 10,000 pairs of traditional
brown boots with lacing.
Not only police, but also movie stars, entertainers
and athletes have been the customers of the Company
for more than 30-year history of its existence, the
Canadian says proudly. Including such actors as
Brad Pitt, Jackie Chan, Kevin Costner and Isabella
Rossellini. However, Gerwing says, there is no
greater joy for us when absolutely ordinary buyers
come to us and plank down their hard-earned money
for a pair of our boots.
Author: Y. I. Pustylnik
12
Silk Brush
We continue to tell about the

painting tools. The most technically
sophisticated tool is an airbrush...
And about some other tools too.
An airbrush is a useful thing but not

mandatory. Due to its cost, not everyone
can afford buying it. It allows you coloring
large areas quickly and smoothly, and also
simplifies the creation of color gradients.
Airbrush itself is not very expensive but
it cannot operate without a compressor
which is much more expensive.
This tool is widely used in various fields,
so there are many forums where the
kinds, types and brands of these devices
are discussed. Therefore, the choice of a
suitable set (airbrush + compressor) is up
to you, the reader.
I bought the airbrush for myself focusing
on my own taste and financial capacities.
I bought it in the art shop, choose among
the available ones. As a result, I purchased
the airbrush and compressor of FENGDA
brand. I liked the upper location of the
tank for paint (does not interfere with your

work) and a pistol handle device (just
convenient for the hand). It is similar to
that shown above.
Im quite satisfied with the purchase
and have no problems with it. Before
buying I had absolutely zero experience
with an airbrush. Mastering took me just
a week. I have had a good look through
the device and the principle of its work. I
experimented and began to work. Simple
types of coloring, such as coating or base,
can be mastered very
quickly. However, you
have to experiment with
creation of the gradients.
More complex effects
can be achieved using
masks gluing or co
vering up the parts of
the image and coloring of
the opened ones. We will tell
how to work with simple masks,
but the information about more
sophisticated techniques can be found
in books on airbrushing. Though, when
working with leather, it is unlikely you will
need it.
13
Nozzle
Pic 1
Injector
Needle
Operation Principle
Paint (Dye)
Air
Airbrush Types
Pic 2
Pic 3
Pic 4
Pic 5
14
Airbrush operation is to mix paint with

the air flow supplied under pressure and
spray it onto the surface (Picture 1).
One of the main components is a needle.
It is located in the center of the nozzle and
is responsible for supplying paint into the
air flow.
According to the way of paint supply:
Gravitational (Pic 2) paint supply from
above of the device, due to gravity. I took
it like that.
Siphon (Pic 3) paint supply is performed
from below; it is sucked due to reduced
pressure in the air flow.
Airbrush operation is not affected by
tank location principle. I prefer the top
location of the tank, so it mingles less when
working.
According to the way of paint mixing:
With internal mixing these include both
of the above airbrushes. Mixing of paint
and air takes place inside the device. This
type is more popular. It is more convenient
and easier to manage spraying.
With external mixing (Pic 4). This design
is simpler and does not allow separate
controlling of the flow of air and paint.
They are cheaper and allow painting large
areas, similarly to conventional sprayers.
According to the way of control:
Single action it is possible to control
only a single flow, air or paint. Currently,
there are mainly patterns with air flow
controlling. Airbrushes of a single action
are simpler in design and controlling and
recommended for beginners.
Double action both flows are
controlled. They are divided into dependent
and independent.
Dependent (automatic) flow control
is carried out in the dependent way. Air
valve opening at the same time causes
the needle movement and paint release.
The greater the air flow, the greater the
flow of paint. The stroke of the needle
can be controlled with a special screw, but
it needs to stop working, and adjust the
stroke of the needle. This type of airbrush
is more complicated than the previous one.
And more flexible in configuration.
Independent (manual) independent
flow control. When pressing the lever
the air valve opens, when turning the
lever back the paint supply valve opens.

Simultaneous manipulation allows you
controlling both flows. Mastering this
action requires expertise but also gives a
lot more opportunities.
Airbrushes of double action are available
with the principle of the internal mixing.
Chemicals for airbrush
Water- and alcohol-based dyes and

paints including acrylics are quite suitable
for leather coloring by airbrush.
The consistency must be very liquid, like
water, so as the nozzle does not become
clogged with particles. I use alcohol and
water based paints of Fiebing brand,
finishes of Lef-Lef brand as they are. Pebeo
acrylic paints and Fiebing Tan-Kote and BagKote finishes I dilute with water before
applying.
Some Advices for Working with

an Airbrush
1) Always wash the airbrush carefully
after use. The channel can be clogged with
dried pigments of paint and there will be
problems with further work. For cleaning
you can use isopropyl alcohol.
2) Use the hood. You can make it yourself
using an empty cardboard box and an old
vacuum cleaner (Pic 5). Or you can buy
ready-made one.
3) Buy a rack for your airbrush with
fasteners. If you need to stop working
temporarily, you need a place where it can
be placed so as not to spill the paint.
4) Begin spraying outside of the product
(if possible). At the beginning the airbrush
can spit out large drops of paint that will
spoil the product.
5) Check the operation of devices before
filling the paint. It is very inconvenient
when something has failed to work and
you have a full tank of paint in your hands.
6) Before operating, fill the tank with
water and check that water is sprayed (the
nozzle is not clogged).
Compressor
Other tools
Daubers are wool (or sponge) balls on
a wire handle.
They are not expensive and sold in the
amount of ten pieces. Useful for painting
of large areas (basic coverage). Good
replacement to airbrush for this type of
work. There are different sizes of them.
Manometer
Reciever
Compressors and receivers.
Compressors for aerography have power

and specifications just for this kind of
works. It is necessary to buy namely these
special-purpose devices. Though, earlier
some craftspeople used compressors from
refrigerators, for example.
The picture shows the main components
of a standard compressor.
When
getting
into
types
and
specifications of compressors, I didnt see
any special differences and just bought the
cheapest one, without receiver and with
automatic pressure support.
Receiver is a big empty tank between
the compressor and airbrush. It has the
following designations:
to prevent oil drops from penetrating
into airbrush from the compressor. Modern
compressors do not have such problem,
to compensate air blows which
arise due to peculiarities of compressor
operation,
to compensate pressure level
differences during operation.
Modern compressors are advanced
and complete enough to do without a
receiver. They are equipped with a small
tank near pressure gauge. This tank
allows performing the first two functions
mentioned above. The third function is not
so critical in case of short operation.
My cheap compressor without a receiver
suits me very well for more than a year.
There is a quite large selection of
airbrushes and compressors for them at
the stores (and more over on the Internet).
There is a choice for any taste and budget.
Pipettes are used for paints mixing and

diluting.
With their help it can be easy to follow
and maintain the proportions of the
components. The proportion estimation is
made in drops (e.g., 5 drops of paint and 2
drops of diluent).
Filled marker is a marker that can be

filled with any liquid dye. It is convenient
for coloring the edges.
You can buy it in stores for graffiti. Dye
or finish must be diluted to the water
consistency. Water based and alcoholic
dyes for leather coloring, as well as acrylic
paints are well combined with it.
Palettes are used as a place for colors
mixing. They are made of plastic which is
easily washed from the dye.
There are different types, with different
number of cells.
I have a palette such as in the picture. It
has one drawback too little cells, a little
paint can be diluted at a time.
Sponges there are special techniques
of dyeing with a sponge. This allows
creating interesting effects including
gradient transitions creating without using
an airbrush.
Yet with their help you can apply antiques
and stains, remove excess and moisten
leather, etc.
Paper napkins and towels.
They are used to work with antiques and
remove excess of paint, accidental spills,
etc.
The last two ones are very useful things
in the workshop.
15
Drawing lessons
SIMPLE
COLORING
TECHNOLOGIES
At the moment in the section

Silk brush we tell about
painting tools but in the section
Lessons we will describe how to
work with paints in practice. For a
start, we are going to study simple
technologies which do not require
special skills except for keeping
tools in your hands and slightly
operate them.
PIC 1
16
OVERALL COLORING
Overall coloring is a technology for
dyeing large surfaces with one color. Do not
confuse overall and background coloring.
These are different sorts of things.
Large surfaces can be dyed with the help
of different tools and in a variety of ways
which we are going to consider now.
Dip overall coloring.
This is the simplest technology. It

allows dyeing a product quickly and with
necessary color. The product is dipped into
dye, extracted and dried.
Good penetration of dye into leather
and speed of work can be considered as an
advantage of dipping technology.
But this technology also has its
disadvantages such as significant dye
consumption and long drying period.
I use dipping technology when I dye
leather strips (for stitching of edges) and
belts. You can use a cutting loop (Picture
1) in order to reduce dye consumption, get
dirty less and simplify the process. The strip

or belt should be run through the loop.
Then the loop is dipped into dye and the
belt is run through it.
You do not need any big dye container
for this process. The container able to hold
a part of belt or strip will be enough. For
thin strips I used palette container and
then finish them in the same way.
Overall coloring by brush.
It is better to use big brushes (flat or

round) for coloring of large surfaces.
It is necessary to make horizontal
strokes with flat brushes (Picture 2). To
get more uniform color you need to make
2-3 coats. Leave each coat to dry. Each
of the following coats should be applied
perpendicularly to the previous one.
It is necessary to make circular motions
with round brushes, applying the strokes
against each other (Pic 3). In addition, you
can make 2-3 coats to get uniform coloring.
Overall coloring by airbrush.
PIC 2
Use of airbrush provides uniform coat. In

addition, it enables to get surface coloring
with color gradient quite simply.
In order not to dye everything around it
is recommended to use cardboard screens
(Picture 4) behind and from the side of
painted product.
You should start and finish dyeing outside
the product (Picture 5).
It is recommended to apply 2-3 thin coats
to make coating more uniform.
After coloring do not forget to wash the
airbrush thoroughly.
PIC 4
PIC 3
PIC 5
Overall coloring by dauber.
A dauber is specially designed for large

surfaces coloring. The process dauber
dyeing is convenient, easy and quick. Apply
dye on the surface with circular motions
(Picture 6). The strokes should overlap.
Overall coloring by sponge.
Make three balls of cotton, clean, white

cloth (an old T-shirt will be good enough).
Put them into a bag made of the same cloth
and tie the bag with elastic band on the top.
Apply dye with a brush on the bottom
part of the bag.
Make coloring by vertical motions,
overlapping spots (Picture 7).
PIC 7
PIC 6
BACKGROUND COLORING
The background means leather areas
located between ornament elements
which are put downwards (more often).
Usually the background has limits in the
form of boarder pattern. The background
should always be within these limits
(Picture 8). But there exist ornaments
with open background (Picture 9). In such
case, the background gradually passes into
surface of the product.
Background coloring is a hard work,
especially when the background consists
of a large number of small areas. However,
such work requires only insignificant skills
and precision. This work is performed with
brushes.
Brushes of sizes #4-5 will suit for large
areas. For small areas you can take #1.
PIC 8
PIC 9
17
PIC10
Start dyeing of the background area in
the center with well loaded (with dye)
brush. Paints start to spread slightly in
the points of contact, especially when the
brush is much loaded and you can dye the

ornament together with the background
(Picture 10).
Dye the surface from the center to the
edges and corners.
The Picture 11 illustrates how dye spreads
around the point of contact to leather.
But ornament details will not be harmed
because the contact was made not in the
corner as opposed to Picture 10.
In order to paint the place of ornament
and background stitching, do not try to get
in the corner with brush. Pass with loaded
brush on the background along the joint,
not far from it. Let the dye spread towards
the ornament. It will soak into leather
background but not penetrate into pattern.
PIC11
You can practice on rough ornaments

before you coloring the product.
Dyeing of ornament details with one color
PIC13
18
changes its color. Especially it happens

when the dye is darker then acrylic paint.
But use of finishes makes them separate
and acrylic paint covers better.
There is one more tip. When you need
to apply acryl-metallic (gold, silver (Pic 13),
bronze, etc.) or neon colors, it is necessary
to make priming under acryl with paint
of approximate color. For example, cover
leather with yellow spirit dye under gold
(Pic 14). When acryl starts to fade, yellow
background will look more natural than
just leather.
Using acrylic paints you can add
brightness to patterns. But dyes have
rather pale shades and their palettes do
not include such necessary colors as white
or light blue.
When I use different types of paints, first I
try to cover with dyes (including priming
under metallic), then I make intermediate
coating with finishes and, in the end, on
top of finishes I paint with acryl. I finish
making 2-3 coats of finishes.
PIC 14
PIC12
Sometimes you need to dye separate

parts of the product with other color
different from the background or general
color of the product. For example, flowers
in ornament (Picture 12). Such work
should be performed with the help of an
appropriate brush and paint or dye (spirit,
water or acrylic).
Recommendations on covering details
with spirit or water dyes are the same as
for background coloring. It is desirable to
use slightly loaded brush to prevent dyes
from penetrating into nearby details and
background (especially, if background
color is lighter).
One of recommendations given by the
professionals (Peter Main and Al Stohlman)
it is better to start with light colors
gradually passing to darker ones. In other
words, first we cover light details and then
the dark ones.
It also concerns the background. If the
background is dark, it should be covered
the last thing. This is not absolute truth,
there can be situations with exceptions.
But when such situations arise, you will
understand in practice.
Acrylic paints should be used in a different
manner. If the whole product is covered
with spirit/water dyes and contains only a
little acryl, I recommend you to cover the
product with dyes first, then cover with
finish and only after this work with acrylic
paints.
The matter is that when you use acrylic
paint immediately over dyes, acrylic paint
captures the pigment from the dye and
ANTIQUE-GELS AND STAINS

PIC15
PIC16
PIC17
Working process with antiques and stains

is quite simple:
Apply much gel or stain on the
product surface. You can apply them with
everything you want brushes, sponges,
fir pieces, tooth brush. The main thing is
that coloring agent got into all concavities
and holes, corners and tooling.
- After applying you can either wait for
some time or remove antique immediately.
Gels and stains are usually applied
on clean tooled leather. Coloring grade
depends on duration of antique contact
with leather. The longer it contacts with
leather surface, the better it will absorb
and color will be more intense.
Remove antique from the product
using paper towel. Remove excessive
antique with gentle motions, not

cleaning antique out of concavities. You
need to wipe only raised surfaces.
Be careful, you can easily stain other
parts of the product or a table with paste
or gel.
Use of antique gel Tandy Antique Gel
of Medium Brown color is shown in the
pictures.
Picture 15 gel is applied on the product
with the help of tooth brush.
Picture 16 excessive gel is removed
using paper towel.
Picture 17 once the gel has dried,
wipe the pattern slightly using wet cloth,
it removes excessive gel from raised parts
(compare the right side of the belt with the
left one). Wipe carefully!
PIC19
PIC20
Use of stain Tandy

Antique Gel of Brian
Brown color.
Picture 19 For this
example we apply stain
using loaded dauber.
Stain has more liquid
consistency than gels
and pastes. Also it gives
lighter shade.
Picture 20 leave
stain for some time to
make color more intense.
Picture 21 remove excesses using

paper napkin.
Now you need to cover the product with
finish in several coats.
The color after stains and antiques is
not uniform. But the basis of technology
provides for this. If you need uniform
coloring, it is better to use dyes.
The main difference of antiques and
stains from dyes is that they give different
color intensity on raised and concave
surfaces. It is clearly seen in the last pictures
in examples.
PIC18
Picture 18 Apply finish on the product.
Right part is finished (compare with the left
one). I used brown Lef-Lef top finish.
It is better to apply finishes on antiques
and stains with the help of the airbrush.
PIC21
Concavities and holes are darker than
raised parts of the pattern. Such effect
adds some contrast to tooled pattern,
thus, it looks more raised.
In the next issue we will consider
combined technologies, in other words,
technologies consisting of several simple
ones but in different sequences.
Author: E. Solomin
19
Rust Stain
I was constantly worried about the problem of coloring the leather gray. And so that
there is no reddish color of the leather. And how to make paint absorbed but not surface.
The forum of the Russian Guild of Leathercrafters suggested watching Will Ghormleys
video. I got in touch with Will and asked him to share this information. He allowed
translating and publishing it.
I present to your attention the leather coloring with a barrel of rust!
Here is my rust tank.
It sets on a small oven
with a short chimney
up the back. From
time to time it helps recirculate the iron oxide
through the water if
it is brought to a boil.
Never get the water
too hot for your hand if
you have leather in the
tank!
Also, in the winter,
I have to build a fire
under it and thaw it out
if I want to use it.
it and rub my hands up

and down the iron straps
and the inside of the tank,
dislodging the iron oxide.
A string is run through
each of the pieces in a place
where it wont make a mark
on the visible portion of the
finished rig. Each piece
is suspended in the rusty
water where it isnt allowed
to touch the sides or any
other piece of leather.
The strings are still attached to give you

some ideas on how to attach them to keep
from leaving faint lines.
The leather has a light gray coloration at
this point. If I had left it in longer, it would
turn a deep purple black that will never rub
off on clothing. However, since I want the
illusion of age, I took it out early.
Experimentation will give you an idea of
how long to leave your leather in the tank.
It looks darker while it is wet. It will dry
lighter, but as you can see in this photo,
when you apply the extra virgin olive oil, it
darkens again.
I keep a slab of Cottonwood over it as

a lid to keep out debris and make it more
difficult for mosquitos to live in it.
The rusty lookin film on the water
indicates the iron oxide isnt well circulated
within the tank.
Straps
of
soft
iron line the tank to
maximize the surface
area of iron to the
effects of the water. A
loop of electrical wire
is submerged in the
water to suspend the
leather from.
Before I can use
the tank, I will heat
20
If the leather is touching other

leather, there will be a lighter
shadow in that place. If the
leather is touching iron, there will
be a dark streak or blotch in that
place. I move the pieces from
time to time to make sure they
arent touching.
Here are the collected pieces
after being removed from the
tank and dried.
If in doubt, take the leather out and let

it dry. If it isnt dark enough, dunk it some
more. You can always make it darker with
repetition, but you can never lighten it up.
http://www.willghormley-maker.com
Author: Will Ghormley
Some sequences how to color leather
Coventions:
Dyes
Acrylic Paints
Antique Paste
Finish
Antigue Gel or Stain
Neatsfoot
Oil
1)
Coloring elements
Background Coloring
2)
Background
Coloring
(Black)
Coloring
ornament (Silver)
(Black)
3)
Background Coloring
Coloring elements
4)
Background Coloring
5)
6)
Background Coloring
(Dark Brown)
(Dark Brown)
21
How-to...
Large space stamping
As exemplified by Sergey Neskromnyis stamps

Currently residing in Bulgaria, a Craftsman Sergey Neskromnyi has
started ornament-stamps making for tooling. As it was previously
stated in the article about this Craftsman, he has field-specific
education and very true taste. Thus, his stamps are very qualitative in
all respects.
I purchased 4 stamps I liked the most in his collection. By their
example I want to demonstrate how ornament-stamps may be used
for large space stamping. For example, as a background.
pic 1
For illustrative purposes I make use of
stamp-ornament No.4 (as it is marked
in Sergeys Facebook page). It gives the
imprint shown above (Pic 1).
Ornament is inscribed to rhombus and
has overall dimensions of 16x13 mm.
Geometry is stiffly accurate. Imprints are
neat, flat and deep.
Stamps are made of brass. Handle
is turned of steel and stamp as such is
screwed on it. It has a mark on the back side
demonstrating ornament, when the stamp
is exposed to leather. The construction is
simple, comfortable and qualitative.
Stamp impact area is large, thus I apply
heavy hammer about 600g in size of
hammer type. There is a need to strike
several time by lighter one (400g) in order
to get a good imprint.
Experiment 1. For a start, let us consider
the way how a belt may be modelled by
these stamps. I used a blank of Argentinian
leather of 5 cm wide as an example (width
of finished belt is 4 cm).
1) Draw a midline in the belt centre at
length it will be stamped (Pic 2). The pattern
is to be constructed from the centre as the
edges will be cut then.
The imprints will be in contact;
consequently they will hide the orientation
22
pic 2
line. It can be drawn strongly enough for

good vision.
2) Stamp geometry has clearly expressed
upper and lower points, which may be set
down along the drawn line. Let us make the
first stamp aligning the upper and lower
points of the stamp along the orientation
line (Picture 3).
4) The second stamp is made by aligning
the lower point of the stamp with upper
pic 4
pic 3
one of the first impact. Both stamp points

should be within one line. Then the third
one is made and so on. Set out the first
line of ornaments along the whole length
(Picture 4).
5) Now, the stamp is placed above the
first and second imprints. So that the upper
and lower points touch the side twigs of
the first row (Picture 5).
pic 5
pic 6
Make the second line of imprints setting

the stamp in the same way.
6) The third line of the imprints (Pic 6)
is made in analogy to the second one but
lower than the first line.
Three rows are enough for this belt
considering cutting and edge sewing.
Experiment 2. Space filling.
Let us consider how to fill large space by
this stamp on the example of wallet cover
back side.
pic 9
pic 7
1) Draw central orientation line (Pic 7).
Draw more orientation lines to the left and
right of it in the distance of 8 mm from
the main one. They will serve as reference
points for stamp adjusting. If making by
feel the pattern will move because of
pic 10
pic 8
stamp set-up tolerances. It is better to
make vertical lines along the area every 8
mm for more comfortable work.
2) Make the first imprint levelling the
upper and lower points of the stamp along
the main line (Pic 8).
pic 11
The lower point should be on the line marking the lower edge of
the pattern.
3) Make imprints of the first row along the whole length (Pic 9).
4) Make the second row. Use the orientation line in the capacity
of the main reference point. Side wings of the ornament should
not fall outside the limits of the neighbouring lines. It is desirable
that they get to adherent point of two imprints from the first row
(Pic 10). The picture shows lining of the left edge for stamping. The
right edge is also lined.
5) The pattern is gradually stamped to the left edge. Then, from
the centre to the right edge. It has to be flat due to lining (Pic 11).
Finished wallet is demonstrated on the right, which we have just
modelled. Painting is performed by antique-gel Eco-Flo Medium
Brown.
Other stamp samples of Sergey Neskromnyi may be seen at
his Facebook page
https://www.facebook.com/sergeyneskromniy
23
pic 12
pic 14
pic 13
E294-3
E294
E294-4
Experiment 3. Standard background

stamps of E294 series are applied for the
third experiment. 294 (Pic 12). It is better
to use the biggest one E294-3 in order
to stamp larger spaces. Let us consider
typical mistakes by this example if spaces
are stamped by means of unstructured
stamps (Sergeys stamps are represented
by structured ornaments).
pic 15
Mistake 1. Partial non-imprinting (Pic 13).

It may occur as a result of stamp adjusting
at an angle to leather surface.
Also it can be used as special effect. For
example, it is required for combination of
stamped space and clean leather (without
tooling). Pic 14 serves as an example. The
background around the letters evolves into
neat leather.
During complete stamping of the back
ground try to set the stamps evenly to
avoid this problem.
pic 16
2) Elastic surface under leather or leather

is rubber itself.
It is better to take heavier hammer and
make one impact per stamp in order to
avoid it.
Mistake 3. Too many imprints in small
space (Pic 16).
In case of great number of impacts by
the stamp at one place this kind of picture
appears. Besides that, it looks not good
enough, this pattern strongly deforms

leather.
Try not to beat many times in one place.
Overlapping of two imprints is advisable
to be made 20% of the stamp area but not
more.
Mistake 4. Structured pattern (Pic 17).
Anyway, the sense of such stamp is
irregular chaotic tooling pattern. Order
is out of subject here. It is necessary to
pic 19
pic 18
Please, note the difference.
One more tip. If occasionally there is
a small unstamped space, as in the Pic 19
(in red circle), do not make stamping by all
stamps area. Use one of its angles as in
a small imprint (Pic 20). Otherwise, you will
get Mistake 3 which looks even worse.
The Picture 21 shows the case the surface
24
Mistake 2. Double imprinting (Pic 15).

It may occur because of double impact
by hammer with stamp bouncing from the
leather surface. There are several reasons:
1) Too light hammer. The impact turns to
be light, it bounces of the stamp and the
stamp from leather. The stamp is shifted
and hammer makes the second impact.
pic 20
pic 17
make slight twists of the stamp in every
new imprint in order to add some chaotic
character. The greater the difference is, the
more unpredictable the pattern will be.
Compare two rows of imprints in the
Picture 18. Upper row is the same that in
the Picture 17. Lower row is analogues but
it has rotations around the axis.
of which was stamped by

294-3 stamp. The finished
product looks like this.
Colored
and
finished.
Unstructured stamp pattern
makes the leather surface
specifically rough.
On the next page you can
see a small test of these
mistakes. And its solution at
the end of this magazine.
Author: E. Solomin
pic 21
test youself
In the picture the area is stamped with
E294-3 background stamp. Here, all the
mistakes described in the previous article
have been made intentionally.
Find these mistakes and at the same time
pay attention how they affect the overall
impression of the stamping. Which of them
are nearly invisible and which significantly
degrade the pattern.
On page 43 you will find the answers to
the test.
Coloring Chart of Bayonet Dyes (China)

You can buy it on Groomix.ru
How to... 2
Vertical pockets
for cards
in the
wallet
There are several ways to make pockets
for cards. Let us consider one of them.
It allows you doing a large number of
pockets arranged vertically (6-7 pieces).
The thickness of the assembly is not very
big...
Pocket assembling consists of the front

panel and satin strip, which performs the
function of supporting the cards so that
they do not fall inside the assembly.
The assembly itself needs to be
stitched on any item of the wallet after
manufacturing.
In this example, in the bottom of the
assembly a couple of pockets for SIM
cards for mobile phones is made. Instead
of them, you can make a transparent
window or anything else.
I took dark brown clothing leather for
front panel. Workpiece size is 20 cm by 9
cm. The length has been taken by wallet
pic 1
26
size. The width is so that the cards fit into

the holes (the length of the cuts for the
card 6 cm). And, the space at the edges
of the cuts and for the turndowns by 1 cm
from each edge.
Skive two long edges on the reverse side
of the workpiece and turn them down by 1
cm and glue.
From the upper edge make the first cutpocket at a distance of 2 cm from the upper
edge.
Then make five more cuts from it every
2 cm. In total there are 6 pockets. Make
round holes with a diameter of about 4 mm
at the ends of the cuts, so that the edges of
the pockets are not torn.
Make additional details pockets for
SIM cards or a transparent window. You
will have a front panel as it is shown on
Picture 1.
Now, attach a satin ribbon to this panel,
which will not allow cards to falling down.
There is a great choice of satin ribbons.
I used black one, of 6 cm wide. You can
take narrower one. I havent measured the
length. Ive just bought one meter and at
the end of work I cut excessive length off.
Support is not needed for the lower
pocket, the card will bump into the bottom
seam of the wallet (Picture 2).
pic 2
I used a bank card to measure the length
of the ribbon properly.
Smear with glue the space between the
fifth and sixth cuts (Picture 3). Glue the
edge of the satin ribbon to it. Along the
fifth cut, below it.
You can enhance fixing of the ribbon by
stitching it with a thread. But I did not.
pic 3
pic 4
pic 5
pic 6
The top edge of the ribbon should be

aligned with a cut and glued properly, so it
does not fray during operation (Picture 4).
Align the ribbon concerning panel too.
Insert the card into the fifth pocket and

align properly with the front side (Picture
5). Overturn the part, trying not to move
the card.
On the reverse side press the card to the

satin ribbon (the card should be over the
ribbon Picture 6). Smear with glue the
space between cuts 4 and 5.
pic 7
pic 8
pic 9
Wrap the ribbon over the card and glue

to the space (Picture 7). Align the edges of
the ribbon with the lower layer. Check the
card position.
Smear the ribbon with glue (Picture

8). Two centimeters above the cut and
approximately 4 cm below. Gently bend
the ribbon down. Here, the main thing is to
align the fold with the cut very carefully and

glue it properly. Again, you can enhance it
by stitching. Lower pocket is ready. Insert
the card into cut 4 (Picture 10).
pic 10
pic 11
pic 12
Overturn the panel. Wrap the ribbon around the card again and
glue to the space between cuts 3 and 4 (Picture 11).
This is the second pocket.
Similarly, do all the other pockets. The last part is glued to the
space above the first cut (Picture 12). And the ribbon is cut.
The finished panel is shown in Picture 13. After assembling, it is
sewn to a large pocket for notes or other panel. Satin ribbons should
be hidden inside. They should not stick out anywhere or overhang.
Satin ribbon is very thin; it allows increasing a large number of layers
without significant thickening of the assembling. At the same time
it is quite durable.
Author: . Solomin
pic 13
27
Issue Pattern
Configuration:
external zip-through patch pocket with two small

pockets for phones inside,
external sewn-in pocket on the front panel,
big patch pocket on the back panel,
two patch pockets inside and one sewn-in pocket,
with the lining,
wide strap.
V
This year we are moving to the patterns
of any bags. Lets start with a quite
complicated mans bag made of typical
leather of chrome tanning. This bag is quite
unpretentious and practical.
It was made upon the model of the
previous one, fabric. All measurements
have been taken from it too.
Among the features, it is worth noting
that it has main seams, which are internal.
That is, it is sewn inside out, with the lining
out and then is turned inside out.
There is a welt on the external patch
pocket. This is just a perfect chance for
those who wanted to practice creation of
the welt.
As usual in this category, we will not dwell

on the details of the bag manufacturing
and just describe the general procedure for
the assembly and some peculiarities.
Lets start with the front panel.
It has a sewn-in pocket with overlay (Pic 1)
and an external patch pocket with the welt.
Inside the patch pocket there is another
small pocket intended for phones. First of
all, it is better to sew the small pocket for
phones (divided into two), so that later
the internal pocket will not interfere with
us (Pic 1). To add volume, the side edges of
the pocket are turned down for 1 cm. Make
the same turndown for 1 cm to the left and
right in the center.
Pic 1
Pic 2
28
Sewn-in pocket. A zipper is glued to the

detail of the front panel over the cutout
and then the detail of the overlay is glued
on the top of it. The details of the pocket
itself are glued on the back side. There
are no drawings for this pocket, so the
dimensions are chosen as you need.
The overlay is sewn with two seams
along the perimeter and around the zipper.
Be careful with the details of the pocket,
do not sew them to the front panel in the
wrong places!
Then, the details of the inside pocket are
sewn together (Pic 2).
Lets turn to the big patch pocket. It is
the most difficult one in this design. In my
case the pocket is even reinforced with the
overlay in the upper part (Pic 3). But you
may not do it.
First you need to assemble the pocket
itself and then sew it to the front panel.
Before assembling cut out a detail of the
pocket, attach it to the front panel and
draw it out with a silver marker (or white
pencil). Along this line, draw another one,
at a distance of 1 cm inside the pocket
(Pic 1). The pocket will be glued along this
second line.
Begin assembling with the zipper.
Pic 3
Pic 5
The length of the zipper is 40 cm. Two
small pieces are sewn to it from the ends
which should add volume to the pocket.
The pocket has a welt. As a welt I used a
leather strip of 2 cm wide and 40 cm long.
The welt is folded in half along its length, a
thin cord is inserted inside and the halves
are glued together.
The welt is glued to the zipper with
sewn pieces on the front side. Welt should
be glued with its lower edge along the
edge of the zipper. Then the welt with the
zipper is glued to the upper part of the
pocket detail, on the front side and is sewn
from the inside. After sewing an excess of
the welt can be cut off.
The zipper is turned inside out. In the
lower part the pocket will be deformed
a little. The folds can appear. They will
disappear when sewed to the right place.
The pocket is glued to the front panel,
along the line that we have drawn earlier
(internal) and sewn (Pic 4).
The front panel is ready (Pic 5).
The lining of the front panel should be
made according to the pattern of the panel
itself. I used pigskin leather. Sew the inside
patch pocket to the lining (Pic 6). And
divide it into two (you can leave one large
if you want). The lining is glued to the front
panel.
The back panel (Picture 7).

It is much easier. There is only one patch
pocket on it over the entire width. It is
closed with the Velcro located in the center.
The upper edge of the pocket is turned
down by 3 cm and Velcro is sewn exactly on
this part. The second part of the Velcro is at
the back panel. The pocket is glued to the
back panel at the bottom and aside.
The lining for the back panel is of the
same shape as the panel itself. The inside
pocket with the zipper is sewn in it,
similar to the front panel but without a
cover piece (Pic 8).
The lining is glued to the back panel.
The top of the bag consists of two parts
which are sewn to the zipper (Pic 9). The
patterns show the top of the bag in the
assembly.
The two sides are assembled of parts of
the sides and straps that hold the metal
frames for spring snaps (Pic 10). The strap
is turned around the frame by about 2 cm.
Then it is sewn to detail of the side. On the
top it can be arranged with a decorative
strip (4 by 9 cm).
It is better to cut the bottom longer than
in the pattern. An excess can be cut off
later when assembling. The bottom is sewn
to one of the sides (Pic 10).
Now ready panels and the middle part
Pic 7
Pic 8
Pic 9
should be assembled in a bag.
As we have already mentioned, the seams
will be internal, so sew with the lining out.
Find the middle of the top and mark it
from both sides. Find the middle of the
tops of the front and back panels and mark
them too.
Pic 10
Pic 4
Pic 6
Continue on Page 37
29
Zipper overlay on
front panel
Front panel
Scale 1:2
(mm)
Small pocket for phones
30
Small pieces for zipper

of external pocket
(2 pcs.)
Patch pocket
Scale 1:2
Inside pocket on lining

front panel
Side straps (2 pcs.)
Sides (2 pcs.)
(mm)
Continue
Page 36
31
At this issue we publish designs
of pair womens wide belts.
First belt made as a part of fur
coat. But it works itself too.
It needs to add zipper for
closing.
Base of design is ornament of
shawl that made in Pavlovskiy
Posad town.
32
Designs
Pattern is a half of wide belt.
Real size.
You can connect halves at any sides.
33
Second is a womens corset belt.

It is consist of 3 details round centre
and two sides.
Sides connected to centre detail by any
lacing.
It is corset belt and it has corset lacing
on the back.
34
35
Continue.
Begin on Page. 31
Velcro
Back panel with

pocket
Scale 1:2
Top with zipper
36
Bottom
(mm)
Continue.
Begin on Page 29
LEATHER
HOUSE
HIT of SEASON:
VEG-TANNED LEATHER
Pic 11
To the front panel glue an assembled sidewall, aligning it according

to the marks on the detail of the top and on the front panel. Undersides
should be out. It is better to glue from the center to the edges. First,
in the direction of the side to which the bottom is not sewn and then
in the opposite direction. When the bottom reaches the second side,
it can be cut to size.
After gluing sew the front panel and the side together.
Similarly, glue the back panel to the assembled side aligning it
according to the previously made marks. Inside out. Sew the back
panel and the side together.
Turn out carefully the already sewed bag through the open zipper.
Align the corners and seams with hands, giving it a shape of the bag.
A strap can be made in different ways. Here I sewed two strips of 4
cm wide. The strap is 1.5 m long with a bend for adjustment. Do not
forget to fix spring snaps and regulating frame on it.
A large number of pockets will suit mens tastes. In my opinion, the
only drawback of this bag is absence of handle on the top. But there
is no place to fix it.
Author: E. Solomin
- any weights
- any colours
- any topology
Italy, Russia
CRAZY HORSE
any weights
- any colours
- any finishes
Ostrich Legs Leather

And:
garment sheepskin
exotic leather
saddle and tack
bag, chap and upholstery leather
shoes leather
for fun
Cut by sizes
Send to regions
Moscow, Staroalekseevskaya str. 24/1
+7 926 919 54 01
www.dom-kozhi.com
shadilov_s@mail.ru
yanna_k.79
Pic 12
37
Test-Drive
FROST &...CHEMICALS
Now it is 30C below zero outside. Its time to think about the impact of such temperatures on the chemicals that we use in our work.
Upon application of chemicals on products such impact is not very critical, but when purchasing and transporting... Starting with autumn
frosts our leathercrafters begin to think about buying in advance more dye-finishes for winter.
Lets have a test. How will different compositions respond to an hour exposure to t=30C below zero? At the same time we will see what
happens after thawing. Can we then continue to use the fluid under test?
The first experiment was conducted at the beginning of

this winter. Alexander Filinskiy sent me from Almaty 10 halfliter cans of leather finish of Lef-Lef Turkish Company. Just at
that moment we had frosts about 20C below zero.
I do not know how the finish was being transported but
before I took it, it had spent two days in unheated warehouse.
I was afraid that it would be frozen completely and rupture
the cans.
I brought the box to the workshop and opened it. It turned
out that the finish was not even covered with the crust of
ice. It is resistant to low temperatures. Therefore, I sent it to
other customers without fear.
There are no labels with written composition on the cans.
We only know that it is acrylic. But judging by the resistance
to frost, it has some components preventing freezing.
Later we will talk about other finishes. And now we address
to coloring compositions - dyes, antiques, stains.
Lets begin our experiments with the chemicals of the
TANDY Leather Factory Company. Unfortunately, I do not
have the entire product line and I will try what I have.
And Ive got Eco-Flo Leather Dye of Java Brown color
(although the color does not affect our experiments). We
also have Eco-Flo Hi Lite Color Stain of Saddle Tan color. And
such a thing as Eco-Flo All-in-One of Midnight Black color.
The compositions will be placed in the caps and put outside
for 1-1.5 hours.
38
Leather Dye Hi Lite Color
Jawa Brown Saddle Tan
PIC 3
All-in-One
Midnight
Black
PIC 1
So, now well see what happened to
Tandy chemicals. Dye and stain have frozen
completely having turned into ice. All-inOne, which has the consistency of a thick
paste, has become even thicker and the
top was covered with a crust of ice. But it
can be easily pierced with an awl. That is, it
Leather
Stain
Edge Kote
PIC 2
hasnt frozen up to the state of ice (Pic 1).
After thawing and bringing to room
temperature the liquids turned back to the
same state as before freezing (Pic 2).
Lets try to dye. The compositions have
retained their properties (Pic 3). Although
they are frozen to ice but after thawing
their properties are retained. We can

conclude that Tandy chemicals do not lose
their properties due to the impact of low
temperatures.
Lets move to the products of Fiebing
Company. This Company is represented
much wider. Lets test Fiebings Leather
Antique
Acrylic
Stain
Antique
Finish
PIC4
Stain of Golden Oak color, Edge Kote of
Brown color and Antique Acrylic Stain
of Mahogany color. And in addition we
will test antique paste Antique Finish of
Sheridan Brown color.
The first liquid has water consistency.
The second one is slightly thicker. The third
is a gel. And a paste is a paste (Pic 4).
Upon exposure to freezing temperatures
Leather Stain has not frozen AT ALL. Edge
Kote has frozen completely. Acrylic antique
has thickened very much and been covered
with a layer of ice. Antique paste has little
changed, it only has become cold.
Everything is clear with the antiquepaste. It is almost not affected by low
temperatures, it is very thick and oily.
PIC 7
PIC 5
Lets warm the rest of compositions and
see how they will behave.
Edge Kote has been stratified. But after
stirring it has returned to its original state.
Practical use has shown that it is quite
operable (Pict 5).
The worst situation is with acrylic
antique. After thawing, it has become very
thick (Pic 6). It has not become a gel again
and, apparently, will not. The rest of the
composition can be used in the work.
A simple testing on a piece of leather
shows that the antiques-stains and dye for
edge retain their coloring properties after
thawing (Pict 7).
However, we do not recommend
exposing Edge Kote and Antique Acrylic

Stain to low temperatures. For them, the
experiment has not passed without leaving
a trace.
Now lets try the dye of the same
Company. We will test Fiebings Leather
Dye of Orange color, Professional Leather
Dye of Dark Brown color and Institutional
Leather Dye of Red color.
The result was predictable. The first two
alcohol-based dyes were not completely
frozen. The third one, water-based, has
frozen to the bottom (Pic 8).
After thawing Institutional Dye continues
to color as before.
Leather
Dye
Institutional
Leather Dye
Professional
Leather Dye
PIC 6
PIC 8
39
Tan Kote
Acrylic
Resolene
Carnauba
Cream
Pro
Clear
PIC 9
Do not forget that if dye freezes, being
tightly filled to the maximum in a sealed
can, to the state of ice, it can rupture
its container. Ice increases in volume as
compared with the original liquid. In this
case, the alternate freezing and thawing
can lead to rupture of the can first and
then thawed dye can stain all around. As I
watched in their original packaging dye is
not poured chock-full, but still.
In this experiment we observe advantage
of alcohol-based dyes. They are not affected
with cold in any way. Although water-based
dyes do not lose their properties, but can
cause rupture of cans.
PIC 12
PIC 10
Lets turn to finishes.
I used 4, unfortunately, I dont have
finishes of Tandy (Pic 10):
Fiebings Tan Kote
Fiebings Carnauba Cream
SLC Pro Clear
Fiebings Acrylic Resolene.
All finishes have frozen. Even very thick
Carnauba Cream finish has frozen. But the
most interesting thing we will see after
thawing!
So, Tan Kote. Having thawed, it became
somehow transparent and very sticky (Pic
11). It is normally applied to leather. But
it is difficult to say to what extent it has
PIC 13
PIC 11
retained its properties, it is necessary to
carry out more detailed experiments with
such its version.
Carnauba Cream. It has become denser,
like a slightly melted wax (Pic 12). It is
applied to leather similarly to wax. You
have to rub it.
Pro CLear. It is the only finish that has not
changed at all. It is of the same consistency
(Pic 13), applied to leather in the same way
and dries in the same way too. They said
that it is like Tandy Super Shene, but I do not
know to what extent they are the same.
PIC 14
And the last one is Acrylic Resolene.
Everything is very bad about it (Pic 14). It
turned into a kind of mess. It is definitely
not possible to work with it.
The same mess has been sent to me
instead of the finish of Angelus Company.
Once I bought a lot of different chemicals
from a person who has decided to
stop dealing with leather. And during
transportation in the cool period of year
everything was delivered in normal state,
except Angelus finish. It has become a
mess like Acrylic Resolene and I had to
throw it away. It is good that now I have
frozen Resolene in a cap and not the whole
can.
Now we can gather all the information
in the table to make it easier to use, if
necessary (Page 41).
40
Frost Resistance
Frost resistance can be

nominally defined with numbers:
Water-based dye
Stain
Universal
2
2
2
Stain
Edge dye
Stain (gel)
Antique (paste)
Alcohol-based Dye
Alcohol-based Dye
Water-Based Dye
Finish
Finish, Conditioner
Finish
1
3
4
1
1
1
2
4
4
4
1 - low temperatures do not

affect the composition.
2 - composition freezes but
after thawing does not change its
properties.
3 - composition freezes, after
thawing minor changes occur in
the composition that do not affect
work with it.
4 - composition freezes, after
thawing it is destroyed.
Finish
Before ordering chemicals in

winter, check your list against
this table in order to avoid
disappointment upon receiving.
Some vendors, for example,
Springfield Leather Company
mark the chemicals (with the
Snowflake) in their catalogues
which of them are not resistant
to cold. Pay attention to this, too.
Finish
Author: E. Solomin
Name
Tandy
Eco-Flo Leather Dye
Eco-Flo Hi Lite Color
Eco-Flo All-in-One
Fiebing
Learher Stain
Edge Kote
Antique Acrylic Stain
Antique Finish
Leather Dye
Leather Dye Prof.
Leather Dye Instit.
Tan Kote
Carnauba Cream
Acrylic Resolene
SLC
Pro Clear
Lef-Lef
Lef-Lef
Type
test
youself
(The answers to the test on page 25)
1
4
Mistake 1. Partial non-imprinting.

The area with the partial non-imprinting
is marked with a red circle with figure 1.
It is not single, there are others. They are
clearly visible.
Mistake 2. Double imprinting.
It is marked with a black circle with figure
2. It is less noticeable since the chaotic
structure of the pattern deflects attention.
Mistake 3. Too many imprints in a small
area.
The area in a green oval with figure
three is the biggest one in this example.
In the lower right corner there is another,
smaller one. They are very noticeable, as
they violate the pattern.
3
4
Mistake 4. A structured pattern.

The areas with figures 4. The left one is
not very noticeable despite its relatively
large size. This is because it does not have
large empty areas, as the second one
at the right edge. Not stamped areas of
skin are also clearly visible in the pattern.
And, as you can see, also emphasize other
mistakes of stamping.
Now try it yourself!
41
Tip 1.
When you adapt the pattern to the shape
of the product, try NOT to distort the
pattern in one dimension.
It often happens, if the pattern goes
well in one dimension, but does not in the
other one; it is just zoomed out or zoomed
in disproportionately. Such deformation
is visible at once and creates a very bad
impression of unprofessionalism.
Tips-Top
How NOT to do...
It is better to complement the pattern by

hand with the elements from the original
one or similar elements in the same style.
Or vice versa, you can remove unnecessary
elements to reduce the size of the pattern.
If this is impossible, it is better to
restructure the sketch completely by hand
and integrate it into the desired shape.
Another variant is to choose the other
pattern for the product with more suitable
shape or which is easier to fit.
Tip 2.
Avoid cutting tool lying with naked
blades. Casual contacts with other objects
can leave small notches on the blade and
blunt it.
We cannot exclude accidental cuts of
hands.
Use cases and sheath.
Dont drop it on your legs too.
Tip 3.
Be careful when dyeing thin and loose
leather with daubers, brushes, pads from
the flesh side. This is particularly the case
when the color of the face side and the
flesh side is different.
A large amount of paint can soak leather
through and stain it on the face side.
Imagine your surprise when you have
completely finished drawing the face side
of the product. Then you have dyed the
flesh. You have turned the product and
found spots on the finished face! I found
such a surprise a couple of times in my

work (see the Photos).
The first picture shows how the flesh has
been colored blue. In the second picture

you can see the dye has soaked through
and emerged on the face side.
Tip 4.
Tip 5.
NEVER put your fingers, hands and other

parts of your body (and not only yours)
in the way of the moving knife! Whatever
the situation, come up with the way to
intercept or pinch the leather, so that
cutting passed by your hands. You will cut
more parts, but lost parts of your body
unlikely.
DO NOT use blunt tools. Learn how to

sharpen its different types.
Remember the popular saying a blunt
knife is more dangerous than a sharp one.
A blunt tool does not go where you are
moving it. It will seek to break away, step
aside. And, under Murphys Law, directly to
your hand.
42
Photo 1
Photo 3
Photo 2
Photo 4
Tip 6.
When you are cutting the parts in leather,
try to cut corners with accuracy (Photos
1 and 2). DO NOT cut too much out of the
corner! (Photo 3).
This extra cut (or even a notch Photo
4) can greatly interfere when you want to
cut a new part in this place. It may fall on
the surface of the part. And you will have
to cut around it, throwing good leather to
the trim.
In general, try to use leather to the
maximum. It is very expensive today, so
squeeze as much as possible out of it!
Tip 8.
Tip 7.
DO NOT immerse brushes in the dye or

finish together with a holder. Such amount
of liquid is never required. But it will drip
and stain everything around.
And
consumption
will
increase
significantly. Control brushes filling.
When punching the holes for the

stitching, DO NOT forget about the metal
fittings mounted on the product! Without
noticing its hidden parts, you can blunt
punches or completely break their teeth.
Pay attention to the places of zipper locks,
magnetic buttons lugs, briefcase locks, etc.
Tip 9.
NEVER work with dyes, finishes and any
chemicals in the same place where you
cut or make tooling. Divide your work area
into mechanical section and coloring
section.
Even the smallest drops of chemicals can
stain the parts which you work with and
bring to nothing many hours of work.
When the parts are ready for coloring
take them to the coloring section and
work there with chemicals.
It is also necessary to be careful in the
coloring section. Do not put wet items
against each other and do not let finished
parts stick to newspapers and other
surfaces.
It would be nice to have a dryer a
place where the parts will be getting dry.
Do not use a mechanical section for this.
Since in the coloring section there is a
risk to spoil the wet parts. It is better if
they are in a place where they can be out of
accident touch, where it is dry and warm. It
would be nice, if there is a grid. Completely
finished parts can be put on this grid.
Tip 10.
Also carefully, it is desirable to put them
on the edges but not wet planes.
Of course, it is better to finish the part
of the item. Allow it to dry and then finish
another part.
It would be nice to have a rack for
the brushes. They should be kept securely
there and without a risk of sudden fall to
the parts.
Do not forget to wash brushes. Especially
from the finish.
An airbrush also needs a rack. Otherwise,
during working one hand will always be
engaged.
When coloring you should always have
plenty of rags at hand just in case, the
dye can spill or stain something. You need
something to wipe it away quickly.
Try NOT to show unfinished products to

the customer. Except where it is necessary
to approve some parameters or design and
you think that you cannot do it without the
customers help.
The matter is that the final product in
its completed form exists only in front of
your inner vision. Only you can see in the
blanks the way they should be joined and
what result will be in the end. A customer
can see a set of some colorless parts, often
ragged, rough, maybe even dirty (from his
point of view). His mood can worsen and
he may think that he leaves money on the
table. And this mood will torture him until
the end of your work. And the worst thing
is that such mood can be transferred to the
finished product. The customer has already
prepared himself for the fact that the
product would not be as it should be. And
he would see it in such a way. It is better
to give him a chance to see the finished
artwork at once!
43
Our Wears
Cosplay
Shield Cloak
According to the reports of Far Outland (Dalneye
Vnezemelye) News Agency small starships of Millennium
Gazelle (Gazelle Tysyacheletiya) project have problems
with pipes leakage of destabilizing liquid. For this reason,
passengers clothes are spoiled and they have to use sheets
of protective materials (such as laquer leather) and
incidental tools to create Shield Cloaks.
The picture found in the archives of GiGalaNet by
curious passengers in a small section with a strange name
Internet served as a Shield Cloak prototype. It is assumed
that this is an information package of an old loacl network
from some planet.
If you intend to use the routes 316, 388, 205 and 387 of
the galactic Interstellarist company, we advise you to
bring alone the same Shield Cloaks.
Instructions are included.
According to unidentified picture the structure consists
of many leather strips which are fastened with the bolts
and screws-caps. It can be closed with the front clasp with
four button stud.
You can do it on a mannequin or just on a person who
is going to wear the product. For example, we will use an
adjustable mannequin.
As a rule, it is necessary to use leather strips of two
widths 3.5 cm and 5 cm. Wide ones are used less
frequently.
The lengths of the strips are fitted in place. That is, cut
a long strip, apply it to the mannequin and cut as needed.
The next one is cut of the rest, and so forth.
The product is symmetrical, so the clothing details of
one side are made in inversed manner to the other one.
Assembly procedure is from the top downwards. Basic
details are two shoulder straps on the shoulders to which
all other parts are attached. The width of the shoulder
straps is 5 cm. The front and rear parts are attached
respectively to the front or the back of the shoulder straps.
Based on this technology you can develop Shield Cloaks
of other models. The main thing is to keep their protective
properties and resistance to the destabilizing liquid.
44
The front clasp is
made of two leather
layers. There are 4 holes
for the button studs in
the corners. The top two
buttons join the parts of
the collar. The bottom
two ones are the parts
of the left and right
fronts.
Put the shoulder
straps on the mannequin
(Picture 1) and fix them
with the rubber band.
Then fasten the first
two parts of the collar
to the shoulder straps
(Pic 2). In the bot
tom
pic 3
PIC 1
PIC 2
cut them to the desired length and fix the

button studs. Their placing is determined
according to the front clasp.
The collar will serve as a basis to which
the rest of the details will be attached.
pic 4
pic 5
Collar
are connected with one bolt. The collar is

completed with two more front parts that
are brought under the first two ones and
joined with them with the top button studs
(Pic 4).
pic 6
On the back side the collar consists of

two wide (7 cm) strips which are fixed to
shoulder straps with 3 bolts each (Picture
3). Two narrow (3.5 cm) details of the collar
are placed above them. All four of them
Now move to the fronts. They go from

the shoulder straps to the lower button
studs. Each button connects all the parts of
the front from one side.
In Picture 4 fixing of the first detail of
1
2
the left front can be seen. Picture 5 shows

fixing of the wide (5 cm) second detail of
the right front (left similar).
The third strip of the front is also wide,
it is bent down upon the shoulder (Pic 6).
pic 7
2
3
The front side takes the form of a

cuirass. The front and rear details should
be attached alternately, so that the Cloak
fits a mannequin properly. Make sure that
the side strips do not move from the center
line of the shoulder. Screw the bolts lightly

by hand. They often have to be retightened
to fit the details.
The rear panel is assembled of multiple
parts.
45
pic 8
Each of the fronts is composed of 5 parts.

Between themselves, they are connected
with one more row of the bolts (Pic 8).
On the front side it does not matter, but
on the back side these extra rows help
fixing the strips during assembling. It is said
that it is convenient to put them right when
assembling and not put it away for later.
pic 11
pic 12
46
pic 9
pic 10
The back panel is composed of five

blocks. The first block combines 8 strips
extending from the shoulder straps
(Pic 9). It is secured to a collar only with
intermediate rows of bolts (Pic 10). They
are also intended to connect the parts of
this block with each other. Their ends are
connected with one center bolt.
The following 4 blocks consist of 4 strips

each. In Picture 10 two of them are ready.
All the strips of the block are connected
with one bolt in the center. The strips and
blocks are connected between themselves
with the bolts of the intermediate row.
Central bolts must be placed on one vertical
line in the center of the unit.
There are many strips. Collect them in

pairs and do it very carefully. Do not try
to pull the lower parts to the center, the
shoulders should hang freely.
In the original design all parts of the
fronts are connected with the lower button
studs. In practice, the size of the buttons
screw is not enough to tighten all the
parts. In this case, button stud is placed
only on the uppermost part and the parts
of the fronts themselves are joined by two
additional bolts. These bolts can be seen in
Picture 12 under the front clasp.

The last parts are fastening straps under
the armpits. Here, the mannequin does not
help much; it does not have hands, use a
live person.
Cut two long straps. Fix one of them on
the front, the other one - on the rear panel
(with the last central bolt). Put the Shield
Cloak on a person and choose a convenient
place for these straps joint. Measure and
pic 13
pic 14
cut the straps. Fix the button stud to one

of them, make a hole for it on the second
one (Pic 13).
Similarly, the second pair of straps is
made on the other side (Pic 14).
Here, our Shield Cloak is ready.
If you are not just a passenger but a crew
member of the starship and you have to
repair these fragile pipes, then you surely
need bracers made according to the same
scheme.
The base of a bracer is a strip with the
width of 5 cm. The length is measured on
the outside of the hand (Pic 15).
The bracer strips are fastened across
the base. The width is 5 cm, too. Start
assembling with the strip nearest to the
hand. It is secured with four bolts under
the base.
The button studs are placed on the
opposite side. Similarly to the Shield Cloak,
these buttons join parts and at the same
time serve as clasps.
The second detail is brought between the
base and the first detail. It is also bolted.
Bolts are not tightened so that to have the
possibility to put the third detail between it
and the base.
In this manner, detail by detail the bracer
is made.
Author: D. Solomina
Concho
coins-made
Russian Federation
USSR
Foreign
Workshop
ARTkozhdecor CUERO
Workshop in Vyborg
(Sanct-Peterburg).
Course durations are
5 and 10 days
Tel: +79643227923
We are teach from zero.
Carving, stamping other leather craft.
pic 15
https://vk.com/artkozhdecorcuero
https://vk.com/obuchenieartkozha
47
World Art
Baroque Style
Baroque is an art style. It was begin in XVI century. His
birthplace is Rome and most bright and beautiful samples
located in Italy and Spain.
For Baroque style typical of creating magnificent
ensembles in which each detail is marked by luxury,
grandeur and elegance of shapes and lines.
The origin of the word baroque is more controversial

than the names of all other styles. There are several theories
about its origin.
Portuguese barroco is an irregular-shaped pearl with
no an axis of rotation. Such pearls were popular in XVII
century.
In Italian baroco is a false syllogism, Asian form of
logic, sophistry technique based on the metaphor. As the
irregular-shaped pearls, the falsity of baroque syllogisms
was hidden with their metaphors.
One of the controversial theories suggests that the origin
of all these European words derives from a single common
Latin word bis-roca, meaning a twisted stone.
There is another theory: from the Latin word verruca
which means a steep, high place or a defect in a precious
stone.
In different contexts, the word baroque might mean
pretentiousness,
unnaturalness,
insincerity,
luxury, deformity, and exaggerated emotionality.
All these connotations of the word baroque in most cases
have not been perceived as negative ones.
Finally, another theory suggests that this word in all of
the above languages is a parody from a linguistic point of
view, and its morphology can be explained by its meaning:
queerity, unnaturalness, ambiguity and deceptiveness.
The beginning of this style era was the construction of a
small church in Rome, commenced in 1568.
48
In Russia, this style also had a great spread in XVIIXVIII centuries. Russian baroque differs from the
Italian one in its vivacity and lack of any religious
direction. It is divided into Moscow, Petrine and
Elizabethan Baroque. The Winter Palace, Tsarskoye
Selo, Peterhof, Smolny Convent were constructed in
the Baroque style.
In the field of the Baroque applied and
decorative arts, the art of furniture is the
most outstanding and characterized in
massive forms and elegant ornaments.
Arm-chairs and chairs with carved legs and
high backs, with embossed pattern which
was mainly complemented with gold
painting, upholstered with colored leather,
massive folding cabinets on legs in the
form of balls with carved eaves and others.
In addition, the Bohemian crystal
products have become widely known in
this field. The material for glass has been
extracted from the ashes of some tree
species. Produced glass was thick-walled
and transparent. Jewelers were engaged
in its faceting and, thus, obtained the
products shining with their diamond
patterns. Thanks to the extraordinary
brilliance of the product it was called
crystal. Chandeliers, carved mirrors and
glasses and cups, iridescent in the sunlight,
were made of Bohemian crystal.
In the Baroque era the walls of the rooms
and halls were veiled with silk brocade a
cloth with woven silver and gold threads
in the pattern, wallpaper with fluffy fringe
and tassels. Their originality consisted
in the combination of compositions
by abundance of people and animals
characters, decorative drapes and lush
bunches and fruits images.
It is worth remembering about mosaic.
For its creation we owe to the efforts of
the great scientist and chemist Mikhail
Lomonosov. His countless experiments
with the glass resulted in smalt striking
with the beauty of its color.
Currently in the field of leather crafting

one of the leaders in the Baroque style is
Sergey Neskromnyi. He calls his style the
Kazakh Baroque because of the use of
the Kazakh national elements together
with the elements of baroque.
His numerous students followed his
footsteps. The style is certainly difficult
to implement but its just a challenge for
real masters. Irina Shevtsova (Caracoda),
who is described in the Masters section
of this issue, has not been afraid to take
the challenge, learn and master this
beauty. The sketch on the right belongs
to her pencil.
Many other artists are also trying to
transmit the ornate Baroque patterns to
leather.
Nowadays, baroque products differ
in their high cost and labor-intensive
production. They express wealth and
elitism of the owner.
Author: D. Solomina
Main style features:

1) The predominant colors:
Pastel shades, red, pink, white, blue with the yellow accent.
The combination of contrasting colors, rich color palettes (from
emerald to claret). Popular combinations white with gold
(yellow), azure blue with white.
2) Baroque lines:
A fascinating convex and concave asymmetrical pattern; in shapes
there are semicircles, rectangles, ovals, vertical lines of columns;
discernible horizontal segmentation. Total symmetry.
49
50
Is this a creative work

such as a drawing,
tutorial, article, blog,
post, photograph,
character of piece of art?
No
No
Yes
No
Yes
Yes
www.TheBlueBottleTree.com
Copyright 2014, Ginger Davis Allman,
Although this isnt technically illegal, it is

unethical and you wont be respected as a
teacher for doing this. Even if you dont charge
money, this is atill wrong, mean-spirited, and
harms other artists. Just dont do it.
No
Ye
s
Yes, this is your own work

and you own the copyright.
Keep practicing, keer
growing and keep trying
new things. Soon youll start
to see your own style evolve
and develop.
Do you have
the teachers
permission to
distribute the
information?
No
Are you teaching

the same
techniques you
learned in a class
or tutorial by
another person?
Were you inspired by another

artist? Is this a compilation
of many separate techniques
that youve learned from
many places but still does not
feel like its totally your own
voice?
This is not your work. It is or contains a copy

and only the copyright owner has the right
to license the distribution of their work.
Your copy cannot be sold and should not be
shared, even with attribution and credit.
Yes
Yes
No
Yes
No
Is this a class,
curricullum, tutorial
youve written?
No
You may use it

with attribution
and creadit to the
copyright owner.
THis is called Fair
use
Yes
Does the
manufacturer
allow use of
their designs in
products that
you sell?
Is it or does it
contain a character
that is recognizable
as one created by
orher person? (e.g.
Mickey Mouse)
Is this an example
of a project from
a class or
tutorial?
Yes
Yes
A technique cant be
copyrighted. The legal
protection for a this
is called a patent. A
patented process would
be labeled as such. Also,
ideas cant be
copyrighted. However, if
an artist makes his living
teaching this technique,
it will be very nice to give
credit to them. Its kind
thoughtful and helpful.
But not legally necessary.
Yes
No
Are you using

this in an
informational
Yes
capacity, such
as using photos
of an artworks
in an article
Yes
about the
artist?
No
Great! Fill free to

publish, sell, distribute
as you wish. This is your
work and you hold the
copyright. You have the
legal right to determine
who use it and how.
No
Look at this as a practice,
as an exercise , rather than
your own art.
Please, DO share this and
give credit to the teacher,
tutorial writer or tool
manufacturer whenever
possible. It help their sales
and helps others know
where to find the tutorial/
class/tool for that project.
Please dont sell this as your
own work, though, unless
the copyright owner gives
specific permission to do so.
If in doubt, ask them.
Is it, or does it
contain an exact
copy of someone
elses creative
work?
No
Does it contain
artwork from
a stamp, mold,
screen or other
commercially
available tool?
Is this a derivative
of someone elses
work where the
original is totally
unrecognizable?
Yes
Are you using

a sample of
the work in a
limited way
AND is it for
personal use?
Is the desing
your own idea
and created from
your own mind?
No
Is this a technique, idea

method, pcocedure?
Did you create

this yourself?
Copyright is confusing. This graphic is intendent as a general guideline and overview of the most
commonly encountered copyrighr dylemmas for crafters and hobbyists today.
Copyright Guideline for Craftrrs & Hobbyists

Business&Crafting
Yes
No
Masters
Irina Shevtsova is a leather crafting master who

comes from Ukraine. Irina is a person of varied
attainments, and before she engaged in leather
crafting, she tried herself in completely different
professions. Being a nurse by training, Irina found
herself in more creative professions, so she didnt work
at hospital for a long time. Irina was looking for her
place in the world, trained as a hairdresser, completed
makeup courses, as well as seamstress-cutter courses.
In Ukraine, she started her small business; Irina sewed
medical forms and evening dresses. Then she changed
to cakes production.
Her husband, a doctor, moved to Great Britain and later
took Irina there. Now they have two children. At the moment
when Irina was engaged in leather crafting, she was pregnant.
She could not sit idly and decided to make a leather case for
Tarot cards. Irina ordered a small piece of leather on e-bay and
sewed a pair of cases. They were sold out...
And she ordered more leather, plain, chrome-tanned. Irina
didnt know about vegetable-tanned leather yet. Then she
wanted something new and she began to look for information.
By the way there was too little information. But it did not stop
Irina, she was looking for leather craftsmen whose works she
was interested in and without hesitating she answered them
about everything. Many of them gave advice and shared their
experience. The master-beginner has learned about the Tendy
Company and ordered all necessary items for work and began
experimenting.
Caracoda
51
Now Irina works in different technologies.

I have been interested very much in one
of them called molding. It is used to
manufacture clutches, bags and purses.
A special mold (preferably plastic) is used
for this technique. Irina has a lot of such
molds. She ordered them according to her
dimensions.
The process starts with leather soaking.
Then it is fixed on the mold, fastened with
vise block and left for a day. The result is
very interesting. The sides of the product
are smooth. One more advantage of
such technique is one seam that joins the
molded product with the back cover.
Irina doesnt manufacture anything on
order. She likes the process of product
manufacturing. She invents everything
by herself, the entire design and colors
and then sells finished products. Irinas
products are completely handmade.
52
She has her own online shop, also she

sells on E-bay and other web sites. In
addition to the overall site, Irina launches
the website with cases for Tarot cards
because they are very popular.
Irina Shevtsova has a unique brand called
Caracoda. It is interesting that this word
does not exist in nature, that is, it didnt
exist before. Now it is registered Irinas
brand! They have come up with this name
together with her husband, who has always
supported her and taken part in her work.
Caracoda consists of two words. The
first is carapace coquina. And second
ones ostracoda denote a shell. Shell is
a second skin.
Irina has been engaged in leather crafting
for 6 years. She works at home. She has
used water-based chemicals, not alcohol
ones because of the child who is always
beside her.
Irina participated in the competition for

the best How-to with her works and won
the grand prize of Tandy.
The master shares her knowledge: she is
writing articles for the LS&S and also issues
her own magazines with patterns and
detailed description of her works.
Though, Irina never refuses to give
information if she is asked. In the future she
wants to present a printed book devoted
to antique.
Irina likes the Sheridan style, she watches
the artworks of this style masters. And she
has created a slideshow with a variety of
products, just for inspiration.
She also likes various curls and ornaments
in the Victorian style.
The master prefers the shades of natural
colors, beige, red and brown. She almost
does not use black color.
She does not like using bright colors too,

but when does it she tries to tone them
down. Irina tries new in color. She mixes,
imposes one color to another. Irina uses
an interesting technique which involves
sandpaper.
See her hand made things around.
I was pleased to get acquainted with
Irina. We wish her new experiments,
creativity and a lot of orders!
Her website is
http://caracoda.com
Author: D.Solomina
53
WorkBench
swivel knife sharpening

Amateur notes
Surely, it is very convenient to use disposable blades. Once they become blunt you can just change them. It is cheap
and quickly. And the most important thing there is no need to learn the skill of tool sharpening. But not all tools have
disposable blades. And the main among them is a swivel knife. Like it or not, but you will have to sharpen it.
In the general, the matter of sharpening was the most problematic for me. Well, I do not work with the metal! At all.
Nevertheless, I had to master it. But still I cannot say that I have become a master in sharpening. Therefore, I will talk from the
point of view of an amateur. Perhaps professionals will find a lot of mistakes and inaccuracies in this article. I invite them to
continue the topic in the pages of our magazine and tell the peculiarities of tool sharpening from the point of view of science
and technology.
Lets start with the question what to
use. What can be used for tool sharpening?
The answer is almost obvious abrasive
stones. These are artificial stones consisting
of the bonded abrasive material. They can
be of different sizes, made of different
materials and with different grid.
All I know about them is that they can
work with moistening with water or
machine oil (depending on material of
the stones). Generally the manufacturer
specifies the material or what to work with
(water or oil).
Another important parameter is grid.
It is denoted by a number. There are
several grid standards. For example, the
international ISO standard specifies it in
the form of P500. The higher the number,
54
the smaller the grain, the finer grinding.

The tool should be as sharp as a razor.
Then, it will be pleasure to work with it. To
achieve this you need to have a few stones
of different grid.
Paul Zalesak recommends having at least
3 stones:
- Coarse, grid of about 200,
- Medium, grid of about 1000,
- Thin, grid of about 3000.
A coarse stone is necessary for blade
correcting. That is, when there are
extensive notches on the blade, they can
be removed only removing large amounts
of metal.
A medium stone grinds the blade,
performing blade sharpening.
A thin stone improves polishing,
preparing it for stropping.

Stropping is performed not on the stone
but on the polishing powder or paste.
Namely stropping makes blade as sharp as
a razor.
We described how to make the plate for
blades stropping by yourself in the #3, 2015
issue of our magazine.
I use a set of 6 stones with the grid of
180, 400, 800, 1000, 1500 and 3000. More
often, stones with grid of 1500 and 3000
are used as medium and thin stones.
Apart from stones, I have a set of ceramic
rods of Lansky brand. I like this ceramics
more than ordinary stones. Firstly, they do
not undergo grinding, their surface always
remains smooth.
pic 2
pic 1
Secondly, they do not require any
moisture. And thirdly, they have color
differentiation. In other words, the color of
the stone indicates its grid.
There are two gray ones with grid of 600
and two white ones with grid of 1000 in my
set (Picture 2).
Round shape is their main disadvantage.
Flat stones are also available from this
brand, I have just bought the wrong one.
I use ceramics for sharpening of other
blades since it is not suitable for sharpening
of the swivel knife.
Another handy device used for
sharpening of the swivel knife is a roller
sharpener (Picture 1). It helps automatically
maintain the angle of blade sharpening.
When you get hand in this task, it wont
be a problem to maintain it manually. But
it can be a great help to beginners. In the
next article we publish drawing for hand
made this sharpener system.
As you can see in Picture 1, we need:
to remove blade from the swivel knife
(if you use a roller sharpener)
two or three grinding stones,
the roller sharpener itself,
a plate for stropping, it is not in the
picture.
And now a few words about the
sharpening angle. Every blade has
sharpening angle. And its a very important
thing. Change of angle strongly influences
any blades ability to cut. Therefore, it is
not only necessary for every knife to have
a certain angle, but also try to maintain and
keep the same as it was when sharpening.
A roller sharpener is designed just for it.
There are a lot of controversy and talking
about the right sharpening angle for
various tools. I have not found the optimum
yet. I just use the angle which the blade had

originally. I try to leave it unchanged.
It would be nice to have someone more
professional to wise up all of us in this
subject. I hope that soon there will be such
master.
So, remove blade from the swivel knife.
It is fixed with a small screw on the side
which should be slightly loosened.
Put the blade into the holder of the
sharpener. It also has a fixing screw to hold
the blade.
If you just sharpen the knife, then first
put the sharpener on the medium stone.
Loosen the setscrew that fixes the holder
in the sharpener. Set the blade of the
swivel knife so that it covers the stone with
one of its sides flatly. The flatter the blade
lies, the more correct the sharpening angle
will be (Picture 3).
In no case the blade should be distorted
in any plane.
When the blade is set, fix the holder at
the sharpener with the setscrew.
Moisten the stone and sharpen the knife
moving back and forth. There is no need
in strong pressing. As shown by various
experiments (not mine) strength pressure
does not affect the quality of sharpening.
After one side sharpening, you need to
turn the holder by 180 and sharpen the
second one. It is desirable that the number
of passes for each surface was the same.
Lets move to the thin stone and repeat
the procedure.
After sharpening the blade should be
stropped. I use jewelry powder in the form
of a pencil. You can use the paste. Before
stropping, renew a layer of powder or
paste on the plate (Picture 4).
Blade stropping is also made with the
pic 3
pic 4
pic 5
help of the sharpenerr. Therefore, you

dont need to get the blade out of the
holder. Stropping should be done only in
one direction FROM the blade (Picture
5). In the opposite direction the blade can
pierce the skin and damage the plate.
After stropping, you can check
sharpening. It must be as sharp as a razor,
so can easily shave hair.
55
I use my left hand for testing (Picture 6).
Fortunately, there is enough material to
test.
Put the side of the blade to the skin and
move forward. Hair that fall under this
processor should be easily cut.
Be careful, do not cut yourself!
If hair is bent but not cut off, so the blade

is not sharp enough. Repeat the process on
a thin stone and plate. Get razor sharpness!
Also, they say, it can be checked on the
nail but I havent understood how this
method works.
It is very important for the swivel knife to
have the blade not only sharp but smoothfaced. Its work surfaces are corners. Under
no circumstances they should be beveled
during sharpening. And the blade itself
must be exactly perpendicular to the blade
axis. Of course, this does not concern the
filigree and angled blades. By the way, their
sharpening procedure is similar, but the
sharpener here will not help, you will have
to work manually.
Author: E. Solomin
56
pic 6
Very SkillFul Hands
Hand Made
Sharpener
for
Swivel Knife
Not so long ago I have learned from
a master that such device is called a
sharpener for swivel knife. And I need it for
my jobs.
At the beginning of my work with
leather, I had no idea about plenty of tools
necessary for leather crafting. Of course,
when I was buying my first swivel knife
and a couple of Chinese stamps I did not
even think that I would need to sharpen
something.
Having faced with the fact that my knife
cuts bad, at first I did not understand this. I
have realized later that it needs sharpening,
but I have failed to buy a special device for
a long time for various reasons.
And when I made up my mind to buy this
device, it became clear that it was simply
absent in the market. It seemed very
expensive to order the same on foreign
sites, and to be honest, I could not.
My good friend, a master Roman Konin
(Live Leather workshop) gave an advice
to make it by myself and sent several
links to photos of similar devices of other
masters. Having seen nice pictures in the
Internet and without thinking for long
(for about three or four months), I have
decided to make the sharpener of my own

design. Frankly speaking, it is difficult to
call it mine, but anyway, in general it has
turned to be not too bad!
So, I have decided to use everything at
hand, of course. And at the moment I had
at hand almost everything I needed. I had
an unattended plate of magic wood called
cocobolo, a little of brass, a piece of
black Manchurian nut and bolt M5. And I
had only to buy a fixing screw.
Certainly I made the sharpener body of
cocobolo. I cut a thread for setscrew M6
in it.
I turned a blade holder out of brass and
polished it. On the one side of it there is a
smooth hole with the diameter of 5.5 mm
for the swivel knife blade.
From the same end I made a hole for the
fixing screw perpendicular to the holder
axis and with thread cut M4. This screw is
for fastening of the swivel knife blade.
From the other side of the holder I made
one more hole with the thread cut M5 for
stopper.
When spinning or twisting the stopper,
it can be adjusted according to the size of
your hand, so as to have a comfortable grip
of the sharpener during working.

For those who want to do this exercise
on his (her) own, I can give several
recommendations:
take hardwood for the sharpener
body, it is good at thread keeping but
simple wood is also suitable. In this case, it
is necessary to put hidden furniture nut.
insert the sharpener axis with preload,
it can be made of brass. The fact is that
during sharpening it is not necessary to
apply much effort to the sharpener, so it is
best to flange an axis from one edge, and
from the other to fix with a nut or locking
ring.
Drawings of the parts are shown in the
next page.
Now I am the owner of the handmade
sharpener and that pleases me no end!
Author: I. Akhmedzyanov
57
Scale 1:1
Body
Axis shown for 2 nuts M4 on

both sides.
If you riveted axis from 1
side correct the drawing and
sizes of axis.
Axis
Roller
Scale 1:1
Holder
Scale 1:1
Scale 1:1
Scale 1:1
Setscrew
58
Braiding
Wide Turks
A wide Turks Head is a knot the number of bights of which
is larger than the number of parts. They are often used for
bracelets, collars and other similar products.
It is difficult to make wide knots without

a base (hand gauge). Its also not easy to
control a large number of bends. But there
is a method to weave the Turks Head
with three parts simply on the fingers.
This method will be considered late. In
the meantime, here are a few rules or
recommendations for these knots braiding.
1) It is better to make knots with an odd
number of parts 3, 5, 7, etc. Since there
is a large number of convergent knots for
them and they are easier to braid.
2) When using the first recommendation
to braid the knot, the first and second turns
around are made without any intersections.
Make the first one circle wise, the second
over the first one. And only from the
third turn the actual braiding OVER
UNDER begins.
3) For an odd number of parts the pins
on the mandrill are placed in two rows
with a shift the top one is located in the
Ommited
pins
Pic 1
Head
center between the two lower (Picture 1).

Correspondingly, for the even one they are
located directly above each other.
4) It is easy to count by pins how many
parts will be and vice versa, by the number
of parts you can count the number of
pins. It can be done in the following way:
if you add one to the number of the pins
omitted between the two bights, youll
get the number of partes of this knot.
Look at Picture 1, at the top row of pins.
Leather strip goes round the pin in the left
upper part, goes down and braids around
the lower one. Then it goes up again and
goes around the other upper one. Just
between those pins in the upper row,
around which the strip runs, you can see
the remaining two omitted ones. The
knot formula is the same, i.e. there will
always be two omitted pins both in the
lower and in the upper rows. Now, if we
add one to this figure, well find out the
number of the parts of this knot. In our
case, there are 3 parts. We will use this
formula in the future.
5) Wide knots are easily scalable. Due
to their great length it is not difficult to
add or remove a bend. But will the knot
converge? It is easy to check. We will
demonstrate it with the example, it is more
understandable:
3 + 3 + 3 + 3 + 2 = 14
In this formula: 3 is the number of parts
in the knot; 2 is the number of parts minus
one; 14 is the number of bights in the
knot. That is, its formula is 3x14 and it will

converge (see the table in #3,2015). The
number of the parts in the formula can
be any. Lets repeat using similar example:
3 + 3 + 3 + 3 + 3 + 2 = 17
This is the formula for the knot 3x17 and it
will also converge.
One more example:
5 + 5 + 5 + 5 + 4 = 24
The knot 5x24.
At the same time the number of the
bights sets the pins number in one row
in the mandrill.
Now lets try to calculate a real knot for
braiding around the Tandy antique-gel can.
Ill take a leather strip of 5 mm wide. The
distance between the rows is 1 cm (Pic. 2).
Thats a lot, but it will be easier and clearer
to braid.
The length of the circumference of the
can is a little more than 14 cm. The number
of parts will be 3. In the first example of
the bights calculation it is clear that there
is a knot with 14 bights for 3 parts. So
the formula 3x14 is working, and we need
to set 14 pins with an interval of 1 cm in a
row.
Pic 2
1
59
Pic 3
The parameters of pins installation are

shown in Picture 2. The Picture 3 shows a
top view of the can with all the other fixed
pins. The Picture 4 shows a side view. It is
clearly seen that the needles have been
Pic 6
to the beginning and go OVER the initial

end. The second turn goes with a shift to
the right by one pin. Again, according to
the rule 2, the second turn just lays over
Pic 9
And OVER the second one (Picture 9).

Then the strip passes by the lower pin and
goes UNDER the first pass and OVER the
second one (Picture 10).
Then this cycle repeats. The third zigzag
always goes UNDER the first one, then
OVER the second one. But alternately, first
downwards and then upwards.
Finally, the strip should go back to the
initial end (Picture 11). This means that the
knot has converged and braiding is over.
If it has not converged, then there was a
60
Pic 4
fixed with a shift in the rows. This is because

we have an odd number of parts (Rule
3).
Mandrill is ready and we can braid a knot.
In accordance with rule 2, the first pass
Pic 7
the first one (Picture 7). The strip should go

back to the beginning as shown in Picture
8. The last pin should be the one located to
the left of the first in the upper row. Then
Pic 10
mistake somewhere, check all the passes.

Now you can take out the pins and remove
the finished knot from the mandrill. Align
it and tighten if necessary (Picture12). Cut
the ends.
The knot with 3 parts can be tied even
easier. Without calculations and mandrill.
It can be done simply on the fingers.
However, the size will be hard to predict.
It depends on the size of your palm and the
force you use to tie a knot.
Pic 5
simply goes by the pins in a zigzag way.

But in accordance with rule 4, between the
pins, which the strip goes by, should be 2
omitted pins (Picture 5). We pass the first
zigzag (Picture 6). The strip should go back
Pic 8
the strip goes down and the third pass

starts. This pass is braided OVER-UNDER.
And it starts with the pass that is UNDER
the initial end.
Pic 11
Pic 12
Pic 13
Pic 16
The first Pic. 13-15 do not require any

comments. Everything is clear from the
Pictures. But Pic. 16 shows the key point
crossing of the two loops. The loop which
is at the left top in Pic. 15 is transferred over
the other to the right side. This process will
be repeated many times. After this, the
working end of the strip passes UNDER the
Pic 19
Pic 14
Pic 15
Pic 17
Pic 18
left loop and goes to the right OVER the

second one.
To see it better, I have moved the knot
down the fingers (Picture 18).
Repeat the process of the loop
transferring, but now in the opposite
direction the right loop to the left over
that one which was left. And the working
Pic 20
end goes again UNDER the right one and

OVER the left one. In Pic. 19 the bracelet is
moved down again and the working end
has made a pass under-over. And again, the
left loop is transferred to the right over the
right one. This cycle is repeated until we
reach the beginning. At that moment the
knot is completed.
Pic 21
In fact, the result is almost the same as in the

first example.
If we continue to braid alongside the strips that
are already in the bracelet, you can get a double
weave (Picture 21). And then triple one. There are
a lot of types of Turks Head knots which we will
talk about in other issues.
Next Braiding will be devoted to the so-called
pineapples. This is a Turks Head made of the
two strips. It allows you making two-color knots.
Author: E. Solomin
61
Our Masters Show
Yulia Tolmachyovas jobs (workshop Old Celt, Novosibirsk, Siberia).

https://vk.com/old_celt
http://www.livemaster.ru/kailas
62
Ksyusha Zakurina
is engaged in leather art in the

Old School Workshop studio.
She has come to the profession
with the help of her husband
Vladimir Yuriy, who is very close to
motoculture and who used to deal
with leather crafting.
http://oswleather.com
http://www.livemaster.ru/osworkshop
She was taught to work with

leather and make tooling in Vyborg
(ArtKozhDekor Cuero, see. P. 47),
and artistic skills she gained in
Exstudio airbrushing studio.
Ksyusha is trying to adhere to the
highest quality in her works and
artistic images for her works are
taken from such tattoo-cultures as
Old School, New School, Traditional,
Oriental.
OldSchoolWorkshop cooperates
with aerography and tattoo
masters to create joint projects.
It is planned to launch personal
clothes line.
The workshop is always open for
communication and cooperation.
http://vk.com/oldschoolworkshop
https://instagram.com/oldschoolworkshop/
http://vk.com/ksusha_zakurina
63
Creative workshop
ArtLines
(Tomsk, Siberia)
http://vk/artlines

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Russian

Womens cosplay costume. Page 44

Our Dear Readers!

in print last year editions #3 and

also be useful for those who work

Airbrush & other art tools................................................................. 13

Simple Coloring Technologies............................................................ 16

Large space stamping...................................................................... 22

Vertical pockets for cards in the wallet............................................... 26

Mens Bag Made from Chrome-Tanned Leather.................................... 28

Cosplay. Shield Cloak....................................................................... 44

Swivel Knife Sharpening.................................................................. 54

Hand Made Sharpener for Swivel Knife.............................................. 57

Wide Turks Head............................................................................. 59

The magazines will be published only

The magazines are published in two

creation of advertisers blog on our

distribution and purchase, please, write to

Steampunk appeared as one of directions of science fiction.

For installation, you can take a roll

In the last issue we described how to terminate a roll zipper. Today we

Paste the second edge of the zipper

Now, make a groove for a stitch around

help of punches with diamond-shaped

saddle stitch. Thats all, there you are, and

INSTALLING CASE LOCK

cover, where the lock is to

The tongue is glued to the cover of the

It is much more important to determine

When the tongue is installed (glued

large enough, there is a possibility to bend

or a bit less than the diameter of the screws.

The possibility of lock installation should

Leather little slipper

Since 1978, in Calgary, Canada, this

Kangaroo Leather Boots

for shoe upper, to protect the foot

Each day the manager makes 20-30

Leather on the Boot Last

heel and place into a cardboard box.

The head of the enterprise opens a box and shows

We continue to tell about the

An airbrush is a useful thing but not

tank for paint (does not interfere with your

Airbrush operation is to mix paint with

lever back the paint supply valve opens.

Chemicals for airbrush

Water- and alcohol-based dyes and

Some Advices for Working with

Compressors and receivers.

Compressors for aerography have power

Pipettes are used for paints mixing and

Filled marker is a marker that can be

At the moment in the section

Dip overall coloring.

This is the simplest technology. It

dirty less and simplify the process. The strip

Overall coloring by brush.

It is better to use big brushes (flat or

Use of airbrush provides uniform coat. In

Overall coloring by dauber.

A dauber is specially designed for large

Overall coloring by sponge.

Make three balls of cotton, clean, white