The Pyrography, Woodcarving and Leather Crafting Beginners Guide with Exercises

A Beginner Friendly 3 in 1 Manual with Instructions on Wood Burning, Leatherworking and Wood working

By

Clayton M. Rines

                                           Acknowledgments
This book could not have been written without the guidance and generosity of everyone I have come in contact with one way or another. Your influences are all over this book. Thank you.

                                                Dedication
This book is dedicated to everyone seeking knowledge out there.

                         Copyright © 2020 Clayton M. Rines

The author retains all rights. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without permission in writing from the author. The unauthorized reproduction or distribution of this unique work is illegal.

                                                     Disclaimer
All the information contained in this book is purely for educational activities only. The writer does not assert the accuracy or wholesomeness of any info gotten from this book. The views contained within the pages of this material are those of the author in its entirety. The author/writer will not be held accountable or liable for any missing information, omissions or errors, damages, injuries, or any losses that may occur from the use of information gotten from this book.

Contents

PYGROGRAPHY

Introduction

Knowing your tools

Guidelines for Beginners and Pros

Clean Pen Tip

Colored Pyrography

Switch off the pen

Your choice of design

Picking and preparing the right Wood

Pyrography Tips and Tricks

CHAPTER ONE

The Basics

The Burning Surface to be worked on

Tanned Leather

Wood

Gourds

Buying Wood Burning Pens

Pens with no temperature control

Rheostat wood-burning pens

Changing temperature pens

Changeable Tip Pyrography Pens

The Solid tip Pyrography Pens

Copying the Patterns

Cleaning of the Pen Tips

Sealers

The Wood Patina

Your Safety

CHAPTER TWO

The Pyrography Machine and You

Source of Power

Attaching the Burning Nibs

Practice holding the burning pen

Powering on the Unit

Temperature Change

Powering off

CHAPTER THREE

The Pen Tips

Writing and Outlining

Fill Texturing

The Scrubbie Shading Technique

Fine Lines Formation

Texture Patterns

The Flat Spear Shader

The Curved-edge Spear Shader

The Wide-wire Square Shader

The Position of your Hand

How to hold a Pyrography Pen

CHAPTER FOUR

Burning Lines

The First Burns

Lines

Direction Alteration

Change of Speed

Play around with different nibs

Shading Methods for Beginners

Shading Light Tones

Shading Dark Tones

Progressively Darker Tones

CHAPTER FIVE

Your Choice of Wood

Burning Words in Wood

Getting the Wood Surface Ready

Transferring Letters to the Surface

The Image Transfer Pyrography Tip

Your tools

Putting the Wood Burner to use

Constant Speed

Burning the Numbers or Letters

Temperature Alteration

Darkening the Letters

Final Applications

CHAPTER SIX

Exercises

Wood Burning Project Ideas

Key Holders

Door Decorations

Fancy Napkin Holders

Cup Coasters

Picture Frame

Hair Rings

Pyro Wall Clock

WOODCARVING

Introduction

Chapter One

Carving Tools for Everyone

Patterns Generated by the Tools

Carving Tools Sharpening Methods

Chapter Two

Your Choice of Wood

Chapter Three

Hand Positions

Chapter Four

Producing Patterns

Getting your wood ready

The Pattern Tracing Process

Chapter Five

Design Reduction and Enlargement

Making a Design Simple

Chapter Six

Levels

Chapter Seven

Carving Letters

Getting Fonts

Chapter Eight

Carving Landscape Relief

The Essential Methods Employed in Relief Carving

Electrical Power Machine Carving

The Hand Carving Technique

Using the Router Method

The Mallet Way

Relief Carving Levels Treatments

The Indented Curved Background

Gentle Inclined Background

Enclosed Boundary Background

Saw Cutting Relief Patterns

Relief Carving Steps

Flawless Backgrounds and Linkage Lines

Carved Curved Areas

Chapter Nine

Type of Cuts

Chapter Ten

Irregular Design Patterns

Circle Creation

Chapter Eleven

Safety when Woodcarving

Your Health

Other Essential Safety Tips

Finally

Chapter Twelve

Woodcarving Sample Projects and Ideas

A Rose

Wooden Spoon

Wooden Tobacco Pipe

The Forest Spirit

A Wooden Chess Piece

Wooden Bowl

Rose Flower Inspired Wooden Clock

Wooden Table Lamp

Cloth Peg

A Wooden Mug

Jewelry Box

A Picture Frame

In the End

LEATHERWORK

Chapter One

What is leather?

Leather Uses

Classification of Leather

Production of leather

Chapter Two

Getting Familiar with Leather

Basic Leatherworking Activities and Tools

Leather Cutting or Removal

Scissors and Knives

The Head Knife

Utility Knives

The Rubber Head Mallet

The Leather Awl

Wooden Leather Burnishing Slicker

Round Leather Stamping Mallet

Tooling Stamps

Calipers

Bone Folder Creasing Tool

Adjustable Leather Stitching Groover

Sewing Thread

Gouging and Grooving

Swivel Knives

Edging and Beveling

Punching

Joining Leather Pieces

Sewing

Rivets, Grommets, and Screws

Needles

Closures

Rings and Buckles

Studs and Buttons

Snaps

Clasps and Hooks

Glue

Magnets

Chapter Three

Decorating and Shaping your Leather

Conchos and Spots

Carving

Molding

Hand Stitching Leather

Wet Forming Leather

Manual Wet Forming

Straightening Wrinkled Leather

Shrinking Leather with Alcohol

Setting Crystals in Leather

Writing on Leather

Embossing Leather

Leather Stamping

Elementary Leather Carving Method

Burnishing Leather

Burnishing with a Wooden Slicker

Chapter Four

Hole Punching in Leather

Operational instructions for a drive punch

Creating a Buckle using an Oblong Punch for Leather

Making Circular Holes using a Rotary Punch

Drilling Round Holes for Lacing

Dyeing

The Leather Dye Color Uniformity

The Rub Off of Colors

The Leather Dye Drying Time

The Leather Dye Application Sample

The Even Coating

Procedures on administering leather finish

Chapter Five

Stitching, Lacing, and Braiding

Procedures for Lacing

Lacing Leather

Stitching

Procedures for Sewing a Double Needle Stitch on Leather

Leather Lace Braiding Methods

Braiding Lessons

Standard 3-Strand Braid

Introduce Braided Details to Your Project

Tandy Leather Moccasin Lacing Guidelines

Procedures for Knitting with Leather

Chapter Six

Sewing Leather on A Home Sewing Machine

Chapter Seven

Guidelines on Gluing Leather

What is Leather Glue?

Procedures for Gluing Leather

Guideline to Gluing Leathers in Ten Steps

Procedures for Gluing Leather to Metal

Guidelines for Gluing Leather to Wood

Guidelines on Gluing Fabric to Leather

Chapter Eight

Do-It-Yourself Projects

The Leather Backpack

Painted Leather Bracelet

Leather Pouches for Children

Leather Cufflinks

Hand-made passport cover

Leather Mason Jar Coozie

Chapter Nine

Scrap Leather Projects

Herb Planter Tags

Cabinet and Drawer Pulls

Picture frame

Light Switch Plates

Coasters

Bar and drink tags

Tray with leather handles

Napkin rings

Leather valet tray

Leather and Flannel Snap Scarf Tutorial

Leather shoulder tutorial

Basic leather bag

Baby boy Leather Boots

Woven Leather Stool

Leather Accent Pillow

Leather Strap Key Ring

Leather Tablet Case

Precautionary Measures

Other Books by the Author

PYGROGRAPHY

Introduction

The term pyrography has its origin in Greek, and it means pur graphos (fire writing), and it has been in existence since man discovered fire. Evidence of ancient men practicing this beautiful art can be found on the walls of caves and other structures. Writings, drawings, and other messages were inscribed and drawn on wood, walls, leathers, gourds, and other surfaces to pass messages, honor gods or to beautify the environment. Going back to the times of the ancient African men, the Egyptians, and in Asia, there are quite a lot of pyrography artifacts which points to the skills and ability shown by craftsman during those times. This art was commonly known as fire needle writing or drawing then. This process gave the artisans and avenue through which they got to showcase their skills and bring the most common objects to life.

With the discovery of fire came the art of pyrography, which employs the use of a heated sharp-pointed object to draw and write. A metal that is heated in fire is mostly used in the drawing of beautiful artworks and other designs. Wood burning is another term used to describe the art of pyrography in putting their skills into practice on a variety of surfaces.

Traditionally, pyrography was a form of art used in designing and decorating musical instruments and a variety of tools and items. Guitars, jewelry boxes, kitchen utensils, hairbrushes were etched with signature art to make the piece unique and to show it belongs to a particular individual. Nowadays, however, the technique has gone a step further in the evolutionary scheme of things by actually burning designs on surfaces that are blank and devoid of any embellishments to convey on such pieces artistic values.

The pyrography pens are a relatively recent invention that has given rise to more elegant pieces of equipment.

The primary tool used in drawing and writing in pyrography is a heated metal tool, but in this age and time, you can make use of a whole array of tips in discovering and giving your piece of work that distinct look to make it unique and stand out. There are pyrography tools that are quite similar to the soldering iron, which allows you to draw solid lines, and there are others that enable you to perfect fine fainted shaded lines. The amount of pressure that you apply to the surface with the drawing tool will also determine the tone that can be obtained.

The types of woods that are used in pyrography are usually light in color, e.g., sycamore, beech, and birch are excellent surfaces for drawing on due to the light grain and color. Your choice of wood will be determined by the outlook you have in mind for your finished work.

It is essential that no matter your choice of wood, it should not be treated, avoid particle boards or pressure-treated boards as such materials have undergone some form of chemical processing or the other. When you apply your pyrography tool to such a piece of wood, the chemicals in the material are set free. If you are not putting on protective gear, you will most likely inhale the toxic fumes. The fumes are not the only harmful substances that are released when you burn wood, resins, sawdust, and wood shavings can also cause serious health problems if you don't adequately protect yourself.

With your materials ready, safety check put in place; you can begin to pour your skill and fine art onto the piece of wood. Your design can either be transferred to the wood surface by making use of a graphite paper/tracing paper, or you can draw straight to the wood surface with a pencil. Once the image is on the wood surface, the burning can begin. The range of items that you can put your signature design is determined by the limit you put on your imagination.

To get started with wood burning, you will need to get a few basic supplies which include the following;

Wood burning pen

Pyrography machine

The wood sample on which you are going to burn

Sandpaper

The design you want to wood burn

Tape (masking paper)

Carbon paper/tracing paper/graphite paper

Knowing your tools

The wood-burning pen is a relatively easy to use tool for pyrography. It is shaped like your everyday pen, which comes with a metallic tip that heats up when the device is connected to a power source and switched on. Most wood-burning pens have temperature controls, which gives you the ability to lower or increase the temperature of the device depending on the type of art that you are working on at the moment. Taking an in-depth look at the pen, you will notice that it comes with a variety of tips to be used for different aspects of creating a piece of work. They can be used for shading, straight lines, rounded lines, curves, dots, etc. Most wood-burning machines are built in such a way that the pen does not sit directly on the bench; they come with a metal stand to ensure your safety and other implements that might be on the workbench.

To get started, there is a need for you to understand, know, get familiar with the wood-burning pen and other tools that you will be using during the process.  For starters, pick up a piece of wood that can be used for practice, connect your wood-burning machine to a source of power, and switch it on and let it heat for a few minutes. You can then proceed to carry out a few test runs on the wood with the set of tips that can be fitted to the pen. After using a tip to draw and you want to change it, switch off the device and let it cool down properly before switching to the next tip, then heat it again before use.

During these practice sessions with you getting to familiarize yourself with the pen and burning on wood, ensure that you don't rush, hold onto your pen firmly and draw deliberately, slow, and steady on the wood. If you are in a hurry, there won't be proper burning that will make the artwork as desirable as it should be. Take your time and be steady as you embrace this new found love.

Here are a few essential tips to be kept close;

When wood-burning and there is more smoke than should be, there is the probability that the temperature of the pen is way too high, and this will impair the quality of the burn in addition to smoke inhalation, which can cause adverse health conditions if you are not adequately protected. To ensure that your burn is smooth and of high quality, turn down the heat of the pen to reduce considerably the amount of smoke generated.

Have a wet towel handy to clean the tip of the wood-burning pen every few minutes. This removes the inevitable wood burn residues that accumulate during the burn process.

Your safety should always be the top priority when wood burning. Your sense of awareness should be top-notch. The tip of the pen is extremely hot when switched on, and it should not be left lying on the table in that state, and it should also not be allowed to come in contact with any other object at any point in time. The pen should be placed in the metal holder when not in use. When changing the tip, even after you have left it for a few minutes to cool down, make use of a pair of pliers in removing the tip and fixing a new one.

Guidelines for Beginners and Pros

As a beginner or a pro, there is a need for you to be aware of some essential guidelines that will help you during your wood-burning sessions. It doesn't matter if you are a pro or a beginner; we all keep learning new and helpful tips every day. Your level of understanding about pyrography is limited to how far you have decided to push the boundaries of your artistic, creative endeavors. Notwithstanding your creative genius or not, there are a few rules that should guide your burning process.

Clean Pen Tip

It goes without saying that the pen must be cleaned at all times. While you are wood-burning, there is a constant accumulation of carbon at the tip of the pen. This inevitably causes your smooth and light strokes from the burn to be dark and unsightly. Getting black strokes when they are not needed in your work can be quite annoying. Black colored strokes are not ideal in the scheme of things when it comes to wood burning. To avoid this, clean the tip of your pen always.

Colored Pyrography

When wood-burning, adding some shade of colors to your work makes it more attractive and brings it to life! If you have been wood burning for a while and never added any forms of colors to your work, you have been missing out on a lot. It is not absolute that you add colors to your work, but try to envision how your next artwork would look with a few shades of color here and there. The choice is ultimately yours.

To add some color to your work, make use of either a watercolor crayon or watercolor paint. The watercolor pencil is the best option for beginners who don't have much experience in coloring pyrography arts. On the other hand, however, if you are a pro and comfortable with coloring your works, the watercolor paint or watercolor crayon can be used.

To begin painting your burnt design, put in a few drops of water to the crayon, and use a soft brush to mix and apply it to your work. Always wash the brush thoroughly after the application of each color before changing to another.

Painting your work is not just about making it look unique; it is also about making use of only the very best watercolor crayon or watercolor paints. Do not cut corners when it comes to the quality of coloring materials to be used. Go for the very best in aiming to make your work look as good as possible.

Switch off the pen

Turning off the pen when it is not being used is a slip that a lot of wood-burning beginners and some pros are guilty of. The pen should under no circumstances be left on when you are not making use of it. The pyrography pen is not a tool that should be played around with; it's a serious art tool that can also be quite dangerous and cause bodily harm if mishandled. It may seem simple enough to turn off and then remove the device from the power source, but it is often the most common cause of potential burns and fires. This safety guideline shouldn't be taken for granted.

Your choice of design

When I started with pyrography, I chose the picture of a small house with the background of rolling hills. You don't necessarily have to go with this design as there is an almost infinite amount of designs that you can choose from. In the beginning, you can work with relatively simple black and white works. As you build up your skill levels, you can introduce more sophisticated approaches in shading and color applications.

You might be a bit confused about which design to work on.  You can go online and search for illustrated images in black and white, "wolf black and white illustration," "clouds black and white illustration." "flowers black and white illustration," "skyscraper black and white illustration." The design you choose to burn will be correlated to your skill levels in pyrography. Go with relatively simple designs as you start, designs that have more straight lines, a few curves, and some shadings or no shadings at all.

You have now picked a design, and getting the right size to burn on a piece of wood will be the next step. The size of the design should be able to fit in comfortably into the piece of wood you have available. In case you want a design burnt onto a piece of wood, and you don't have the appropriately sized wood on ground, you might have to reduce the size of the image and if that is not an option, then ordering for the size you want will be the next logical step.

Picking and preparing the right Wood

There is almost no type of wood that cannot be used in pyrography. When a piece of hardwood is used, it will require a higher temperature for it to burn while a softwood will need a relatively lower temperature. When a piece of wood has been selected and if it slightly uneven or with a lot of bumps, make use of sandpaper in smoothing it well while flowing with the grain of the wood. A quick one here; when burning, try as much as you can to burn along the grain of the wood than going against it.

The project you have in mind will determine the type of plain raw wood, already cut designs, or already pre-fabbed projects you will be working on. If your projects are on already cut designed pieces of wood or pre-fabbed, you will readily get such pieces of wood at any supplies store close to you. It will also save you the troubles of sanding the wood.

Poplar wood

Birchwood

Place the design on the wood

Align the piece of paper with the design on the surface of the wood.

Draw the design

Using a dark pencil, draw or trace the image on the piece of paper onto the wood.

Burn

After the image has been transferred from the paper to the wood surface, you can then proceed to burn it. You can also incorporate some elements of shading and coloring into the burnt design as you desire.

Pyrography Tips and Tricks

During the burning process, carbon residues will continue to accumulate on the tip of the pen so much that when you make light strokes with the pen, it will come out dark. Follow the instructions of the manufacturer as to how to clean the tip of the pen.

The color of the burn is determined by how fast and the amount of pressure you apply to the wood with the burning pen. If you are all about a light-colored image, the pen should gently touch the surface of the wood in swift flows. The longer the pen touches the wood with an increase in pressure, the darker the lines will be.

Only copy lines of the image that you need onto the wood in setting the tone for the image. When you burn pencil lines on the wood, it fixes into the project, and getting it out when you are done with the burning will be almost impossible.

With the different types of wood burners out there, temperature control plays a vital role. If your wood burner has temperature control, turn down the temperature to the lowest depending on which part of the design you are working on at the moment. When you burn a part of the design lightly, you can always come back to apply a darker shade onto it. However, once you burn dark lines onto the wood where there are supposed to be light lines, it will be a mission impossible trying to lighten it. If the burner you have doesn't have a temperature setting, start immediately with the burning of parts of the projects that have light lines as the tip of the pen starts to heat. As you continue to use the pen, it will heat up, and you can then progress to the darker areas of the design. If you want to work on the lighter areas again, you will need to turn off the wood burner, unplug it and allow it to cool down for a few minutes before using it again.

Always start from the lightest part of the project before moving onto the dark parts.

The application of shadows to your project gives it a robust and realistic feel. As you develop your skills in pyrography, include the shading aspects into your works.

Burn along with the flow of the grain of the wood. If you are burning a straight line of an image, the strokes from the pen should be in a straight line with the grain of wood across the board.

When you burn a lot of fine light lines within a space, it will either appear dark or light, depending on how many lines you pack into that space.

The number of outlines you make use of should be as minimal and should only be incorporated into the image if the distinction between certain parts can be problematic.

Practice makes perfect, so before you start on your first project, burn lines of different shades, patterns, tones, etc. on a scrap piece of wood to perfect your art.

The use of textures in a pyrography project helps in making parts of an artwork stand out. So the application of texturing should be incorporated into your works.

With elements of an image that are closer to you, they would appear lighter than those that are much farther away.

For a work that will appeal to you and potential clients, there should be variety in the types of pen tips that you have and make use of.  There are brands of pens that allow you to interchange the tips depending on the type of burn you want to carry out. This is something you should have at the back of your mind when buying burning pens as some pens don't have the feature of interchangeable tips.

Interchangeable tip

The Writer, Shader, and Skew are the essential tips that you will be making use of in your tool kit. Though there will be other tips in the box, the tips mentioned above will be the busiest.

Shaders come in different forms, and you should pick that which can perform the majority of the shading you want to carry out in any project at any one time. In the bent spear shader, you have a reliable tip that can deliver delicate shades, and more exceptional works in large areas too. 

The skews also vary with the round-heeled, and flat skews been the most unique and performing a lot of functions. The round-heeled skew should be your choice here, though, due to its ability to be used in almost any position when compared to the flat skew.

With the writing tips, the ball stylus and the fine tip are versatile and can be used for almost any writing burn that you want to perform. (A) (B)

(C)

A - The Skew

B - The Fixed Pen tip

C – The Shader

CHAPTER ONE

The Basics

In wood burning, some essential parts are to be considered for a successful operation, and they include the following;

-         The surface to be worked on

-         The pyrography unit

-         The type of tips

-         The design you want to recreate on the surface medium

-         The pathway to be used in bringing the design to life

Now let's go into details of the different parts.

The Burning Surface to be worked on

The types of surfaces that can be burned varies, and as long as it is a naturally occurring surface, you are good to go, e.g., gourds, wood, tanned leather, paper mache, paper, etc. You should stay away from any material that has undergone any form of treatment with potentially harmful chemical substances or painted. Such materials will produce noxious and harmful toxic gases when the hot tip of the wood burner comes in contact with the surface.

Tanned Leather

Leather that has been tanned with vegetable extracts is one of the best surfaces to burn on. Leather comes in a variety of forms, which ranges from purses to wallets, book covers to large pieces. With leather, you are given an array of opportunities to work on the media. With the weight variation of leather types, you can pick one as determined by the type of project that you want to work on. Here are the commonly available leather weights; the heavy leather (1/4"), the light leather, which ranges from 1/64" to 1/8".  Leather also comes in suede or dyed in different colors; this negates these leather types from been used in pyrography as they have been treated. On the other hand, the suede has an uneven surface that will not give smooth, even lines when burnt.

Wood

The go-to choice of pyrography woods is the poplar and basswood. They are light in tone, have nicely arranged grains, and come in thin sheets that are suitable for burning. Woods that are lightly colored will be a significant determining factor of the projects that you can carry out on them. With the poplar and basswood, you can burn a broad spectrum of color as to when compared to other darker wood shades like the black walnut, which might require more burning on the darker tones.

Gourds

When dried to preserve it properly, gourds are excellent surfaces for burning projects. With the unique composition of the surface, you are offered a distinct proposition for your burning designs. The gourd can be sliced into whatever shape you want it to become; a cup, vase, bowl, or whatever you want it to be. Before you start working on the gourd either during the cutting or burning, put on protective gear.

Buying Wood Burning Pens

As a beginner or a pro in the beautiful art of wood burning, selecting the right wood-burning pen will serve as the foundation for your works. You must lookout for the type of pen that will align with your kind of art. There are three significant types of pyrography pens;

Rheostat wood-burning pens

Changing temperature pens

No temperature control pens

Pens with no temperature control

This is a basic wood-burning pen that most beginners are likely to use. The pen has the appearance and heft of a soldering iron, and it is more of an instrument used for a wide variety of functions other than wood burning. For folks who are passionate about the fine art of pyrography, this pen would not be found a mile around you. Due to the weight, length, and girth, your hands would get tired quickly, and your project wouldn't be as elegant and as detailed as you would want.

Rheostat wood-burning pens

There is a temperature control mechanism installed on this pen. With this feature, you would be able to fashion your desired outlooks onto your works. You would be able to create darker lines and also lighter strokes, which will add more details to your projects. This is a level that other pens cannot attain.

Changing temperature pens

If you are particularly serious about your craft and are willing to invest in it, then this is the best piece of tool you should include in your work table. The pens are generally lighter and smaller because the temperature control mechanism is not installed directly on the pen itself. Due to this design, you can work for more extended periods without your hands getting tired as when compared with other pens with a more substantial bulk. Based on this design, they are a perfect fit for most hand sizes, from persons with larger hands to those who have small hands.

Changeable Tip Pyrography Pens

These types of pens give you the leeway to perform a whole lot of tasks with your pen. The pen has the functionality to be fixed with a wide range of tips depending on the project aspect that you are working on at the moment. In addition to the tips that came in the box with the pen, as time goes along and you get more comfortable with your art, you can begin to fabricate your tips. The cost of getting these fantastic tools is easy on your pocket.

The Solid tip Pyrography Pens

Unlike the changeable tip pens, the solid tip pens cannot be changed, thus meaning that you cannot have varied results to your artworks. Your works can, however, give amazing results when varying solid tipped pens are used. The advantage of the solid tip pen is that the tips are quite strong, with a higher rate of heat delivery to the tip. Since the pens are fixed with individual tips that cannot be changed, you will have to get a few pens to be used for different aspects of your work.

Copying the Patterns

After you must have gotten the design you want to burn, the next logical step is to copy or transfer the image to the surface. Two significant materials can be employed in this process; the graphite paper and the carbon paper.

To begin with, you place either of the paper types under the paper pattern and put it on the surface where the burn is to be carried out on. You then begin to gently trace the pattern on the paper onto the burning surface. The trace will be transferred onto the wood, leather, or gourd in fine lines onto the work surface. During the transfer process, ensure that you work as carefully as possible because once the transfer is done, it is almost impossible to remove after you must have carried out the burn.

Another method of transferring images onto the burning surface is by making use of a pencil to shade the backside of the paper with the image. Shade every part of the paper with a pencil having a dark graphite tip. Put the paper on the surface to be burnt and begin to trace out the image. The line of the image will be left on the surface.

Cleaning of the Pen Tips

To have perfect strokes devoid of unwanted burns, a clean tip should be used. With continuous usage and burning of materials with your pen, the tip will inevitably begin to accumulate carbon from the burning process and also resins from the sap of the wood. The tip will then appear black with a coat of dark, unsightly residue.

If the pen tip is used in this state, the burn lines on your work will be darker than you intend for it to be. The heat transfer to the pen tip will not be evenly distributed, and heat will also be easily lost, causing loss of time that will be spent reheating the pen.

In the cleaning processes of my pen, I employ two methods that have always worked for me; a red oxide cleaning compound and an emery cloth. In addition to these two methods, I clean my tips as often as I can immediately I notice that the carbon has started to build up.

To start the cleaning process of your tips at any point in time, switch off the burning unit and remove it from the power source, and keep it aside for a few minutes to cool off. The cleaning materials can be easily sourced for at the hardware stores around you.

In making use of the red oxide compound, I cover a leather strop with the oxide and then gently drag the tip over the strop for a few seconds or minutes until the original color of the tip is regained. You can then get a clean piece of cloth to wipe the tip to take care of any leftover dirt.

Arrange the emery cloth into a compact square shape to protect your fingers and place it over the tip and pull gently. Do not pull too hard as this might cause a bending of the burning wire at the tip of the pen.

Sealers

After the pattern has been burnt into the work surface, it might be required that you apply some sealing finishers to the surface to prevent the project from distortions from environmental conditions and other artifacts that might lessen the artistic value of your work.

Not all burnt surfaces require sealing; e,g: paper and cotton. If you have burnt on leather, an oil-based sealer might be needed to prevent moisture from damaging the project.

With wood, however, sealing with oil, acrylic spray sealer or varnish is highly required. When you are through with burning the image, proceed to apply a series of coating on the work surface. The wood sealers are available in gloss sheens, semi-matte and matte. It does not have any effect on the tone of the wood surface. A 50 - 50 mixture of linseed oil and turpentine make your work shine and also ensure that you follow the instructions of the manufacturer when applying the coatings. Always ensure that you allow proper drying times between multiple coatings.  As a safety precaution, properly make do away with any oil-coated rag once you are through with it. Get a bowl of water with some detergents and properly immerse and wash the cloth. If the oil-coated rag is left lying around your workspace, it might lead to a fire outbreak. A point to note is that when you apply oil coatings to your work, it will change the color of the wood into a dark tone, and this will also apply to your work.

When polyurethane coating is used on your project, the natural tone of the wood is maintained. This, however, is not the case with other wood varnish types that might give a coloring that you might not necessarily want and change the eventual outcome of your work.

The Wood Patina

As a piece of wood grows old, its color gradually changes into a darker hue. For example, the white pine that has a white coloring when it is just cut and gradually becomes amber yellow after several years. Woods that are traditionally used for pyrography such as the basswood and birch do become dark brown with age. This change in coloring of the wood can make the pattern burnt into it appears to be disappearing. If the patterns burnt into the wood are light in color, there is a high probability that such patterns will disappear. As the wood changes color into a darker hue, the light-colored patterns are submerged and eventually disappear. This is a natural process that will always happen, and to preserve your artwork, you can take a few steps to reduce these potentials of your work losing out in the end to the aging of the wood.

Before starting with any wood burning project, carry out a proper survey on the type of color changes that will take place in the wood as it ages. For woods that will undergo considerable color change into a darker hue, your burning should be done in very dark shades and tones. Stay away from any light pale color burning on such wood types.

Make use of sealing agents that will restrict the effects of the ultraviolet radiation from the sun. The sealer considerably cuts down the process of oxidation, which can lead to the formation of patina in the wood. Vanishes and oil finishes that will bring about the darkening of the wood should be avoided. Birchwood, when varnished with Tung oil or Danish oil, will lead to the formation of darker brown hues as the wood ages. If you take your time to factor the risks associated with the type of sealers and woods to use on your pyrography works, you can be rest assured that your projects will stand the test of time.

Your Safety

You must put in safety measures around your workspace before you begin wood burning. With wood burning, a considerable amount of heat is produced by the pyrography tool. The tip of the pen is always almost hot while the machine is switched on, and even when it does not appear red hot, it is still extremely hot and can cause severe burns. When handling the tip, it is best to have the mindset that this piece of equipment is always hot, even when it might not be. Be cautious always.

Have a piece of paper right next to you on the worktable to always gently place the pen against to check if it is hot. If the pen is hot, the paper will either darken or burn.

If you want to change the nibs of the pen, do ensure that it is cool before trying to removing it and fixing in another. While working, you might want to carry on without been interrupted by the break of having to change the nib; this is where patience and a sense of self-preservation should come in. Switch off the machine, go into the kitchen and make some coffee and allow some time for the nib to cool down before attempting to make the switch. This advice is not just for when you want to change the nib, but also for the burning pen itself too. If you have been working for a relatively long period, most times, the pen will start to get warm then hot. At this point, switch off the machine and take a well-deserved break.

When you are taking a break or carrying out some other duties, do not at any time drop your pen carelessly on the workbench without properly securing it, if it is on or not. The ideal thing to do if you are to put down your pen in the middle of burning is to switch it off and place it in a pen rest constructed of non-flammable materials.

Some pyrography machines are designed in such a way that you can place the pen on a stand attached to the machine when it is not in use. If your machine does not have this feature, switch it off and place your pen on a ceramic tie or some other non-flammable material.

When burning on wood, your workspace should be cross-ventilated. This allows for the fumes produced to be safely evacuated from the space as inhalation of the smoke for a long time can cause serious health hazards. To aid faster dispersion of the smoke, installation of a fan within the space to create a vacuum towards which the fumes produced are sucked towards would also help. The fan should not be pointed directly towards your work table as it will blow the fumes straight at you, and it will also cause the burning pen to cool down faster than you might want it to.

You should also have sufficient lighting within the workspace and even devoid of litter and scraps that can cause accidents. Clean the area regularly by removing items that may interfere with your work.

You should get some form of protection for your worktable to keep to the barest minimum burns that are likely to occur on it. You can get a protective mat or a piece of hardwood to be used as a protective material for your table.

Your workspace should not at any time have any flammable materials, chemicals, or any other items that react quickly with heat close by. Your workspace should be childproof. The locks to the room should be in place at all times when you are working and when you are not within the space.

The connecting wires of the pen to the machine should be as free as possible. Make sure that it is not tangled up and doesn't come near the tip of the pen when you are burning or not. If the wires become tangled and you do not straighten it out, the quality of your work would be affected in addition to your machine and pen been potentially damaged. To untangle the wires of the burning machine, switch off the device, set down the pen, and give it some time to cool down properly before you proceed with untangling the wires.

Before you start burning, make sure that you are in a sitting position that is as comfortable as you can be. Sitting or standing in an awkward position will get you tired; your hands will hurt, and sores may likely develop.

So you are now burning some amazing patterns on your wood surface, do not get carried away with how the image is developing and burn your fingers. Your fingers should always be at a distance from the burning wood and also not too close to the pen element.

Sometimes we tend to overlook minor faults in our machines and continue to use it until it becomes a hazard. If you notice that your device is malfunctioning in any way, stop using it immediately. Some of the signs which are pointers to faulty equipment include and are not limited to humming sounds, sparks, etc. Immediately take your machine to a certified repairer for it to be fixed.

 CHAPTER TWO

The Pyrography Machine and You

This section is dedicated to getting you familiar with your machine, though there might be parts that don't apply to your machine, you will surely get a thing or two that will be useful in how you deal with your new-found friend.

Source of Power

Read the manual that came along with your unit thoroughly on how to connect it to a source of power, making use of the cable that came together with it. The power cord should have uninterrupted access to the power source without it been hindered by equipment in your workspace. Sometimes your work table may be a bit far from where the power socket is located, in a case like this, an extension box will come in handy. The power cord should be straight and not coiled up or have an object placed on it.

Attaching the Burning Nibs

It is most likely that your burning unit has a variety of nibs that came with the package. With these attachments that will make your project more pleasing to the eyes, you should take them on several practice runs to familiarize yourself with them before embarking on any significant projects. Switch off the unit from the power source while you try out your hand at fitting and unfitting the nibs from the pen. This will enable you to ascertain if a nib is securely fitted into the notch on the pen that it is meant to be in. The nib must be fixed appropriately into the pen for you to get a proper job devoid of errors produced.

Practice holding the burning pen

Take hold of the pen and see which grip you are most comfortable with. Since you will be holding the pen for an extended period, you should hold the pen in a way that won't cause you sore muscles.

Powering on the Unit

The pen should be in its holder before the unit is turned on. This is a safety precaution that you must practice at all times. Do not, at any point in time, leave the pen and the nib lying carelessly on the workbench or on your project as it can result in serious bodily harm or fire outbreaks. Some units come with a switch installed on it if you have this type, you will have to first switch on the power from the main source before turning on the switch on the unit itself. If your unit has no power button on it, however, that means that the only way you can power it on is directly from the main power source.

Temperature Change

After powering on the unit, play around with the temperature settings on the unit and practice with burning on sample pieces of wood.

Powering off

After you are done with practicing or a burning project, safely return the nib into its holder. Then proceed to switch off the unit from the power sources. You can also take time out to check how long it takes for the nib of the pen to cool down. You can do this by holding the nib against a piece of wood through an interval of a few minutes. Be aware at every point in time the location of the nib to avoid getting burnt.

 CHAPTER THREE

The Pen Tips

Pen tips vary in how they are designed and the functions they carry out. Every type of pen is unique in the type of burn, width, and tone it will create when used for pyrography. For example, the ball tip and loop pens produce dark and pronounced lines while the curved shader or thin-edged spear tip will give you deep, thin lines.

As a starter, the set of tips that you should be making use of should be comprised of the following;

Flat spoon-shaped shader

A tight bent loop writing tip

Curved-edged spear shader

Ballpoint writing tip

Wide-wire square tip shader

Tips of these types will cover almost any kind of project you may want to carry out as a beginner. As you progress with this craft and become more confident in your craft, you can then source and begin to make use of professional tips.

Tips come in various sizes, names, and shapes. This variance is dependent on the manufacturer from which you got your equipment from. 

Some pens have the tip permanently fixed, while others can be changed. In the pens with fixed tips, the wire for burning is joined together with the pen and cannot be removed at all. On the other hand, the pens that have tips that can be changed allows you to buy as many tips as you want to make use of with the pen.

Some brands of pens are built to uniquely function with the electrical makeup of that particular pyrography machine. You may, however, come across machines that allow the user to make use of pens from other brands on their machines. This is, however, not advisable as your unit may malfunction. In buying a new unit, take into consideration the ergonomics of the pen, the power rating, the connection between the unit and the pen, and other features that will offer you a seamless burning experience.

The ball tipped pens are available in varying diameters; the smaller diameter tipped pens are used for the construction of thin lines, and the pens with a larger diameter are for the formation of more extensive, thicker lines. The primary function of this type of pen is for the filling of solid work, scrubbing, and shading.

Ball point pen

Writing and Outlining

The outlining pattern can be added to your work to make it more attractive. A cool temperature on the pen can be used to form the lines, and then you can proceed to burn your desired style lightly. After you are through with the shading, go over the lines again, but this time making use of higher temperature to a medium temperature setting. Don't just stick to one uniform line width; alter the thickness to make your work more appealing. The project that you are working on will determine if it is to be outlined or not. In projects already containing different tones, the inclusion of outlines may not be necessary. If you are burning the image of a natural setting, then there is almost no need for outlines, or you can add very minimal lines.

Fill Texturing

To build a solid fill area, a high or medium temperature setting will be sufficient in addition to making use of a ball-tipped pen and lift and touch stokes of your hand. Closely filling the dots together will make the space appear in a darker tone. A medium temperature setting is more desirable than a higher temperature setting, as it can bring about the dot spilling and bleeding into areas you don't want it to get into.

The Scrubbie Shading Technique

The ball tipped pen can be employed in creating short and small scrubbie strokes to bring about an equally distributed shading of your burns. To create a scubbie, carry out a well-regulated to and fro motion with your hands for relatively straight lines, or you can also create semi-circular, closely joined together lines. The lines should be tightly packed together in varying layers to give a dark tone to that particular space.

Fine Lines Formation

The temperature setting for this burn is of no importance as all you need to do is set the tip of the pen in a straight position to the wood surface. With this, you can create straight even lines for outlines, the accent of shading. If you make use of low or medium temperature, the lines will appear in light tones, and with a higher temperature setting, the lines will come out dark.

Texture Patterns

With the loop writing tip, you can create any type of texture pattern you desire. Hatched patterns, curls, curved lines, circles are perfect forms of textures that you can form with the loop writing tip. To make the tonal value appear light, your lines should not be too packed together, and if you want the area to appear darker, then the lines should be more tightly packed together.

The Flat Spear Shader

This burning tip has a pointed or rounded tip with a flat surface. It also has a bent tip, and they are also referred to as spoon shaders, and for it to work efficiently, you need to set the temperature at highest due to the thick metal tip.

In scrubbie shading with this tip, the flat side of the pen should align directly with the wood while you draw fast short lines. The shader can be pulled up a little with the tip allowed to move quickly in creating curved shading motions.

The Curved-edge Spear Shader

The spear shader has a bulkier tip than the curved-edge spear shader; thus, it can give thicker and dark lines without a higher temperature setting. You also get to create a light, thin burn without the formation of a dark point on the work surface, unlike when you make use of the ball tipped pen.

With the structure of the tip, the formation of long shading strokes can be formed. You place the tip against the surface and pull slowly as the shades are created.

The Wide-wire Square Shader

This is the tip that both beginners and professionals should have in the toolkit. The structure of the tip makes it able to shade with thick stokes faster. If you are working on a large piece of art that requires plenty of shading and filling, this tip will help you get that done in a few minutes instead of spending the whole day on the task.

In some machines, you will find that the pen has parts that have been created to be fitted with nibs that are customized from Nichrome. To make the nibs secure into the holding parts, a screw can be used.

As you become more proficient in this art, you can look to building your specialty nib if you don't want to go with what the manufacturers have in store for you. The Nichrome wire can be bent into any shape you wish to as the project at hand demands. You can make the nib either tiny or thick to make light burns or thick and darker burns.

The Position of your Hand

It doesn't matter the brand, type of the tip, or the pen been used for a burning project; the position of your hand holding the pen determines the curves of the lines been burnt, the pressure you apply to the burn, and how long the strokes get. Your burning pen should be held the same way you hold your writing pencil or pen. When the burning pen is held correctly, your hands won't get tired quickly, and the incidence of soreness and inaccurate burns won't occur.

To hold your burning pen the ideal way, your fingers should form a relaxed hold spread between the thumb and index finger at the tip at an angle of forty-five degrees to the surface of the burning wood. When you reduce the angle, a thick burn will result, and increasing the angle with the work surface will give you a thin burn line.

Do not form the habit of allowing your hands to lay on the work been burnt as this does not give you the freedom to move with ease, and it affects the length of the burn lines. To attain equilibrium between your hand holding the pen and the project, your pinky finger can rest on the surface of the work and gives the pen tip a firm grip to allow you control all aspects of the movement necessary for a stress-free burning.

How to hold a Pyrography Pen

It goes without saying that with a pyrography project, you will be spending a lot of time holding your pen. With this at the back of your mind, you should aim to be at ease without any form of stress building up over the hours due to a lousy pen holding habit. To get started, you need to consider critically the type of pen you use when writing with a pencil and a pen. Are you comfortable with a pen with bulk or that which is relatively light without girth? When you have sorted out this first hurdle, you can then proceed with picking a machine that has a pen with characteristics suitable to your hands.

You hold the pyrography pen in the same fashion that you do with your drawing pencil or writing pen. However, a new variable is thrown into the mix, heat that is generated from the pen during the burning process.

Your fingers should be at a distance from the burning tip to reduce the sensation of heat that would most likely be generated but not too far to affect the holding of the pen and the work.

When shopping for a pyrography machine, look out for those whose pen has protective mechanisms like the finger guard or some form of insulation that reduces the amount of heat transferred to your fingers. The protective barriers give you a firmer hold on the pen.

Another tip is to get a first-hand feel of the pen before making a purchase. You can do this by practicing with a pen your friend has or from a hardware store. This will help shape your buying decision. You should be relaxed and be one with the machine you are going to buy. The machine itself should be a reliable piece of equipment that won't be giving you any forms of problem. The pen, which is an essential part of the unit, should fit into your hands and should feel like part of your fingers. There should not be any form of second-guessing or doubting your compatibility with the pen as the eventual outcome of this relationship would be expressed in your projects. Take your time and explore all available options before buying a pyrography machine.

CHAPTER FOUR

Burning Lines

You have the passion, you took the first step and got a unit, now you have this book in hand, the next logical move is to burn curves, lines and other patterns on your choice of surface. You won't jump into a large project without any prior experience; no, you would need to practice over a period. How fast you can graduate into burning that all-important first project will be determined by how important you consider the next few steps.

The First Burns

Get a nib and attach it to the pen, switch on the unit, and adjust the temperature between low to medium heat. Hold the pen comfortably and then move onto burning simple figures, letters, lines, dots, and any other thing that comes to your mind. Make sure that you are holding the pen correctly in such a way that it won't cause any discomfort or affect the outcome of your work. Adjust the temperature settings for different burns and look closely at how it turns out.

Lines

After the last step, you can then try out your hand at burning relatively straight lines and curves. Fix the appropriate tip and form the different types of lines on the sample piece of wood. Carry out this process repeatedly. Your ultimate aim should be the ability to burn lines that are relatively consistent in fluidity, burn marks, and smoothness.

Direction Alteration

This is the next stage once you have been able to perfect the art of burning lines. With you through with burning straight lines, how can you handle the inclusion of angles, alteration of the direction of flow? A change in direction and addition of angles to the straight burn lines will give a new dimension to your work, which has confined space for you to work.

Change of Speed

With the previous steps taken care of, now is the time to change the speed and contact time of the nib with the surface of the wood. Burn marks that are made with a slow speed produce a thick burn that appears solid while quick burns are for features that add finesse to your project.

Play around with different nibs

The steps listed out should be tried with a variety of nibs as available with your burning unit. The nibs all have unique advantages, and it is up to up to discover where the nibs in your unit will work best for you. This is a path that only you can walk as you set your imagination free.

Shading Methods for Beginners

This is a start guide for shading on your projects by the joining of lines and curves to set up part of the project for darkening/shading. With constant practice, you will soon be able to churn out artworks with varying tones of shades.

Shading Light Tones

Pick up a shading nib, preferably one with a broad tip, and adjust the temperature to low. Begin shading with fast, even consistent hand movements. The lesser the amount of times the nib goes over a particular area, the lighter the tone will be. To generate a light tone, do not allow the nib to spend too much time against the surface of the wood to prevent too much burn from occurring.

Shading Dark Tones

Make use of the same broad shading nib you used in creating the light tones, adjust the temperature to either high or medium. Shade the area of interest a couple of times by going over and over until the tone of dark color you want is obtained. Keeping the nib against the wood for extended periods will also generate a darker tone.

Progressively Darker Tones

Using a broad shading nib, adjust the temperature of your unit to a low heat setting. Start with shading an area of the project in a light tone and then start from one part of the work, shading it darker as you go from one end to the other. Go over this same process a few times, applying a little more pressure and shading than the previous shade until you are satisfied with the result. Your aim with this method of shading is to make one part of the image darker than the other in a simple graduated fashion.

Other than making use of the broad shading nib and the shading technique, you can also employ the use of the various nibs you have in the toolkit. A gradual change in tone can be brought about by gradually reducing the concentration of burn dots from one area to another. Experiment and see what turns up!

CHAPTER FIVE

Your Choice of Wood

Picking the right wood is an essential part of the whole process of creating a fantastic wood burning project. For your projects to turn out just the way you have in mind, go for woods that have a beautiful grain and light in color. This combination gives you the leeway to shade as smooth as you want and also produce amazing contrast. Examples of woods that you can use include; lime, sycamore, maple, holly, beech, etc.

Every piece of wood is unique in its own way. There will be markings, arrangement of grains, distortions, odd shapes, etc. that confers a character to that piece of wood you are using for your project. These natural formations that appear on the wood should not be seen as a disadvantage; instead, you should embrace it as part of the whole image you are trying to create. Look for ways in which you can integrate these aspects of the wood into your project. If the wood of interest is soft, it will burn fast, leading to a buildup of carbon and resin on the nib, and if you are working on a project with delicate and elegant details, it would be a problematic situation. If the wood is quite hard too, the drawing of lines may not be regular, and the nib of the pen will keep getting caught on the wood.

As stated earlier, avoid any form of processed woods or fiberboards.

Burning Words in Wood

Pyrographing the surface of the wood is an artistic challenge that adds a unique feature to otherwise bland items. Burning wood can be used as a means of also marking your item, decorative, and for other purposes.

Getting the Wood Surface Ready

To get started, you first have to select the wood of your choice; generally, light-colored and relatively softwoods are better to be used for wood burning. When selecting your wood, also look out for woods with a minimal amount of grain as it allows for more natural burning of straight lines without distortions.

The surface of the wood should be smooth, and sandpaper used to smoothen it out and remove any bumps and wood strands. If you burn on just any wood surface that has not been smoothened, you will still get your project at the end, but it won't come out as fine as it would have been if you had made use of a clean and smooth surface.

Transferring Letters to the Surface

You can transfer the letters to the wood surface by making use of a template and carbon paper with a pencil. It can also be done by drawing directly to the wood surface through freehand drawing with a pencil. For beginners, however, I would advise that you make use of an already prepared template to guide you through this process before you graduate to freehand drawing.

The letters to be burnt to the wood surface can be downloaded from your computer, or you can draw it yourself first on a piece of clean paper. If the letters are gotten from your computer, print it out. After printing out the letters from your computer, first, place the carbon paper with the dark carbon side-lying directly on the surface of the wood before setting the paper with the letters on the carbon paper. Then proceed to carefully trace out the letters onto the wood surface with a pencil.

The Image Transfer Pyrography Tip

There are ingenious ways of copying images or letters to the surface of the wood and at the same time, burning. This method involves using a photocopied image or letters by using the pyrography pen. The Image transfer pen is a specialty tip crafted for this purpose. To start with, photocopy the letters of images that you want to burn, place the paper with the image side down directly on the wood surface. The image transfer tip is then used to heat the paper, which results in the transferring of the image onto the wood. The heat from the image transfer tip breaks down the photocopier ink in the paper allowing it to be absorbed directly by the surface of the wood.

This method won't go through if you make use of a printed image; it would only work with photocopied images.

Your tools

Buy a wood-burning unit that fits your personality and budget. The price of wood-burning units can be on the high side for professional setups or relatively cheap, depending on your spending powers. After you have gotten your unit, you will then have to pick a tip to use. The type of tip to be used will depend on the details you want to be burnt into a particular area of your work.

Some wood-burning unit manufacturers have tips that have unique and distinctive designs at the tips. These tips, which might have images, numbers, or letters, can be burnt directly to the wood surface by pressing the tip firmly against the wood surface. With such tips as these, you don't have to stress yourself over burning precise images and letters to the wood surface. The downside when using such tips is having to switch the tips now and then once you are done using it. Ensure you maintain every safety precaution when swapping out the tips. Switch off the unit and place the pen in its holder. Then make use of a pair of pliers to take out the tip and replace it with another.

When the tip is in place, switch on your unit and heat it to the desired temperature before burning to ensure that you get the right type of burn.

Putting the Wood Burner to use

The wood burner should be held in a firm grip just like you would with your pen or pencil. This is to make sure that your hands are comfortable and that the burner doesn't drop from your hands. When burning, there is no need to press too hard on the surface of the wood as a burner when appropriately heated will do its job. Applying a little pressure will result in light burns, and to get dark burns, press your burner firmly against the surface to the wood.

Constant Speed

At the start of your wood-burning experience, to keep your lines fairly regular, try as much as you can to keep your hand and the burner moving at a regular and constant speed over the surface of the wood. If the speed of the burner across the surface of the wood is not consistent, you would most likely get some lines darker than other parts of the wood. This is because the wood burner spent more time on that part of the wood compared to the other parts where your hand moved faster over. To perfect this making of consistent lines, you need to practice before carrying out any major project.

Burning the Numbers or Letters

The burning of the letters should be done in one single consistent stroke if you can. Once you start with a line, do not stop at any point unless when you get to the end of the letter. Some letters can be finished with one single stroke, while others require two or three strokes, which can be a combination of curves and straight lines.

Temperature Alteration

There may be a need for you to alter the temperature of the burner, depending on your choice during the burning process. If burning and you discover that the burns are too light, you will have to increase the temperature of the burner. The temperature of the burning is also dependent on the wood type and the method of pyrography that you are employing for the current project. This aspect is an indicator that your burning unit should have temperature control as it makes your job easier. If the unit is lacking a temperature control feature, you will find it hard controlling how dark or light your burn lines are. To effectively use such a unit, you will have to switch it off to cool a bit to get light-colored burn lines and switched on again to get darker lines.

Darkening the Letters

Some of your projects may require you to fill in the letters with thick, dark lines. After the first burn, you will have to return to the letters and go over the lines with the exact pressure and fluidity you applied during the first round. When filling in the letters, the tip of the pen should be changed into a bigger one. This will make the filling faster with fewer chances of errors occurring.

The letters burnt into the surface of the wood will look just fine, but you should go a step further by adding some flourish and other little additions to make your project stand out. These little additions will not only add artistic value to your work, but it also serves as an avenue for you to derive some form of pleasure from the whole process. To make the application of the little additions easier, bring the specialty tips into play. Brand tips come in various shapes and sizes in an almost infinite number of designs that you can add to your project.

Final Applications

This has been treated earlier in the book. With the varying types of treatments available for your finished work, it is only natural that you try out the varnish on a scrap of wood to have a look at how the finished product will turn out. This would prevent costly errors that can ruin all your hard work.

Since the wood ages and brings about a gradual fading of the burnt patterns, putting the work in direct sunlight will only hasten the process. Pyrography arts are best suited for indoors, and if you must place it outside, you should set it up under a shade. Also, a coat of spar vanish will protect the work against the elements. The ultraviolet radiation of the sun won't be able to penetrate the varnish applied.

To keep your project in the same pristine condition as at when you made it, you can apply several layers of varnish. After applying the first layer, wait for it to dry properly before applying another coat. Also, to be taken into consideration is the coating of the work every three to four years.

Varnishes and oils have directions on how to be used and stored. Ensure that you read the manual that comes with such products and follow it to the letter.

If your project will be taking on some form of painting, carry out a sample painting on a piece of wood, then apply the varnish or oil to check if they will react. In all, have an open mind and be ready to put new ideas to work.

 CHAPTER SIX

Exercises

Wood Burning Project Ideas

We are finally here. In this section, I will be guiding you through a few basic projects that will sharpen your skill and build your confidence in the art of pyrography. The materials, supplies, and any other equipment needed for the woodwork can be readily sourced from the hardware store, or you can just as well go online and order for what you need.

Key Holders

These are unique items that you can burn on as a beginner or a professional. The key holders come in wooden square shapes, or they are available in other forms in your local hardware store. Some come with holes already drilled, or you can carry drill the holes yourself.

Supplies

Blank wooden key holders

Pencil

Pyrography unit

Erase

Bladed nib

Spear nib

Craft knife

Spoon point nib

Key holder rings

Directions

-         Use your pencil to draw the image or writing on one side of the key holder, or you can get pictures or letterings from your PC that you can transfer to the key holder.

-         Make use of a carbon paper or a photocopied image in transferring the image onto the key holder through the aid of a pencil or an image transfer nib. This method of transferring using a paper is the easiest and fastest way as it is repetitive, and you can transfer onto lots of key holders within a short period.

-         Burn the lettering on the key holder employing the spear point nib at medium heat.

-         If you have copied an image on the other side of the key holder, at medium temperature with a bladed nib burn the image with quick and delicately placed lines.

-         Do not unnecessarily let your hand become too tired while trying to accommodate the key holder. Turn the key holder around to make it easier for you to burn.

-         Using a spoon nib, shade the image, and letterings on the item. You can introduce an element of gradient shading or whatever other forms of shading you want.

-         Replace the nib with a spear point nib set to a high temperature. Then proceed to burn a fancy pattern around the edge of the key holder.  Choose beautiful designs that will appeal to those you are going to give it to or sell to.

Door Decorations

Our doors are most times bland without any information or patterns that make it a work of art. Your door should serve as a portal of communication and canvas at the same time. The designs you will be producing will be serving as eye candy and at the same time, acting as a source of information. So it's bye to the age of blank doors.

Supplies

Tracing paper

Craft knife

Bladed nib

Spoon point nib

Spear nib

Scissors

Pencil

Eraser

Pyrography unit

Adhesives

Masking tape

Directions

-         Get blank wooden designs of various shapes and sizes.

-         Using freehand drawing or an image copied from the internet, transfer it to the blank wood with your pencil. The image or lettering been copied should be something that is unique and makes you stand out.

-         At medium heat setting, make use of a bladed nib to burn the outline of the images onto the wood. Be careful and deliberate as you burn the image. Ensure that the lines and curves are neat without any blemish.

-         Shade with a spoon point nib at high-temperature setting. The shading gives the design a more solid 3D effect. The dark areas of the image are shaded with the spoon nib, while you should make use of the spear nib in areas that are lighter in color. Apply stripped shades to the light areas. 

-         Apply a suitable adhesive type to the back of the project and the door and hang it.

-         You can also drill a small hole on the artwork and hang it on your door.

Fancy Napkin Holders

These well-designed holders are used during celebrations and dinners to add life to the dinner table. It is used to give off a sense of personalization to persons at the gathering as you can add details particular to each individual to the ring holder, which they can take away as souvenirs after the party. The ring holders can also be used as cardholders for your guests to identify their tables.

Supplies

Blank napkin holders (ring or square shaped)

Tracing paper

Craft knife

Pyrography unit

Masking tape

Pencil and eraser

Shading nib

Spoon point nib

Spear nib

Directions

-         Pick up the tracing papers and cut them into sizes that will sufficiently cover the length and breadth of the napkin holders.

-         Making use of images or letters you got from your computer or using freehand drawing, transfer the designs onto the napkin holders.

-         Hold the tracing paper in place with the masking tape and use your pencil to transfer the lettering and patterns.

-         At medium temperature with a spear nib, burn the copied images or letterings on the napkin holder. Be aware of the position of the nib relative to your fingers at every point in time.

-         With the images and letterings burnt to the surface, it is time to add some attractive finishing. Fix the shading nib with a distinct pattern into the pen at high temperature and then using some force, press it into the surface of the wood and preselected areas.

Cup Coasters

These items are the perfect starting projects for beginners like you. The relatively small sizes of the coaster surfaces make them a friendly attraction to burn on. You can burn the same design and pattern on several coasters, or you can as well integrate several varying designs on a set of cup coasters.

With wood-burning, you can add some personal touches to the coasters by making them unique and easily identifiable to a particular individual.

Supplies

Blank wooden cup coasters

Circle stencil

Pencil

Eraser

Pyrography unit

Ruler

Craft knife

Masking tape

Spoon point nib

Spear nib

Tracing paper

Directions

-         Start with setting up a border using the pencil and ruler at about 12mm from the edge of the blank coaster. This creates an aesthetically pleasing addition to the coaster, and you might not need to burn it.

-         Transfer your desired images into the area within the borders.

-         The cup coasters can have individual personalities by the addition of varying designs burnt into them.

-         Using a spoon point nib set to medium heat, shade the images, and design to be as clean as you can

Picture Frame

Frames are one ubiquitous item that you will find in almost any room you enter. It might be hung on a wall or sit on the table. Frames hold pictures that show happy times and serve as a portal for memories. Frames can either be circular, square, or rectangular, depending on your choice. It goes without saying that when shopping for your supplies and the frame, in particular, it should be devoid of any form of treatment.

Supplies

Picture frame (blank and untreated)

Masking tape

Pyrography unit

Tracing paper

Craft knife

Pencil

Eraser

Shading nib

Bladed nib

Spoon point nib

Directions

-         Set up a border with a pencil and ruler at about 5mm from the outer and inner edges of the picture frame. The borderlines are temporary features that act as a guide on the areas where the burns are going to be carried out. So ensure that the lines are as faint as possible, but you should be able to discern where it is because you will be cleaning it after the burning is done.

-         Set the temperature of the bladed nib to medium heat and burn the inner lines. Be neat and precise during this stage.

-         Design the areas just on the inner border using a spoon point nib at high or medium temperature. The pattern design should progress from the inner line out towards the edge of the picture frame.

-         Place the patterns or designs you got from your computer onto the edges of the frame and trace making use of your pencil. You can also make use of freehand if you so wish.

-         Adjust the temperature of the bladed nib to high or medium heat and burn the images that were transferred to the borderlines.

Hair Rings

Nothing beats designing your jewelry collection. It signals your individuality and tastes. With your wood burned hair rings and bangles, you can change the way you look for any function. The challenge is getting blank rings or bangles; however, if you search enough, you will surely come across a supplier that will meet your specifications. You can burn words or lyrics that have a personal meaning to you on the wooden rings.

Supplies

Wooden rings or bangles

Pyrography unit

Tracing paper

Pencil

Eraser

Shading nib

Spoon point nib

Spear nib

Masking tape

Craft knife

Directions

-         Get your tracing paper that fits the length and breadth of the wooden ring. Get your favorite quote or image and trace it onto the surface of the wood.

-         Making use of the masking tape, fix the tracing paper properly to the surface of the wooden ring. Place the paper with the image or lettering that you want to transfer onto the tracing paper and transfer with your pencil.

-         Adjust the temperature to high on the spear nib and burn the images or lettering that were transferred to the surface of the wood. Burn the outline of the letters while still leaving the inner parts unburnt for the moment.

-         Fix in the spoon nib and set the temperature to high and continue the burning of the borders of the image or letters. Burn with free lines.

-         Bring in an element of solidity by using a spoon point nib set to a high temperature. Shade areas by including dot gradients from one end to another.

Pyro Wall Clock

Having an artistically wood burnt wall clock in your room is a beautiful deviation from the norm. You don't have to go shopping to get one; this is one piece of art that you can create to stand out in any room in which it is placed. Let your blossoming skills come to life in building this art piece. Getting the required supplies for this project won't be hard as you can readily get it from your local hardware stores.

Supplies

A wooden clock unit (the clock mechanism, the clock hands, and the clock hands)

12 fancy upholstery pins

Pyrography unit

Craft knife

Masking tape

Ruler

Spoon point nib

Spear nib

Bladed nib

Ink color of your choice

Protractor

Hand drill

Brush

Pencil

Eraser

Directions

-         Make use of the protractor and ruler in equally marking out the face of the clock into a dozen parts.

-         The total angle of the face of the clock is 360°, so each part of the dozen will be 30°.

-         Get ready the border pattern that will fit in perfectly into the size of the clock you will be using. Copy the image or design pattern of your choice onto the tracing paper. Place the tracing paper on the wooden surface of the clock and use your pencil to transfer it. The pattern you will be moving should fit into each section, or it can be used for the whole surface of the clock in one transfer. Whatever method you decide to use is up to you.

-         Set your bladed nib to either a high or medium temperature and burn the outline of the clock. The lines should be fluid and uniform, devoid of squiggly lines.

-         With the borderline done, move onto the inner design of the clock. The design of the clock face should factor in the opening in the center from which the clock mechanism will be fitted.

-         Gently set the tracing paper with the design onto the central part of the clock. Ensure you don't let the paper go out of position when you are transferring the image with your pencil. A masking tape will help you secure the paper in place during this process.

-         Burn the central image with the bladed nib at high temperature. A clean and continuous line should be maintained at all times.

-         After you are through with the burning, move onto shading areas where you want to show some form of solidness with a spear nib at medium to the high-temperature setting.

-         A spoon nib should then be used to continue the shading by working on the outlines previous worked on with as much care as you can.

-         Fill the design of the border with the spoon nib by forming a well-packed together textured design. Hold the bowl of the spoon nib firmly against the clock surface, forming the textured marks in close proximity.

-         Add other designs and patterns as you deem fit into the central and outer parts of the clock surface.

-         Using your paintbrush, paint in the color of your choice into the image, numbering, and letters.

-         Drill in holes into the divided sectors of the clock at about 1mm in diameter. This will serve as the location for the numbers. The clock should be held firmly in place when the drilling is ongoing.

-         Insert the fancy upholstery pins into the drilled holes with care.

-         Unpack the clock mechanism and fit it into the back of the clock before arranging the hands at the front.

WOODCARVING

Introduction

That thought that goes on continuously in your head as you grapple with how to go about embracing and setting your skills alight with your new-found art love an become an obsession if you don't get the right avenue to let it all out. The amorphous pictures, words, ideas that would only become life forms once you can begin to give that piece of wood form continue to push wanting out from your head. The stumbling block is the lack of knowledge on how to start. 

With the almost infinite number of art types that man has experimented with over the years, it is safe to safe that the art of whittling or wood carving is as old as man himself. Carved objects have adorned places of worship, the kitchen, and furniture and beautified other places of interest.

With your interest in wood carving now taking center stage, I can categorically let you know that you have made the right choice in picking this form of artistic expression. The reasons why, are not farfetched as you don't have to break your bank account to get the necessary toolset needed to start working with. The tools are basic, and the wood material is readily available. With your passion, a few bucks, and workspace, you are set and ready to begin carving your dreams into reality.

With some other art forms, functional workspaces are often required. With wood carving, however, you can gather all you need and begin carving in almost any place you find yourself, from the desk in your bedroom to the bonnet of your car or in the dining area.

There is this serene atmosphere that encompasses the wood carving process. The tools are not machine powered; no buzzing sound of engines or welding is involved. It gives you a warm feeling, and you can fully concentrate on the work at and without unnecessary distractions. The tools most times have wooden handles that your hand will find pleasing holding onto for hours. The primary material that design patterns are carved onto, the wood, is yielding to whatever you want to do with it with relatively little or no resistance. There is a sweet fragrance that fills the air as you gently apply the carving knife to the wood.

With wood carving, there is always something for you to carve; the ideas will always come flooding in. The designs can be in the form of intricate and relatively complex subjects or simple chip cuts without well-defined details. Your finished project can be used for almost anything depending on the form it takes e.g., furniture, kitchenware, artworks, etc. The list is endless, and your hobby can become a side hustle from which you generate a constant flow of income and also make your loved ones happy by your thoughtful carved gifts.

 Chapter One

Carving Tools for Everyone

As you start on your journey with wood carving, there is the tendency that you will come across a plethora of tools, and this would most likely put you at a loss on how to proceed. The tools you need as a beginner and tools required to have in your toolkit for the long run are choices that you will need to make. Though there are a few tools that are always present in this wood carving art, there is one that everyone must have at any point in time; that is the bench knife, which is the foundation and spirit of carving.

The Bench Knife

The knife comes with a slender blade with a length of between three-quarters of an inch to about four inches with a gently tapering towards the top of the knife. The cutting face of the blade is sharp enough to be used in carving and cutting wood surfaces. A knife with a relatively short blade is most often called the Sloyd knife, and most folks also have different names for the bench knives e.g., whittling knives, detail knives, straight knives, etc. The variation is just in the name as they all have the same basic structure and function.

With your passion for wood carving taking top priority in your life, you will be getting a lot of tools that will make your experience a worthwhile venture. The most crucial tool in the box will be the bench knife. As a beginner or a long time woodcarver, the bench knife is a piece of device that needs to be well scouted before been purchased. You just don't jump at any type of knife; you look out for only the very best when making that addition to your tool kit.

The Straight Chisel

This tool has the topmost part, which can either be angular (Skews) or flat in shape flattened. The chisel is employed in taking out crisp corners or large surface areas or stop cut when carrying out relief cuts. The chisel can also be put into use in cleaning up the surface of a project to leave an attractive and clean work of art. Skews come in a variety of forms ranging from the dog leg skew, which is used for cleaning up hard to reach spots and for undercuts to the spoon bits, bent gouges, fishtails, and backend gouges.

As you become more comfortable and experienced in the art of wood carving, the number and variety of tools in your kit will invariably increase.

The Front and Back Bent Gouge

These sets of equipment are used for forming long deep cuts in areas where there are curves on the project and also for placing details in aspects of the project that can be a bit difficult to get to.

The Straight Gouge

These set of tools are employed in cutting out a wide area of wood from the surface of your project and also for creating curves on the work.

Round Gouges

These are another essential set of tools to have in your tool kit. This tool has horizontal an end that is blunt. The blade comes in various shapes for a multitude of functions. For example, there are blades with are fully rounded for the u-curved gouges, the rounded curve for the c curve gouges, etc. The tapered horizontal end of the blade is sharp enough to be used cut through wood. The taking out of large chunks of wood at any given time is possible when you make use of the gouge in the initial wood curving process.

Designer Knives

In relief carving, there is a diverse set of specialty knives that can be made use of in the carving. The use and shapes of the blades are as varied as the shape in which they come.

The V Gouge Chisel

The tip of the chisel has a "v" shaped end that impacts a relatively deep line into the wood. The shape of the tip also comes in various v shape from the open v shape to the narrow form. This tool is perfect for those excellent details in your work and inputting some forms close to corners and joints in your project.

The Bent Spoon, Back Bent Spoon, Mallet

With your journey in wood carving progressing nicely, and you are enjoying every step of the way, you will invariably begin to look at more professional and designer tools that will enhance and hone your skills. Some of the tools you should be looking at include and not limited to the back bent soon, bent spoon, mallet, etc.  The back bent spoon can get to difficult to reach areas such as the linking points in a piece of design and also the bent spoon us used in taking out large chunks of wood from your artwork.

Micro Tools

For your very fine details, the micro tools will come in very handy. The variety of tools found in this box includes and is not limited to depth gauges, scissors, measuring tape, a toothbrush you no longer use, tracing paper, a cloth towel, files, compass, etc.

The Bracing Table

If you intend been serious about the carving lifestyle, the bracing table is a piece of equipment that you won't be able to do without and must be an integral part of your toolset. The bracing table is constructed from pine and plywood in most cases, and it enables you to firmly hold your work in place while working with some other implements.

The forward-facing part of the bracing board hangs down the side of your table. Your work is then fixed into the holding bay of the bracing table. While you work on the project with the chisel or any other tool, the forward-facing part of the bracing table holds the edge of the table, and at the same time, your project stays in place without moving all over the place. After you are through working on a specific part of the project, you can turn it over or move onto another part by changing its position on the bracing board.

In constructing the bracing board, the following supplies will be required; one piece of plywood ( eight inches wide and sixteen inches long with a width of about half an inch), three pieces of pine board (eight inches long and two inches wide) and at least sixteen one inch wood screws.

The lower front-facing part of the board, attach a piece of pine board by attaching it with four of the screws. Place the second piece of pine board to the upper back part of the board and screw it in place with another set of four screws. Also, place the third piece of pine board directly next to the second board and screw it firmly into place. The board, at this point, should have taken the form of a letter Z. Your hand orientation will determine the position of the pine boards on the top part of the bracing board; if you are left or right-handed to make it easier for you to use. For left-handed individuals, the third piece of pine board will be placed at the top right-hand corner of the bracing board while for right-handed folks, the third piece of pine board will be on the left.

When screwing in the pine boards to the bracing board, ensure that it is done vertically and not horizontally. This will prevent the board from coming undone when you are working on a piece of a project during constant use.

Patterns Generated by the Tools

For every tool used on the wood during the wood carving process, a unique design is created. To get started, you should familiarize yourself with the type of patterns that will be formed by the tools on sample pieces of wood before you move to use the tools on your project wood. The blade of each tool can also be used in creating very different sets of patterns depending on the angle through which the tool enters into the surface of the wood and how deep you cut into the wood. For example, if you make use of a "c" curve gouge by holding it at a vertical position to the surface of the wood and enter into the wood at a slight indention while carving, you can create fine semi-circles that add beautiful details to your marine life images. On the other hand, if you enter into the wood in a slanting angle, a fine water drop form will be created that goes in smoothly into the wood and comes back out gradually.

The Cramps

This is a piece of bench equipment that is used in firmly fixing the work you are currently engaged in, in the proper position.  There are a variety of clamps, for example, the holdfast and bench screw, which are both advanced tools for professionals and not something that a beginner might need at this point. They are both perfect for works with immense dimensions. For beginners, however, a clamp that can conveniently hold wood of thickness of about four to six inches is appropriate.

The Mallet

This is a hammer-like tool that is used to apply force to the necessary tool on some aspects of a project. The mallet is mostly made of wood with about five-inch diameter with reasonable weight to be able to drive the tool in the desired direction.

The Work Bench

This is one of the essential tools that every woodcarver must-have in the workspace. A proper workbench should be made from eleven by two-inch boards with adequate attention paid to the linkages and joints of the board without a steady bench; your works will be an exercise in futility. The corners of the board should be constructed in such a way that it will not be easily worn out by horizontal force applied to it. The ends of the boards should ideally have an extra inch or two over the stand holding the bench to enable you to fix clamps and other tools. In addition to attaching clamps to the bench, there should also be a bench screw fixed to the rear end of the bench to assist in holding projects which need corners, edges, or other pointed areas carved. The ideal height of the bench should be about three feet from the floor to the top of the table.

You wouldn't want your bench wobbling and moving all over the place when you are working on it; therefore, the legs of the bench need to be adequately fixed to the floor by making use of the appropriate devices.

With years of experience, and as your passion deepens, you might elevate the choice of bench you are currently using to ones that are much bigger with more girth and length.

The Strop and Sharpening Stones

The sharpening of the carving tool is an essential process of the carving experience that every individual must be fully knowledgeable about and also put into constant practice.

Your carving tools, no matter the quality and type, can only perform as well as they should when they have a well-sharpened cutting edge. The strop and sharpening stones are, therefore, an essential component of your tool kit.

When it comes to the stones you employ in sharpening your tools, their quite a few that are of top quality on the market e.g., the diamond hones, Japanese wet stones, Arkansas wert stones, etc.  I make use of the Washita because I can quickly source for it, and it is quite easy to use, and as a beginner, you wouldn't want a piece of equipment that is complicated or one which wouldn't give you the results that you desire. It comes in various gradients (fine or coarse), depending on how you intend to put it to use. It is best to have both sets of stones available in your workspace and, most notably, the fine stone for adding that cutting bite to your equipment.

Some stones do need some form of lubrication in the form of a fluid (water or oil). Take time to fully understand the requirements on how to make use of the stone. The Ceramic stone, for example, does not need any form of lubrication for you to get the best out of it. They are small and rectangular, and through all the use you put it through, there won't be the formation of any "hole" or depression in the stone. The top sharpening surface of the stone will always maintain its pristine and horizontal nature.

Another type of fine sharpening stone is the "Turkey," which has a fine grain, and if you can't get your hands on the Washita, this will suffice.

The stones come in varying packaging depending on the brand or how a particular set of users want it to be. For beginners, however, you should go for a stone that has no case whatsoever as it allows you to make use of the two sides of the stone. You can make use of one side of the stone for gouges, which brings about a faster wearing out of the stone with deep cut marks and the other side for sharpening fine, flat tools.

If your stone comes without a case and you desire to have one, you can quickly and easily construct one by creating a well-fitted hole in a piece of sturdy wood. A tiny indentation should be made at the end of the space in which the stone will be placed in the wooden block. In the small area, a nail, sturdy piece of wire or screwdriver can be set for when you need to flip the stone over to the other side. Constant lubrication of the stone with the proper lubricant e.g., a 50-50 mixture of paraffin and olive oil, will ensure a seamless sharpening of your tools and longevity of the stone.

Some tools need to have the inner parts sharpened, and this would not be possible with the conventional sharpening stones. This is where the stones with curved sides come in. These stones are called "slips," and the most prominent sharpening tool in this category is the "Arkansas," and it works perfectly on the V tool and the veiner. As with all your wood carving tools, extra care must be taken to ensure that it is well looked after and not allowed to get spoilt in whatever way.

Carving Tools Sharpening Methods

There is no fixed method or style that can be used in the sharpening of carving tools. All you need to do is experiment with different techniques until you get that which you feel works best for you and stick with it. It is essential that once you develop your style of sharpening your tools, you keep to it because once you alter that unique method, a lot of things change, and the most prominent is that angle of the blade. Your constant sharpening of the tool along a particular path conveys a fixed angle to the blade, and any alteration of these moves will need you to start all over again in other for you to create another angle for the blade to work effectively with.

When you first get your carving tool, it does not come razor sharp. You have to hone it over some time while you use it for your carving projects for it to attain that sharpness you want. There is no rush when it comes to sharpening carving tools; you will have to take your time, carve, and sharp once more until that perfect cutting tool is achieved.

Chapter Two

Your Choice of Wood

The diversity and choice of woods that are used for wood carving depends on the individuals and the project that you have in mind. For the sake of this book and to enable beginners to get a good understanding of woods that will be easy to work on, I will be touching on the woods that are popular for this art.

The woods are classified into two major groups; soft and hardwood.

With the softwoods, you should go for those that you can easily get from the hardware stores around you, and that is easily carved and won't give you a headache e.g., lime, basswood, yellow pine, kauri pine, etc. These examples are excellent choices as they are free of qualities that are of no advantage to the carver or the project that you will be working on.

Hardwoods are the choice of specific categories of some carvers, and examples are Mahogany, Oak, and the Walnut. Looking closely at the oak, the English Oak is the preferred choice as it has a hard quality and a tightly packed grain. The hardwood provides the carver with a rewarding process as the project that comes out of it is full of character and a personality that will stand the test of time. The final touches applied to a piece of hard woodwork are expressed in all its glory if you take your time carving lovingly and pouring all your skills into the whittling of the wood.

When compared to the English oak, the American and Austrian oaks pale in comparison, and most carvers will instead take a wide detour towards the English variety.  The grains are not tightly packed with the durable, fibrous material arranged in sequentially patterns to relatively soft tissues. They don't take on finishing touches glamorously as the English oaks. It takes a good eye and a lot of searching before one can get a piece of American or Austrian oak that can be appropriately carved on.

The American Lime (Basswood) is exceptional in the making of wooden toys, turning, and carving. It has a pale yellowish tone, light in weight, and with a soft texture. It is a good candidate for detail works.

Sassafras

This wood has a sweet fragrance and been a hardwood with qualities similar to that of the walnut; it is a candidate for carving and furniture making. It is relatively dense with a yellowish color and dark, tightly packed grains.

The Italian walnut comes quite close to the English oak in carving qualities. It shows the minutest details even better than the English oak, and this is the major reason why it is the go-to choice when ith comes to relief carving. When you are selecting the Italian walnut for your project, look out for the piece of wood that has its grain tightly packed together and quite hard. This is an essential step to be taken as all the pieces of Italian walnut available to you does not mean that they all possess the same level of quality. The dark color of the wood should be devoid of any form of milky white coloration, which is an indication of sap.

The Butternut is a grayish colored wood with an evenly distributed grain. As a beginner, this wood will make a perfect starting material for you.

When the project to be worked on will not entail deep carving, the American walnut will be the wood of choice. This type of wood, due to its nature, does not do well for projects that have fine details because it does not give room for any type of finishing or modeling.

The Mahogany

This wood has a reddish brownish color that continues to darken as it ages. The grain is evenly distributed, it is relatively light in weight but quite sturdy. For your projects that will be entailing the need to incorporate exquisite details, this is your wood of choice.

The Obeche

The Obeche is in the class of softwoods and reacts very quickly to the smallest pressure. Due to this quality, extreme care should be taken when handling it. Your knives should be sharpened for easy whittling of the wood. 

Wood types that can be used for carving are numerous, but the availability and the choice of the carver will determine which wood will eventually be used. For this book, I won't be going into details of other types of woods because they are more of the specialty type of woods reserved for select works by professionals and experienced hands.

To carve as is to be treated in this book, the baseline choice of woods is the tightly packed grain oak as our hardwood and the yellow pine for our softwood.

Some woods fall just in between the soft and hardwoods, and examples include the Holly, Beech, and Sycamore. They are perfect for shallow projects with broad shapes, and they are pale in color.

After all the carving has been done on a piece of wood, you should not, for whatever reason, apply any form of polish to it during the finishing process.

An essential piece of information that every carver should always have at the back of their mind is to know that any type of wood that bears fruit or produces any kind of flower will most likely undergo rotting and infestations by worms and other grubs.

Chapter Three

Hand Positions

The angle at which the chips of our project are cut is determined by the fashion in which you place your hand against the wood and the way the carving knife is held. There are some simple ways in which you need to learn to hold your carving knife to form basic cuts on the wood.

To begin, place the carving knife on your hand, the topmost part of the handle should lay in the curve of your pointing finger. The handle of the knife will lay into the holding grasp of your hand. Hold it firmly and gently, with a little pressure yet freely. If you hold it with a bit too much force, the cuts produced will be deeper and more extensive than you intend for it to be, and your hand will get sore and fatigued quickly too.

Cutting the straight wall chips

To make straight wall chips, your carving knife will have to make a ninety-degree angle to the surface of the wood. The middle section where the two sides of the chip meet are to be the part with the most depth. Put your knife at the corner edge where the two linear lines meet before sinking it into the wood.

The Sliding wall chip

This type of chip cut is also found in the straight wall chip. Reduce the angle the blade of the knife makes with the wood. Push the knife into the edge of the straight wall cut and cut the side very lightly.

The Circular edge chips

In the nearest future, you will be working on projects that have curved edges integrated into the design. To make a curve on a project, the angle that the knife makes with the wood is gradually altered as it moves along the drawn line on the wood.  The knife is placed at an angle of forty-five degrees to the surface of the wood. Start with this angle and gradually move along the design pattern on the wood then as you approach the middle part of the design, begin to reduce the angle the blade makes with the wood; about a twenty-five-degree angle. Moving onto the other half of the curved design, slowly elevate the blade back to the original angle level you started with. The gradual altering of the angle allows the blade to cut much deeper into the middle part of the design.

The four and three-sided cuts

This type of cut is pretty well used by a lot of beginners as well as experienced hands. Push in the knife at an angle of about forty-five degrees from one side of the triangular pattern. The blade goes into the wood and moves towards the middle of the pattern.

The negative and positive areas

When you make use of your carving knife to chip and cut at the design patterns on your piece of wood, that particular area is referred to as the positive area. The spaces around the cut area that have not undergone any form of chipping or cutting that are untouched are known as the negative area. The design pattern that you are working on can take on any form and shape, depending on the influence you exert on the relationship between the negative and positive areas.

Free-form chip cutting

Rather than the regular chips that are quite popular, the free form type of cutting makes use of a two-sided cut and not the four or three-sided cut. The cut is started at a narrow point and gradually increases as the blade approaches the middle section and then goes back to the former narrow point as it gets to the end of the point. Start with your blade making an angle of about thirty degrees to the wood and increase it to about forty-five degrees towards the middle of the pattern and reduce it as you move away from the center of the design pattern.

Chapter Four

Producing Patterns

Getting your wood ready

The piece wood that you will be carving is the most crucial part of the whole project as a bad piece of wood won't do justice to your skills, and all the time and effort expended will go to waste. The wood must undergo proper checks and any preparatory touches before you begin the actual cutting. The surface of the wood should be as smooth as possible, free of any obstruction. This makes the copying of the design to the wood surface easier in addition to making the traced outlines visible enough to avoid wrong chips. To get the wood surface ready, employ sandpaper to get rid of bumps, rough areas, speckles of sawdust, and other dirt can be removed using a piece of clean cloth.

The Pattern Tracing Process

Your design pattern can either be hand-drawn or designed on your computer and printed out. The design should fit perfectly onto the area of the wood surface available. Place the paper with the design onto the wood and hold it in place with masking tape or any other tape you have available. Get a piece of transfer paper and gently place it under the paper with the design. The type of transfer paper you use is totally up to you. There is the carbon paper or the graphite paper, which are the common types of transfer papers used.

If you are to use the carbon paper, care should be taken to prevent dark patches from been transferred from the copy paper onto the wood surface. This is brought about as your hand touches a part of the pattern paper during the tracing.  Carbon paper gives a sharp image that is cut quickly from the wood without the headache of having unwanted carbon residue on your work. The lines have to be thoroughly cut out from the wood as an eraser cannot be used to get rid of lines that are not part of the design.

A point to note is that if the wood to be carved has a dark tone, a different type of transfer paper will have to be sought for. The dress maker's transfer paper comes to mind as it is available in a multitude of colors and will be visible on the dark wood.

Apply uniform pressure as you trace out the pattern with either pen with colored ink. Do not press too hard and aim to get only the most essential features of the pattern onto the wood as most other finer details are bound to be destroyed when you begin cutting.

After you are through with the copying of the outlines, remove some of the tapes to allow you lift the paper to have a clear look of the wood surface to ensure that you have the exact pattern that you want correctly copied. 

The transfer paper is the first and commonly used method of copying designs to the wood surface. The other and an equally as good method is the use of a soft pencil with a lead tip. Using this method, you shade the other side of the pattern paper on which the design you are to copy has already been drawn on. This technique cuts out the need for a carbon paper as the shading already stands in as the transfer agent.

A number 2 lead pencil is used to shade the whole backside of the paper gently. After the shading has been done, turn over the paper and place it on the wood surface. Hold the paper in place with strips of masking tapes. Pick up a colored ink pen and applying even gentle force, trace out the important outlines of the design pattern.

Compared to carbon paper, a soft lead pencil does not leave as dark a line as you will obtain in the former. This makes it easy to get rid of the line as you carve or erase it with the use of an eraser. With this, you can alter the design or introduce new additions as you deem fit. This works very well for beginners as your transfer skills may not be top-notch yet, and you need constant practice to get it right. The soft pencil transfer method will allow you to build your confidence levels with the option of erasing or inputting new details. It is not fixed, and permanent like you will observe in the use of carbon papers.

For building your knowledge base and be spoilt for choices on the type of transfer method you want to use, I will touch on one more transfer method.

The pounce pattern comes in handy when you have to carry out more than one trace on the same design pattern. In carrying out a trace using this method, a sewing or pounce wheel is used. The wheels are designed with a tooth that punctures the paper in a uniform designation.

In creating a pounce design, get the design pattern paper ready and a stack of soft old papers. The old papers act as a medium to give easy passage to the wheel when it is moving over the project. Place the pounce wheel over the pattern paper and press down gently and push it along the outline of the pattern. Alternate the direction of the handle of the wheel as you come across straight lines and curves in the pattern to ensure that the toothed wheel keeps in constant contact with the outline of the design.

After you have moved the wheel all over the outline of the design and it is well perforated, picks up the design paper, and turns it over to the other side. Pick up the sandpaper and lightly apply it over the perforated holes. This is to ensure that the holes are thoroughly opened and prevent it from becoming blocked.

After the sanding is done, place the perforated design paper onto the wood and hold it in place with masking tapes. You can then construct or buy a pounce stick; this is a piece of stick that has on one end cotton enclosed in a piece of textile material. It is used in the application of the colored dust to the paper. The pounce stick is dipped into the colored dust; avoid packing on too much dust. Then proceed to pounce it over the trace holes on the design paper. This action brings about a movement of the colored dust into the outlined perforated holes.

So how do you obtain the colored dust? You can get a pack of colored chalks and ground them into a fine powder. Also, the soft lead of a pencil can be sanded into fine powdered form and used as colored dust. There are other ingenious ways of producing colored dust, and you can always come up with one.

The type of colored chalk you use will be dependent on the color of the wood on which you want to work on. For example, if the tone of the wood is dark, bright-colored dust will be preferable to bring about a distinct contrast between the two materials. On the other hand, if the wood is light in color, colored dust like the one obtained from the lead of a pencil will work just fine.

It is not only the contrast and availability of the colored dust that is important when it comes to tracing a pattern on the wood, but the powder should also have desirable sticking qualities. Always carry out a practice run with your colored dust to check if it will stick to the wood surface and even if it will be easily removed when you want to get it off.

After the pouncing has been carried out using the colored dust, remove the masking tapes holding down the paper, and pour the remaining powder on the paper into the storage jar. This is a sustainable way of transferring patterns.

Chapter Five

Design Reduction and Enlargement

Most times, that drawing or design you want to carve out on the wood will not be a perfect fit for the work at hand. This is an almost everyday occurrence as you will not ever almost get a design pattern that will fit right into the project that you have in mind. So how do you go about making the best out of the pattern you have in hand to work best with the project? You either reduce or enlarge the design pattern. To do this, you need to have a picture or image of interest in hand.

Let's take an example of the face of a lion. This carve makes a lovely decorative piece for almost any room in your house and also as a gift. The size of the lion face or head you have in hand needs to be enlarged for it to be of any reasonable artistic value based on the result you have in mind, which is to hang it on a wall. The larger it is, the better it draws attention and is appreciated.

The pattern of the lion head has a dimension of 4" by 6," and the work surface has an area of 8" by 12".  The image carving will have to be double the pattern size.

On the design pattern of the lion head, using a pencil and a ruler, create well drawn out boxes that measure half an inch by half an inch.

Go to the bottom left-hand side of the pattern and begin by marking the box there with either a letter or number and progress upwards to the top left corner of the pattern. After you have gotten to the top left corner of the pattern, go back down to the bottom left box and begin marking it with numerals or letters moving horizontally to the last box to the right-hand side on the same line.

Get an everyday piece of paper, and making use of a sharp pencil and ruler, set up a grid measuring one inch by one inch. The new piece of plain paper is the base of the new pattern that you want to create. Mark each of the new boxes just as you did with the old ones.

The reason for marking each box is so that you can have a point of noting which part of the image you are transferring at any given time. Taking on each of the boxes one at a time, create the new lion face image to the enlarged design.

Making a Design Simple

When a design pattern interests you, and you want to carve it out, you will discover that a lot of the time, the picture contains numerous fine details that will prove hard to incorporate into your carving. To overcome this obstacle, you should consider the main features and outlines of the pattern that is to be carved.

In a situation where there is a recurring feature in the pattern to be carved, to simplify the project and at the same time retain the distinguishing features of the work, make use of a contour shade technique to bring all these features into one unit. In aiming to carve multiple elements, one can spend an excessive amount of time and, at the same time, get tired. Lumping the features together makes your carving experience a more enjoyable one. An example of a recurring feature that can be grouped is the feather of a bird.

To give you a simple guide on how to group a recurring feature of a project, start with copying out the major outlines of the pattern that defines and confers a distinguishing feature to the work. There is no point in trying to carve out all the lines in the project as it will eventually be removed as the carving project continues. The lumping of recurring patterns most times, when they are relatively small into substantial features, makes it easy for you to carve out rather than spending endless hours on small individual elements.

In some projects, the features to be carved are unique and not so closely related that it will require grouping. In this scenario, to make the project as simple as possible, apply the levels technique.

The larger areas that have undergone simplification by grouping together of small units are to have a deeper carve area compared to more minor features. On the pattern design, the areas that will be eventually undergoing a deeper level of carving will be shaded darker by using a pencil. In contrast, areas with relatively shallow carving will be lightly shaded.

There might be a need for you to refer by labeling the different parts of the design pattern to guide you as to what each part is when you are working on the project at a future date.

Chapter Six

Levels

When working with a project that has lumped together related items, you will note that all the details were similar; that is, there is a relationship between them e.g., the scales of a fish, the feathers on a bird or the leaves of a tree.

As you progress with your wood carving experience, you will come across projects that do not conform to the example of having similar features. There will be situations in which the number of features you will have to carve are numerous with no close relationship whatsoever. For example, you might start by carving a boy sitting on a fence in a meadow. This provides you with the opportunity of carving a project that has different elements, and all you need to do is try as much as you can to make the project simple.

For any design project that you will be working on, there will be a minimum of three to four layers. There will be the main focus of the project, which is also called the prime object, the background on which the prime object will appear, and other layers to be integrated into the scene of the carving. The number of layers that can be presented in the design is not limited, and you can have as much as six or seven. The number of layers will increase when there is another area of focus other than the primary area in which the prime object appears. To make your project have equilibrium without appearing disjointed, aim to have at most six layers and a minimum of three to four layers. Having too many layers in your work makes it noisy and quite hard for you to keep it neat and straightforward.

For the boy on a fence carving feature, the prime object of the design pattern is the boy sitting on the fence with the rolling meadows serving as the backdrop. The other area of focus is the scattered trees.

Start with marking or lettering the levels from the letter "a" to "f" progressing from the innermost part of the carving, which you should tag "a" to the part nearest to you as "f."  It will be of artistic importance if you place and work on the prime object at a position centered right in between the nearest and farthest parts of the carving, which will be ideally tagged "c." The boy will have two levels at his back, and three levels placed ahead of him.

The placement of the prime object at this position is essential in providing shades of contrast to the features present in the carving.

Chapter Seven

Carving Letters

The inclusion of letters, numbers, and other inscriptions add a touch of uniqueness and identity to carved works. Wedding gifts, birthday presents, jewelry boxes, plaques, etc. are perfect examples of carvings on which letters can be carved.

Let us take the project of a frame with the face of a black bear carved into it. There are spaces at the bottom and the top of the frame into which you can input lettering into the project. To get started with getting the perfect lettering and carving, here are some simple steps that you should embrace;

Get a piece of thin transparent paper and draw or write out the letters you want to be transferred to the wood. Set the paper and draw the outline as you will want them to appear on the wood. Then proceed to cut out the letters one at a time. Place each letter into the space you want it to appear on the wood surface.

The arrangement of the cut letters should be appropriately arranged to have even spaces in between them. Fold the piece of paper into two in such a way that it touches the last and first letters. Then fold the middle part of the paper into two halves over the middle part of the design. The lettered design pattern at this stage should be aligned to the face of the bear.

You should note that letters have different spacing requirements. Some letters need ½"; some require ¾" while others do well with 1" spacing. 

Try as much as possible to mix up the fonts you put to use. The type of font to be used, however, depends on the kind of project and the letters to be used. The boldness of the words and the font types convey a message. The bold types of fonts covey and action while the not so bold words indicate a person or personality.

How large or rather the height of the letters also conveys a message of importance. The larger the phrase or words, the more it passes across the message that it is intended to. For example, if I carve out the word "Florist," it will be the boldest and the most significant word while other words or phrases will pale out in comparison, having relatively smaller and less bold features.

The orientation of the words also draws attention. Some of the words can be in italics, flowery, or some other formats. Not all the words need to maintain a horizontal and uniform pattern as it can be a bore and not stand out enough to catch the eyes.

Getting Fonts

There is a multitude of places from which you can get fonts to be used for your project. You might be aware of sources of free fonts, but I will quickly run through it for folks who might be having challenges with this.

The most obvious place to start from is Google and other search engines. Input the phrase, "fonts free download copyright free." You will be presented with several options, click the website that offers you want you need. On your desktop, create a folder named "New Fonts" and store your new downloaded fonts in there. Some of the downloaded fonts will come in zipped files. You will need a software to get the required data out successfully, and this process is called extracting. The WinZip application is the most commonly available and used application for this procedure. When the zipped file is opened, there is the possibility that you will come across several files; look out for those ending in .ttf or .tt. The records obtained from the zipped file are to be saved in the created folder for easy access.

To easily get the wanted files and easy location, follow these simple steps;

Go the desktop > My Computer > Search > Enter into the C drive > windows > click on the folders named Fonts > desktop > highlight and cut .ttf files only > paste into the Fonts folder > delete the New Fonts folder on the desktop.

Chapter Eight

Carving Landscape Relief

Once you get into wood carving, you are guaranteed an almost infinite number of hours of unlimited pure joy. The wood carving starts from a plank of plain wood to a finished piece of artistic brilliance that lights up the room in which it is placed.

In relief carving, the main point of interest is in the alternating and ever-morphing design pattern and textures that you can bring to forth and not necessarily how deep the knife cuts are. Taking the example of a boy sitting on a fence in the meadow, slightly curved cuts are used to show the rolling clouds, long and short thin cuts indicate the grasses, vee-shaped grouped elements show the leaves on a tree while the tree itself is a deep vertical cut. The fence is a series of continuous vertical and horizontal long and short cuts, and the boy is indicated by curved and short vertical cuts in the wood. All the cuts come in different forms and formats, giving varying textures to the work.

As a new convert to the art of carving, relief carving offers you an avenue through which you can hone your skills. There is no essence in you laboring for an eternity carving a multitude of repeating elements to get a work of outstanding features. With relief carving, you will be exposed to the opportunity to develop your carving methods.

The Essential Methods Employed in Relief Carving

Electrical Power Machine Carving

The use of electrical power tools over the years has edged its way into the carving methods that carvers employ in developing new works of art. These portable and handy tools carve through bits that are made of sturdy materials e.g., diamond, steel, titanium, or some other stuff. The prices of the carving bits can be on the high side when compared to the carving knives, but at the same time, the bits are not that expensive that a passionate carver won't be able to afford.  The higher the price and quality of the bit, the more the exquisite smoothness of the work it will produce. If you can't break the bank for a high-quality bit, there is the likelihood that an uneven texture will be created, and this can be worked on to give a smoother finish by making use of a sanding paper and other knives and tools.

For folks who are not fans of power carving, making use of the hand-powered tools can make your relief carving a speedy and effortless process as it can be used for roughing while you then apply the finesse and smoothing later on.

The Hand Carving Technique

Making use of this method involves you holding onto the carving knife and other cutting tools and applying sufficient force to make cuts. The tools come in various forms; there are cutting tools that are held in one hand like the cutting knives, and there are others that are held with two hands, with one hand moving the cutting edge in the path you want it to go and the other hand applying force to the tool to move it forward.

Using the Router Method

The tools used in this carving method are best for individuals who have set up a room specifically for wood carving. The router can be altered in such a way that the relief level to be carved into the wood can be adjusted by altering the height of the tool. The bits of the routers are also varied, and they most times give a rough cut, which can be further smoothened by hand carving tools or a relatively smaller cutting bit. By fine-tuning the rough cut, you will be transforming your work into a perfectly carved relief work of art.

The Mallet Way

When the project you have in mind is of considerable size and the wood is not that soft, then your choice of cutting tool should tilt towards the mallet. The tip of the mallet has a horizontal cutting blade with a sturdy body. The cutting blade is held in close contact with the wood of interest, and the thick body is struck with a desired heavy object to apply sufficient force for the blade to move in whatever direction you want it to.

The mallet cutting tools are available in various thicknesses from the relatively light ones to quite heavy types to cut more substantial amounts of woods. 

To make use of the tool, the cutting blade is held with a hand and the hitting object, which can be a mallet or some other heavy tool in the other hand. Just before you begin to use the mallet and cutting tool on your piece of wood, ensure that you make use of a workbench on which the piece of wood is correctly held in place to prevent unwanted movements all over the bench.

Relief Carving Levels Treatments

I have been discussing the variety of methods that can be put to use in design patterns before the actual woodwork of carving starts. Another pertinent aspect that you should always have in your checklist is having a mental image and strategy of how you will texture and add finishes to the area surrounding your prime objects. There are quite a few ways through which you can achieve this, and some of these pathways are discussed below.

The Indented Curved Background

Using this type of relief carving technique, leave about 3 inches of space from the outer edges of the wood before you start carving deep into the wood. Gradually start working a slight depression into the main carving spot. Due to this indentation that you have incorporated into the project, it is quite evident that it takes on an integral part of the artwork. Some folks might leave the corners of the design wood with the sharp corners. Still, if you want to bring in the edges into the mix, you can add some of your finishing to it e.g., adding some patterned curves or some other forms of design to point to the fact that you have not left out any part of the wood in this design. A gradual carving in and downwards gives the impression that the work has more depth compared to what it has.

Gentle Inclined Background

This carving treatment is observed in a lot of projects works with a slow and gentle gradient moving from the main carving itself to the boundaries of the design pattern. This method allows for the objects of the relief carving to be the center of attraction.

To put this technique to work, first outline the design you have in mind onto the wood and ensure that it doesn't get to the edges of the wood. Leave about 2 inches of free real estate between the main design and the edge of the wood.

Making use of the appropriate carving tool, cut out the specified area around the main design. Gradually work with a round gouge roughing into the design, cutting, and chipping away, reducing the initial height of the wood around the design pattern. After you must have done this and gone to work on the main design, at any time later, during the project, you can still go back to add some touches to the edges with a chisel to add some finesse or smoothen it out.

Enclosed Boundary Background

Take the example of the boy sitting on a fence, a well designed patterned frame in an enclosed background will be perfect. The boundary can take on any shape from rectangular, circular, or square, depending on your choice.

To start, from the edge of the main design, using a ruler and pencil, measure out the desired distance, which can range from half an inch to one inch. Do this at regular intervals all over the edge of the design and try as much as you can that it is uniform. Then proceed to trace out the line with a light leaded pencil gently. Making use of a gouge, rough out the marked areas before employing a chisel to add finishing touches.

Saw Cutting Relief Patterns

Quite a few relief pattern projects are of the outdoors, with trees, a few buildings here and there, and the main subject. Such carvings most often are worked into woods with a definite shape. There are some relief carvings; however, that is not bounded by these fixed frames and can be carved as close as possible into the very outlines of the design pattern.

There is often time the need to put in place levels in the patterns been created. The levels all have different depths and can be established in the process of the rough out.

For relief carving, the individual design spaces have different height levels on the working material. For the boy sitting on the fence, the image of the boy is the topmost part of the design, the fence and trees are a step below the boy, while other features such as the clouds go deeper into the wood.

The carving can begin by first roughing out the different design patterns into selected levels, which can then be carved out into varying height levels.

To make the carving out process easy for you, mark out the different levels with signs, numbers, or letters. For example, the boy is "a" the fence and trees; "b," clouds "c," other features "d," etc.

Relief Carving Steps

To produce a relief carving project, the work must pass through five simple steps.

The initial steps are termed the roughing out process during which all the levels you have indicated will be in the project will be produced by cutting to a preselected level in the wood. It is a way of taking out unwanted wood from the areas around the wood to begin showing the unrefined images of the design. To get this done easily and quickly, make use of tools with large cutting blades to get down to the depths you desire without much hassle e.g., the bench knife or any of the wide blade gouges. After this roughing out, the initial impression that you will have is that the work is rather shabby with jutting out of angles, no curves, etc.

When the initial rough cuts have been made, proceed to give definite shape to individual elements in the design pattern. At this stage, some finer details like the rolls, tapering, contours, joining of two distinct areas together in smooth graduation will begin to appear as you take out the sharp jutting remnants of the first step. The perfect tools to use for this step are the skew chisel or the straight chisel, and you might also decide to throw the bull nose chisel into the mix.

You can then move on to shaving or the removal of strands of woods that are remaining. This shaving or smoothing can be done by using the straight chisel, bench knife, wide sweep gouge, or the bull nose chisel. Hold the shaving tool against the surface of the wood, creating a small angle and gently push in small short strokes to create a flawless, smooth surface.

After the shaving must have been completed, it is now time to add more gleam and shine to it by sanding it. When the sanding is done, clean the surface with a piece of clean cloth. 

The final stage is the addition of finish to the carved work. This touch brings out the beauty of your work, and it makes it stand the test of time. When it comes down to finishing, a lot of factors are to be considered, such as what the artwork is to be used for and your taste of paint types. There are two main types of paints that give shine and burst of color to your artwork; acrylic paints and craft paints. Other finishing materials include and are not limited to sealers and oil finishers, which prevents the effects of aging from quickly deteriorating the wood while also at the same time increasing its artistic value.

Flawless Backgrounds and Linkage Lines

As an individual who is relatively new to the art of wood carving, you are likely to be confronted with some challenges such as how to create clean and flawless backgrounds and get those joint or linkage lines as perfect as you can. There are quite some methods that you can employ in your wood carving projects that will help you in surmounting those problems. Let us get started.

Carved Curved Areas

These types of areas are quite easy to access, and a bench carving knife can be used to make stop cuts to vertical lines that can belong to the walls of a building, tree, or some other objects. After the stop cuts are in place, proceed to put your knife slightly beneath the surface of the wood at a perpendicular angle. This method will generate chips, and it will generate sharp, faultless edges in your work.

Simple and Free to Reach Joint Angles and Lines

In some projects, you will have linkage areas that you can easily have access to, and the choice of tool you make in creating a stop cut is dependent on the space that needs your attention then. Given this scenario, I will advise you try out some of the tools in your tool kit e.g., the bench knife or v-gouge, and you will finally decide on which to use as the task at hand determines.

Begin by making use of the bench knife or v-gouge in the angle and push in the tool in such a way that an angle is created as it goes into the wood. The depth of the cut should not exceed the length of the tool. This affords you the opportunity of returning to that area to carry out any fine-tuning that you might want to carry out. A gentle approach to easily smooth and work on an angle is preferable to cutting it out aggressively.

After the angle is a bit close to the level you want, start to use a gouge (the large round one) to rough out the space.

Closed- Difficult to Access Linkage or Joint Lines

To get into those hard and seemingly impossible to reach spots, a tiny round gouge or a u-gouge and the carving bench knife will come in handy. Just like you will do in the carved curved areas, make a stop cut on the straight lines. Gently place the bench knife on the wood surface and ever so gently, drag the knife towards you. These prevent the lumping together of the wood strands that can result in uneven cut lines leading to a disfigurement of the work.

When you are through with the first step, move onto placing your knife underneath the wood surface and remove a tiny piece of wood. Sliding your knife under the wood will come to a halt once it gets to the position of the stop cut leading to the piece of wood coming off. This step should be continued until you have attained a depth at which the cuts go below the stop cut you initially made. When you get to a depth below the stop cut, the wood chip won't come out as it did in previous cuts, you will have to construct a new and small stop cut to take out that piece of wood.

When you are through with removing the wood chips to the desired level, smoothen the area with a veining tool.

 Chapter Nine

Type of Cuts

The Stop Cut

The stop cut is used in differentiating varying height design types that are present in a work. It involves a bench knife and you making two precise and delicate cuts in the wood.

To make a stop cut, your bench knife should rest on the outline of the design, the blade of the knife should be on the exterior line edges of the design, and then the blade should also make a slight angle with the surface of the wood. Applying a uniform force on the knife, draw it along the line of the pattern, making a gentle cut as you pull it. After you have gotten to a point, stop and remove the knife from the cut then move to the inside of the line pattern, a few distance away from the actual line that you have cut before.  The knife should make a slight angle with the surface of the wood and then applying some pressure, draw a well-formed stroke. A trough-shaped in the letter "v" will be formed through this two-step action.

This is how to make stop cuts, and it can be performed repeatedly over the same area to deepen it further and distinguish the level from the surrounding areas.

When the stop cut must have been made with the bench knife, it is then the turn of the round gouges to gently drop the surrounding environment into where the stop cut has been made. With the stop cut, the gouge will not be able to make any cut in areas higher than the stop cut.

The Chisel Push Cut

The varying types of chisels can be made use of when there is a need for the formation of a well defined straight line. The chisel should be firmly held and apply some force into the wood to bring about a clean cut.

The Chisel Back Up-Cut

Align the chisel, the angular part of the blade against the working surface, and push gently to obtain an obstruction-free surface.

The Chisel Back Down-Cut

This method is best applied when there is a rough cut to be made. Place the blade of the chisel on the pattern outline and push the blade deeply into the wood. This will create a cut with a relatively massive depth.

The Round Gouge Cut

This type of gouge is perfect for the removal of large amounts of wood swiftly and creating a well-formed depression on the wood surface. After the initial carving steps, the application of the round gouge is necessary for the creation of levels in the design pattern. The tool comes with a half-pie point that is efficient in the creation of cuts of considerable depths.

The gouges are perfect tools for shaving, too, as you push it harder, the more the tool will go deeper into the wood. With evenly distributed force and ever so light push, you are bound to get wood surfaces that are a beauty to behold.

The V-Gouge Cuts

Instead of making a v cut in two separate cuts with a bench knife, you can get this type of cut in one single move with the v- gouge. The cutting edge od the tool is designed in the shape of the letter v, and there are different angle sizes of the v-gouges available. Some of the v-gouges will give you an angle with open angles, and some of the others are good at making narrow angles.

As with any cut that you make with your carving tool, it is best that you go along with the grain of the wood and not against it. Flowing with the grain of the wood prevents unsightly and deep cuts from been made. The v- cut can be produced by fluid movements of your hand and the tool from a particular area or towards a point as long as the direction of the wood grain is put into consideration at all times.

This tool is not only perfect for the construction of angles, but it can also be used in the smoothening operation of your project works. Align one side of the v point of the tool against the side of the wall and push forward in one smooth move.

Chapter Ten

Irregular Design Patterns

Designs with no regular fixed patterns make for exquisite additions to any wood carving project. They add another dimension of curves and flowing motion across the levels on the wood. The challenge that any carver would face is how to integrate the initial design pattern to the wood surface due to the lack of reference points; most notably the curves through which the identification and marking of the individual areas of the pattern can be performed. As with any challenge, there is always a solution, and with a problem of this nature, you can still work out a way of setting up your unique marking points so that you can quickly transfer the design pattern to the wood.

For this form of addition of a design pattern to a plank of wood, I will be using a rose flower as an example. The petals of the flower are irregular with curves. The rose pattern on a piece of paper when folded into two would encapsulate the main features of the design pattern that you would want to be transferred to the wood. After the initial fold, you can then move a step further and fold over the piece of paper once again. Unfold the paper, and then using a pencil, mark out the significant points on the paper where the curves of the rose petals are. The points are the markers that are moved to the wood surface and allows you to quickly and seamlessly trace out the flower.

The rectangle and square-shaped method have been used in this instance, but other methods can be used, such as the triangular, c- curve, or s-curve method. They are used depending on the shape of the image you want to be transferred to the work surface. Uncomplicated and easily formulated designs bring about ease of copying the patterns to the wood.

Circle Creation

You will inevitably come across design patterns in your wood carving journey that will involve some forms of circle. These forms may not be an integral part of the carving, but they can be part of the fringes or borders of your work. Wherever the position of this spherical or oval design is found in your work, it will always make an excellent addition to the carved project.

Getting the circle pattern traced directly to the wood surface is the easy way out. You can also aim to improve on your freehand drawing skills by tracing the curved lines without tracing it. If your hand drawing game is not top-notch, you will still trace the already prepared circular pattern badly. In essence, practicing and been able to create a freehand drawing of curves and circles will always come in handy for you.

With the boy sitting on the fence, you can add another feature of a rainbow in the background. To do this, locate a point on the design and mark it as the middle point of the rainbow or the circle you are about to draw. At that point, get a pin and insert it in there. To that pin, affix a piece of twine that will go at least three times to and fro from the center of the circle to the edge of the circle. Tie the cord in such a fashion that it will conveniently touch the edge of the pattern and drape it over the pin at the center of the pattern. Get a pencil and put it into the twine, and draw out the pencil to the end of the string. Now draw the circle by moving the pencil along the route the twine makes form the center of the circle.

Chapter Eleven

Safety when Woodcarving

The health and safety of the individual carving and those around cannot be taken for granted at any point during a woodcarving process. The health and steps to ensure an injury-free environment is a primary step any aspiring or experienced woodcarver should understand before a carving project is embarked upon. As you learn the rudiments of woodcarving, safety should also be an integral part of the process of making every woodcarving process a fun one. In as much as the carving of wood can be fun, this will come to an abrupt end once there is an accident. Though accidents might not be prevented, with the use of safety gear and other invaluable tips, the severity of any mishap will be drastically reduced.

Your Health

Quite a number of the woods used in carving have resins and oils that can cause allergic reactions to individuals who are susceptible to them. Woods that fall in this category are mostly tropical in origin. It goes without saying that whenever you are sawing, drilling or making use of any form of machinery on such woods or even any wood products, put on a dust mask that prevents the inhalation of tiny wood particles that might cause severe reactions to the respiratory tracts and other parts of the human body.

Some woods do have spalting on them; the spalt is a form fungus that grows on trees, and it can be extremely harmful to the human respiratory organs. To know if a piece of wood has spalted, you will observe some dark lines streaking across the wood. These lines make for exquisite kitchen arts and other forms of decoration; it is the spores that are toxic and not you touching or working on the wood itself. To prevent coming down with any potential side effects, always ensure that you wear protective equipment during the processing of such woods.

When cutting or making use of power equipment, put on protective goggles to prevent splinters, chips, dust, etc. from getting into the eyes. The use of power equipment and the constant chipping and cutting of wood will fill the room with particulate matter, which will inevitably cause respiratory tract problems. In your workspace, install a vacuum fan that will remove any form of dust generated during the carving process.

During the carving and cutting process, there is a high possibility that some fragments of wood might pierce your hand or some other parts of the body. Since such wood splinters are not clean, there is a high chance that it will be carrying some form of microbes that can bring about infection of that particular area, which will quickly spread to other parts of the body. If you experience an injury from a splinter of wood, promptly take out such material, clean the area of penetration, and, if possible, seek prompt medical attention. The sure way of reducing the chances of getting your hands harmed by the splinters of wood is always to wear a carver's glove. At all times when a carving project is ongoing, you must have the gloves thoroughly worn on both hands. The carver's gloves do not have a fixed left or right-hand design, as they can be altered on each hand at any given time. High-grade carver's gloves have some form of steel thread fabricated into the design of the glove to give it extra protective capabilities. Other glove designs do not have steel thread integrated into the design, and these types of gloves tend to have a firmer grip potential when compared to the steel types that can cause slipping of the carving tools. There is also the leather carving glove that also offers a reasonable form of protection to your hands. The chances of getting any sort of injury to your hands are seriously reduced with the protection provided by wearing the hand gloves.

The carving aprons are made from leather, and they come with a pouch for storing some wood chips and other non-dangerous stuff. The apron should be worn when carrying out any type of wood carving activity as it protects your torso from potential harm.

Let us move on to hand tools and the safety measures you should always put in place. When carving with a sharp bench knife, you are safer than when you employ a blunt knife. The reason why is because the sharp bench knife cuts easily through the piece of wood, and you don't have to apply a lot of force to get a cut made. This cannot be said for a blunt knife that will require a lot of force to get a cut made, and there is the possibility of the knife constantly sliding or jerking off the surface of the wood leading to accidents.

The carving knife should be appropriately held in a firm grip when carving. The handle of the tool should be held in your hand of choice, either right or left, or any of the hands if you are ambidextrous. Holding firmly to the knife will give you a comfortable measure of charge. The thumb on your hand holding the knife should be the guiding force ordering the direction and flow of movement of the carving knife.

When your carving knife or any other carving tool is not in use, they should be placed safely into the tool kit box. This is because the sharp edges can cause harm to the human body and any other materials around the home.

When carving is in session or just before it begins, doesn't it make considerable sense that the piece of wood been worked upon should be fixed and prevented from moving about? It is not only about the aesthetic quality of the work that is produced that will suffer serious defects, but the health of the carver is also at risk. There are quite a few implements that can be used in holding down carving to the workbench e.g., a carver's belt, clamp, vice, etc. Your body parts will be kept away from sharp tools and other power-driven machines. 

When power machinery is being used, there is the tendency that a loud continuous stream of noise will be produced. To ensure that you don't suffer any permanent ear damage, put on ear protection guards.

When you are about to turn on your power tool, always make sure that it is at the lowest speed setting. You can then gradually increase the speed as you deem fit.

A rheostat is a must addition to a die grinder with the inclusion of a cutting head. The die machine comes up straight when powered on without almost no form of regulation or control. If there is a faulty cutting head or some of the screws are loose on the cutting die, the die can cause some horrific injuries to the body.

Woods will always have unwanted visitors in the form of insects and other bugs that bore and lay eggs in them. These bugs not only damage the quality of the wood, but they can also be a source of infestation to the home or any new environment that the wood is introduced to. When buying wood for carving, it is advised that you carry out a proper inspection of the wood for any sign of holes made by insects. If you, by chance, failed to spot any bug and take them home, you can use an insecticide to treat the wood.

Get a large plastic bag and place the wood in it alongside a large can of suitable insecticide with the cap off. Secure the top of the plastic bag well to prevent the entrance of air or the escape of the insecticide once sprayed. Depress the top of the can containing the insecticide and let the plastic bag sit in a corner for a few days. When you are ready to retrieve the wood, take it outside the workspace or the home to a place with proper ventilation and to not let your nose get too close to the bag when opening it. To be entirely satisfied that every last bug, larvae or egg has been cleared off, a repeat of the steps is highly needed.

Other Essential Safety Tips

Attention

When cutting the wood, your mind should always be focused on the task at hand. Always try to envision and think several steps ahead of the likely path the cutting tool might take. Be fluid in how you set up your body and don't be fixed or rigid to one particular position that might not be comfortable or likely to cause bodily harm. Be one with your wood carving at all times. Do not let your mind wander while carving as once your mind begins to drift away, you are prone to accidents happening. Make use of your eyes, ears, smell, and all your other senses when carving. Do not be caught unaware at any point in time.

The Pressure

The more pressure you apply to a carving tool, the more the propensity for the sharp blade of the tool to go out of your control and cause harm. This issue of the application of force and accidents is most common with newbies as experienced hands have mastered how to direct and channel the force applied to the carving knives. It is more or less the driving of a car; once you do not have control over the driving force, injuries will most certainly occur. Whatever the type of method or technique you decide to use in your carving process, always weigh the control it allows you to have over the knife, the wood, and your environment at all times. With time and more carving projects under your belt, you will be more proficient at developing equilibrium between the pressure and control you have over the direction of the carving tool.

Your Outer Reach

Before you begin carving, stretch out your arm with the carving tool in hand. The area all around you that the tip of the tool reaches is what is termed the safety zone. It is often a circle around you, and no one should break that circumference whenever you are working. Once an individual comes close, stop any carving at once and put your carving tool away.

The Inner Reach

While you are on the lookout for external interference that might get hurt, you need to also look out for number one; that is you. Always make sure that the blade of the carving tool is at no time pointed directed at you or held in such a way as to cause bodily harm. The best way of ensuring that no accident of this sort ever occurs is to have a clear picture of the potential paths that the blade can take at all times.

Finally

Woodcarving, as an art, can be termed as been dangerous due to the tools involved. Do not shy away from this passion of yours due to the facts I have stated above. All you need to practice is safe and conscious carving at all times.

Chapter Twelve

Woodcarving Sample Projects and Ideas

Taking up wood as a base for artistic projects and other functions serves as a way of taking care of numerous environmental conditions such as the presence of greenhouse gases in the atmosphere and it is a far better option of gift items than plastic and other non-biodegradable materials that harm humans and the environment. Woods are carbon sinks and hold onto excess carbon that would otherwise have caused severe damage.

There is this allure and beauty that comes with wooden artifacts that no other material can provide. The diversity of projects that can be produced with wood is almost infinite. I will be touching on a few basic projects here with step by step guides and also providing you with some wonderful project ideas to develop with the lessons you must have gained from this book. Now let us get going.

A Rose

Supplies

Large round gouge

Bench knife

Straight chisel

A basswood board

V-gouge

Graphite paper

Masking tape

Sandpaper

A pen

Directions

-         Place the basswood board on the workbench and hold it firmly in place with the aid of a vice, clamp, or some other securing devices.

-         With the aid of appropriate grit sandpaper, smoothen the surface of the wood.

-         Draw the rose pattern on a plain sheet of paper or search the internet for an image of the one you like. Place the paper with the design on the wood surface and hold it in place with some a piece of masking tape.

-         Get the graphite paper and gently push it beneath the white paper with the design pattern.

-         Gently and firmly trace the design pattern on the white paper onto the piece of wood.

-         Pick up the bench knife and lay it at an angle of about 80 degrees to 90 degrees to the surface of the wood just a bit outside the outlines of the design pattern. Cut this line.

-         After making the first cut, place the bench knife at an angle to the line of the initial cut and produce another series of cut, and this will create a trough-shaped in the form of a v from the outside lines of the design pattern.

-         Fix your bench knife at an angle of forty-five degrees into the well-defined corners of the design. Dip in the knife and remove the chip that was formed.

-         Now comes the time when you employ the small round gouge to reduce the areas surrounding the design pattern to about one-quarter of an inch. Move along with the direction of the grain and move the gouge from the areas surrounding the rose design towards the direction of the rose flower itself. Remove any strands or sliver of wood making use of the bench knife.

-         You can carry out dressing of the outlines of the rose flower at this point with the aid of your bench knife.

-         Distinguish the petals, flowers, and other parts of the plant by cutting through the design lines in place with the v-gouge.

-         Make the leaves of the flower stand out from the petals with the straight chisel. It is essential that in all the cutting and re-cutting, always flow along with the grain of the wood.

-         To distinguish the central part of the flower from the petals, create a stop cut with the v-gouge.

-         At the central part of the flower with the petals surrounding it, form a depression using a small round gouge.

-         Add finishing touches to the outlines of the flower and peals with the straight chisel. You can then go over all the cuts you made initially with the different tools to make very light touches to smoothen it out. After this must have been done, get a sandpaper of correct grit size, and smoothen out the carving. Remove the dust with a piece of cloth.

Wooden Spoon

Supplies

Block of wood

Hook knife

Bench/ carving knife

Sandpaper

Hatchet

Directions

-         In carving a spoon, a block of wood that has the grain flowing in the same direction will be the best option for you here as it won't give you any challenge during the carving process.

-         Set up the block of wood on the workbench and secure it.

-         Using the hatchet gently cut out a relatively flat side of the wood. Do not hack away, instead make directed and well-aimed cuts in direction with the grain of the wood.

-         A push cut should then be made on the wood (the push cut is a method whereby you hold the block of wood in one hand and using the other hand holding the bench knife, you make cuts flowing away from your body until you have attained the desired level of evenness in the wood.)

-         After the wood is even enough for you, pick up a pencil, and make a drawing of a spoon on that flat surface. It doesn't matter how pretty or rough the spoon looks at this stage; all that is needed is the outline to enable you to carve.

-         Set up the wood in an upright standing position with the head of the spoon facing upwards and the other parts facing down.

-         Start carving along the grain of the wood with the carving knife, taking out chips and bits of wood at the junction where the head and handle of the spoon joins. Be patient and do not rush this stage; take out tiny pieces of wood one step at a time. This is to prevent you from making a mistake that cannot be reversed if you chop out more wood than you should have.

-         A point to note here, at no time should you carve the drawing of the spoon directly. Carve just outside the outline of the drawing of the spoon.

-         Turn over the slightly carved block of wood with the handle facing upwards and the head downwards. Create push cuts leaving some real estate of wood around the area where the head of the spoon is; about half an inch to one inch of space is ok.

-         Now is the time to make use of the hook knife in creating a depression by pressing downwards the part of the hook knife that is not sharp while the sharp blade makes the cut. The first few downward cuts might be a bit hard as you will need to firmly hold down the piece of wood with your free hand while the other hand holding the hook knife works. After you must have gotten a few substantial cuts, the process becomes faster and more relaxed, and the depression in the head of the spoon will begin to take shape.

-         After you have gotten the right depth and curvature for the head of the spoon, you can then move on to shaving off the wood remnants on the side of the head of the spoon.

-         The next crucial step is resizing the flat side of the spoon. After you must have drawn the flat side and removed any unwanted wood, the unique outline of a spoon will be discernible.

-         Now you can move onto the last aspect of the project, which is the sanding. Here you will likely spend a lot of time for the finished work to be as eye-pleasing as possible. The sanding is done in stages with grit paper of three types; the low grit (400 grit) to remove any sharp or rough edges, medium grit (800 grit) for enhancing the unique features of the spoon,  then high grit sandpaper (1,200 grit) to make the spoon smooth and attractive

Wooden Tobacco Pipe

Supplies

Wood; 1 ½ inch square by 6 inches

Sandpaper

Drill

Kerf saw

Rasps

Files

¼ inch drill bit

Workbench

Clamp

Natural oil finishing ( Olive oil)

Directions

-         The initial step that will be undertaken is the drilling of the bowl that will be holding the tobacco. The hole mustn't be too deep because the pipe will be linked to the bowl from the lower part.

-         When you begin to drill the hole into the bowl, start from the middle to ensure a uniform distribution of the wood around the holding bay for the tobacco.

-         Now you can move onto the boring of the stem of the pipe. The location and arrangement of the stem of the tube are significant. You should try as much as possible not to bore the stem too close to the bowl. The length and depth of the hole can be ascertained by inputting the drill bit until it touched the end of the tunnel.

-         Place the drill bit into the entry way of the stem hole and then proceed to check if the hole is adequately aligned by placing your finger on the outside of the stem.

-         The bowl of the pipe will now undergo some shaping. Begin with carving with your bench knife all around the sides of the wood. When you are through with that of the bowl, move on to the carving of the stem.

-         With the lines now taking a fixture on the wood, proceed with carving and chipping off any excess wood.

-         After the carving is done, round it properly with rasps and sanders and take care not to be too hard to damage the structural integrity of the pipe. You can check if there are any faults with the pipe by sealing the opening of the bowl with your hand and blowing hard into the stem. A well-carved pipe will not allow for the release of air from any part of the wood. If, however, there is an escape of air from any part of the bowl or stem, get some wood glue and apply it to that part. Seal the bowl with your hand again and suck in the air lightly to draw in the glue to seal off the air escape route.

-         With the rounding out done, get a sandpaper of the appropriate grit size and sand down the pipe.

-         Apply the natural oil finish to both the exterior and inside the bowl. Turn the bowl all around to ensure proper coating of inside the bowl is done.

The Forest Spirit

Supplies

A bench knife

Pencil

A piece of birch wood

Directions

-         Start with drawing a face on the wood. The face can be of your favorite movie or cartoon character.

-         When carving the wood, take your time to do it patiently because once a piece of wood is carved out, it can't be replaced. Carve it gently.

-         Carve out the design pattern of the face drawn onto the wood with the stop cut technique applied to the mouth, eyes, and nose.

-         Carving out the eyes is the next logical step. Do it steadily till; some eye shapes may be shallow while some have some depth to it. So carve until you achieve the level you are looking out for.

-         Dust the face and add some features with your pencil. Some of the features add expression and personality to the face.

-         Remove the top layer of wood that is on the eyebrows and let the under layer of the wood bark stay so that a contrast can be made.

-         Carve out the wood at the position of the nose, removing the bark of the wood till you get to the inner portion of the wood.

-         Move on to the mouth.

-         The forest spirit most times comes with flowing and full beards. So this should be an integral part of the carving projects.

-         When you are done with adding the beards and the mustache, use a sandpaper to remove the unwanted sharp edges.

-         Dust off it off with a piece of cloth.

-         There are a variety of face types, beards, and mustaches that can be carved onto your project. Let your imagination run wild and get creative!

A Wooden Chess Piece

Supplies

A piece of softwood ( 2 inches by 4 inches)

A bench knife

A large knife

A saw

Sandpaper

Directions

-         Begin by drawing out the shape of the bishop, queen, soldier, or pawn. If you have the image in your head and feel you don't need to draw out the figure before carving, you can go straight into the carving.

-         The cuts should be a bit rough at this stage, and some pieces of wood need to be left on the carving for fine-tuning the figure later.

-         With the figure and features of the chess figure carved out, sand it lightly with a piece of sandpaper.

-         You can also add some finishing by rubbing down the chess pieces with a natural oil like olive oil to add some sheen to it.

Wooden Bowl

Supplies

A block of wood

Hatchet

A straight carving knife

Sandpaper

Adze tool (curved)

Measuring tape

Directions

-         On the block of wood, draw the features of the bowl.

-         Measure how thick you want the bowl to be as this will guide you during the carving and how thick the bowl will eventually turn out.

-         The measurement will guide you in creating the perfect outline. Join all the points from the measurement.

-         Start to form a depressing in the center of the woodblock with the Adze tool. The cutting path should be in a downward fashion, cutting gently from one side and then moving onto the other side of the woodblock. Carve away at the wood in gentle strokes and do not aim to remove large chunks of wood at a single go. Cutting from the opposing ends of the woodblock allows you to get a uniform depth just like you envisioned it to be. 

-         As the depth of the depression in the wood becomes more pronounced, you will have to become more accurate and gentle to avoid it becoming too deep as this is not reversible.

-         When you have gotten the desired depth, start with the formation of a uniform and even wall on the inner part of the bowl with the straight knife or the Adze tool.

-         With the wood held down firmly with a clamp or vice on the workbench, start with taking out excess wood on the outside of the wood. The design pattern you drew will be the guideline here.

-         The push cut is the technique to be applied here. Your attention should be fully on the process to ensure that you don't go below the thickness level you have measured out earlier.

-         With the outside wall of the bowl done, move onto the sanding. This will remove any unwanted sharp edges or uneven curves. Make use of grits of varying sizes as you aim to smoothen the inside and outside walls of the bowl.

-         To make the bowl shine and attractive, combine a mixture of olive oil or beeswax to bring to the fore the artistic attributes of the bowl.

Rose Flower Inspired Wooden Clock

Supplies

Blank basswood ( 1 inch by 5 inches by 20 inches)

Bench knife

Band saw

Carbon paper

Brash wire brush

Drill bit and drill

Battery clock

Palm sander

¼ inch to 3/8 inch gouges

1/8 inch to 3/8 inch skews

Sable brushes

Compass

Sandpaper of varying grits

Directions

-         Get the piece of basswood and prepare it to a length of about twenty inches. If the clock will have curves on the bottom and the top, use your pencil and a measuring tape to mark out that area.

-         The wall clock in question will have arches at the top and bottom, so take a measurement of 3" from the top of the wood and mark it out. Move on to the side of the wood and take another measurement of 3" and mark it out too.

-         Pick up the compass and set it to 3".

-         The compass should sit at the median line between the pencil line from the top of the wood and the pencil line from the side of the wood.

-         Carry out the same process at the lower part of the piece of wood.

-         Make use of your saw to cut the arch and sand the edges with a rough, mild, and very fine sandpaper.

-         It is now time to design and work on the face of the clock by designing the area where the face will be.

-         Go to the middle point of the curved arch at the top of the wood and take a vertical measurement of 3 ½ ''.

-         Measure 2 ¾'' from the side of the wood just below the arch.

-         Set your compass to about 2 ½''.

-         Fix the compass into the middle part of the lines.

-         Draw out a circular area that you want the face of the clock to sit.

-         Set up the site for the battery.

-         Go to the middle point of the lines from the top of the curved arch and the line from the side of the board and create a hole with a drill bit of 3/8''.

-         The drilling should be done from the front of the wood to the back.

-         Get a piece of sandpaper and form a cylindrical shaped mass with it and push it into the hole to remove any slivers and smoothen out the rough drill.

-         Set up the outer edges of the face of the clock to about 1''.

-         Use a pencil to mark out this boundary.

-         Go to the back of the wood directly behind the clock face and set up a rectangular area where the machinery of the clock will be located.

-         Measure ½'' from the top, bottom, and sides of the clock and mark it.

-         Measure 2'' from the topmost part of the arch.

-         In the well line, measure 2 ¾''.

-         Now measure the clock machinery and remove the measurement from the width of the wood board.

-         The number you come up with will serve as how deep you need to carve out from the well in the wood e.g., if the clock has a thickness of 4/8'' and the wood has a thickness of 1'', the depth of the well will be 4/8''.

-         Place the paper with the design pattern onto the surface for the wood and the face of the clock too.

-         Using a masking tape, hold the piece of paper with the design in place before sliding the carbon paper under it.

-         Trace out the flower design with a pencil, remove the paper, and the carbon paper then proceed to carve out the floral pattern.

Wooden Table Lamp

Light is life, and it is a source of joy when it appears in the darkness. A well-carved table lamp is a perfect gift to anyone or a family.

Cloth Peg

Everywhere you look now; you will mostly find only plastic pegs. Wooden pegs are from an era already passed, and you can have a taste of the lifestyle form way back by producing this nice work of art. The pegs can come in various forms to give a hint of diversity and mystery to the pack.

A Wooden Mug

The usages of a well crafted and designed mug can test the boundaries of the imagination of the owner. You can use it for quite a lot of functions e.g., on your desk at the office to store pens, pins, etc. or at home for other purposes.

Jewelry Box

A jewelry box with fancy designs carved onto it is a delight to behold at any time for the owner. Now picture you gifting this box to a loved one, their smile will surely light up a room.

A Picture Frame

A picture is eternal, and it speaks a thousand words. A picture frame with the right images carved into it is a beautiful gift for a birthday, wedding, anniversary, or any other function.

In the End

Woodcarving is life in itself, and the allure and skill set gives a beginner or experienced woodcarver the opening to give bare pieces of wood a new lease on life. It lets your imagination and dreams come to life; your ideas take shape and form in the piece of wood that lies on your workbench. As you begin your woodcarving journey, ensure that you carve responsibly, save the planet by not buying tree products from illegal sources, and always put your safety and those around you into consideration at all times.

LEATHERWORK

Chapter One

You have had it in mind for some time now on how to go about crafting with leather, but you never made that all-important move until you picked up this book. This is the all-important step towards learning what leatherworking and the intricacies of this art are all about. The basic questions involved before getting started are;

What is leather?

What tools and supplies do you need to have available?

What type of projects can you get started with as a beginner?

The questions will come in fast and furious, and you haven’t gotten a suitable answer to set you on the right path. You are in the right place as this book will guide you with everything you need to know about leather and leatherworking either as a newbie with no idea at all about the craft or as a seasoned hand that needs to refresh the well of knowledge.

What is leather?

Leather is as old as man himself, and the survival of man through the ages is based, to no small extent, the availability of this material. Leather provides warmth and comfort during the cold seasons, but they were also used as a means of communication far before the advent of paper. The skins of animals hunted also served as housing, which protected families against the worst elements.

Recent discoveries show that leather materials used by ancient man as far back as 3000 years ago were still in pristine conditions. The way the leather artifacts and materials were used passed on a sense of importance and ranking to the individual using it within a community. A study of the history of times past showed that only folks who had some form of wealth were able to buy materials constructed from leather such as boots, leather parchments for storing of information, etc.

The art of working on leather to produce exquisite materials was an exclusive preserve of a few individuals who were very secretive about the trade secrets which they only revealed to deserving members of their families. When the Spaniards discovered the New World, they came along with skilled leather guildsmen who made use of the patterns and new environment to motivate new projects on leatherworks. This new beginning was the leap from how leather was worked on into the modern age of leatherworking that we have today.

Nowadays, the art of or working with leather is one that any interested party can learn. The essential tools that anyone should have to work with leather successfully include and are not limited to the following; pear shader, veiner, beveller, swivel knife, mallet, backgrounder, seeder, etc. With experience and time spent working with leather, you will discover more specific tools to add to your toolbox and craft to churn out great masterpieces.  Not forgetting the primary material without which the whole process cannot take place; leather.

Leather, on its own, stands out from any type of material or covering that man has ever worked on. Leather is the outer covering found on animals, mostly on oxen, cows, camels, horses, etc. These are the most common sources of leather used for this craft. For the skin to be easily worked on, it must undergo some form of processing, such as tanning.

In acquiring leather for your work, you can purchase it online and walk into that specialty store where the material is sold per square foot. When you flip the leather over to view the underside, you will most times notice markings that indicating the number of square feet. The signing is usually made with a machine stamp, chalk, or marker. The leather obtained from the animal is commonly referred to as the skin, and it may come to the market whole as it was taken from the animal or cut into various parts from the animal such as the shoulders, rump, belly, back, and sides.

Leather comes in varying thickness, and this is measured in ounces (1 ounce = 1/64 inch). This implies that four to five-ounce is 4/64 inch or 5/64 inch. The thickness of the leather is dependent on the source, with leather from cow and oxen been thicker than those gotten from a calf. The thickness also varies according to the part of the animal’s body from which it was obtained. To have an evenly distributed depth in the whole leather or the different portions, the leather is processed in a splitting machine. This only aims to even out the thickness, which is a complicated process because of the leather’s moisture content; it is run through the machine. The unevenness is why there is never an exact weight stamped on the leather; hence you will see weight measurements such as 5-6 oz, 8-9 oz, etc.

Now let us get into a detailed explanation of what leather is.

Leather is obtained from various animal skins, which, after undergoing a series of chemical and physical processes to prevent deterioration and improve its quality, will then be used for multiple items. When the skin of animals is viewed closely, throw a microscope, it will be observed that it is composed of numerous interconnecting fibers called collagen. On the outside, however, the skin is the largest organ on most animals that covers the internal organs. This outer part of the skin is termed the epidermis and acts as a barrier against the physical external and, most times, harmful surroundings.

Leather Uses

Leather has many desirable qualities that singles it out for a wide variety of uses, both domestic and outdoors. Some of such unique features of leather that makes it a favorite for artisans includes;

-      Hydrophobic nature, with this quality, leather can be used in the production of clothes, shoes, and other human apparel due to its ability to breathe and, at the same time, prevent the entry of moisture. 

-      Resistance nature; the unique physical and chemical composition of leather makes it ideal for making use of in a lot of products that are in constant use; hence they do not undergo the wearing down that some other materials will experience. The leather resistance is different based on the source of the material, the finishing it has undergone, tanning, thickness, etc.

-      The pleasing aesthetics; this is a valuable and often looked out for feature of leather. The color, wrinkles, smell and general outlook of a piece of leather general makes it a more acceptable material for leatherworks or not.

-      The Feel; the easily identifiable and lovable touch that one gets from leather makes it a highly coveted material used for those priced materials. It is common to come across synthetic leather, which will have features that are not the same as natural leather. Such materials will most times look similar to natural leather, but they cannot synthesize that unique resistance and feel they get from the real deal.

-      The hygiene factor can be achieved after the leather has undergone several steps to make it resistant to decay and prevent rotting. The processes that leather undergoes put a stop to the inevitable decay that it would have experienced, was it not have gone through several chemical and physical processing.

-      Heat Conservation; leather serves as a mechanism through which the human body or the skin acts as a barrier against cold and other undesirable weather conditions. These insulation qualities made it an ideal candidate for early men to make use of leather during the cruel cold winter periods.

-      Environmental Sustainability; real leather does not have any harmful effects on the environment compared to the faux leather or other forms of synthetic leathers that are a product of the distillation of crude oil that pollutes the environment. They do not also undergo biodegradation, thus staying in the environment for hundreds of years while posing health hazards to man and other organisms. When natural leather is observed, it has no significant environmental or negative health impacts on man.

These unique features of leather that identify it as a premium material for craftwork, there are rules in place to guide against copycatting and other acts that try to pass off “fakes” as the real thing. Some statues and regulations make it compulsory that materials made from vegetable-tanned natural leather and those made from faux or synthetic leather by properly stamped or labeled indicating the type of material that it is made from. To ascertain the authenticity of the leather product that you are buying, most leather products have a stamp of originality on the material and showing that they do not contain harmful chemicals.

Classification of Leather

The classification criteria of leather are based on its current state of processing, and they are divided into three;

-      Finished; items made from leather that is sold both in physical stores and online are most times made from finished leather that has undergone all the steps of processing. This is to give the material a softer touch associated with leather, aesthetics, and other qualities that you would link with premium leather products.

-      Crust or Semi rough; here, the animal skin has gone through the initial stage of processing called tanning. Here the putrefaction that would have taken place had the leather not been treated would be halted considerably.

-      Fresh or Raw; the skin here has just been taken off from the animal and rubbed in salt, and it is yet to undergo any form of processing.

The animal skin can also be classified based on the section of the skin being processed, e.g., belly, side, back, etc.

Production of leather

From the finished leather product you have in your hands, you might assume that it underwent one or two steps to make it an ideal candidate for craftwork, you are wrong, very wrong. To get leather into that final finished state that makes it resistant, putrefaction free, soft, and have many other qualities that you look out for, it will go through not less than thirty-five stages. Most of these treatments are held in various facilities that are often hundreds of miles apart and sometimes in different countries. Some companies have developed highly specialized processes for the treatment of leather at multiple stages.

The type of treatment given to the leather is dependent on the unique nature of leather that the producer aims to have at the end of the whole treatment.

I will not bore you with the several highly specialized stages that leather goes through but will give you a detailed explanation of the significant steps involved in the tanning of leather.

Leather processing is the stages through which the material goes through from the raw, fresh state to the finished product, ready to be converted into highly-priced artifacts. The type of processing leather undergoes is dependent on the end-use of such leather. Let’s take the case of straps or belts, here you will most likely be requiring a big thick leather, and on the other hand, if the leather will be used for furniture making, the leather ideally should be big and soft. Leather materials sued for clothing need to have qualities such as fineness, softness, and a generally pleasing appearance.

Vegetable leather or leather that has undergone vegetable tanning is the best candidate for almost any type of leatherwork. The peculiar nature of this type of leather makes it a craftsman’s favorite. The soft and easily manipulated nature of the material makes it fun to work with.

The end use of leather hence differs a whole lot. For example, leather items to be used in cars, highly-priced fashion items, and household furniture are made of chrome-tanned leather materials due to the finished appearance and a standard outlook, which is more in tune with a large quantity of production. This is why it is essential that as a craftsperson, you pick the correct leather before you begin with any project.

Getting the Leather

The primary reason for rearing animals such as cow, oxen, alpaca, bison, etc. is their meat at least the majority of the time. Leather, bones are by-products. The animals are reared for the milk, source of transportation and beast of burdens in most societies, and the leather that is gotten from them is sold as an afterthought by the owner of the animal to the leather producer who sees it as a significant source of raw material for his business.

Preservation

This is an essential phase in the process, without which there will be no material to work with. It is the initial stage during which putrefaction and making the material stable is carried out, and this can be done in a variety of ways.

-      The most important of these preservation methods is drying. Drying is carried out to get rid of the majority of the moisture content in the material. Drying can be carried out directly under the sun, but these methods only cry out the outer part of the skin because of the rapid rate at which the drying occurs. This discordant drying leaves the inner part of the skin still wet; thus, there is the likelihood of putrefaction again due to some moisture.

The skin can also undergo drying away from the sun’s direct glare by placing it under some form of shade. This removes the uneven drying that happens when the skin is placed in direct sunlight. However, another problem arises the formation of folds and irregular shapes of the leather because the skin is not adequately stretched before and during the drying. To eliminate the difficulties faced in the first and second drying methods, the skin is stretched, making use of suitable materials such as sticks or metal rods before they are placed under a shade.

The skins all have different specific weights based on the method of drying that was employed. The weight is directly related to the amount of moisture content that the leather has at the end of the process. A fresh skin that is yet to undergo any form of processing is pegged at 100 (that is the green weight), skin dried directly under the sun = 85, skin dried under a shade = 80, skin dried under a shade with timber or steel frames used = 70.

The other way through which drying can be carried out is through the use of sodium chloride, commonly known as salt.

Listed below are other essential series of treatments that fresh animal skin is put through to make it stable enough to go through subsequent stages.

Soaking

This processing stage aims to return the skin to a state as close as the raw state before any treatment was carried out. The sodium chloride applied to the skin, and any other materials not wanted are taken out by rehydrating the skin in water. Surface-active substances, bactericides, alkalis, proteolytic enzymes, etc. are added to the water before the skin is immersed.

Hair removal and Liming

The application of lime softens the leather and enlarges the hair pores to make it easier for the material to readily take in the substances that will be used for tanning of the leather. This process is a two in one phase as the liming also takes out the hair from the surface of the leather and makes the skin pliable enough to receive and retain the tanning materials.

Splitting and Skiving

The skiving is done to remove any remnants of fat or flesh that is hanging onto the skin. On the other hand, splitting aims to smoothen the leather and remove uneven bumps to achieve a relatively even thickness. After the splitting of the leather that can be carried out immediately, the tanning is done with; the result is two types of materials which are the crust; lower layer, and the flower; the upper layer of leather.

Removal of Lime

Here the lime from the liming process is washed off the leather, pressed to remove the excess water, and gotten ready for the maceration stage.

Maceration

Here proteolytic enzymes are applied to the leather to bring about a loosening of the leather material.

Pickling

Here is the continuation of the removal of lime from the leather. The acid-base balance of the leather is returned to a level in which further processing can be carried out successfully.

Tanning

Here, the leather undergoes treatment with several substances such as zirconium, corm, aluminum, tannins, fats, aldehydes, etc. The incorporation of these substances into the structural composition of the leather is to make it strong enough so as not to be subject to the forces of environmental conditions such as moisture, chemical reaction, temperature, wear, and tear, etc.

The tanning process is an irreversible reaction on the leather, so there is no room for the deterioration of the leather components. The process of tanning can be carried out in a multitude of ways, which includes and is not limited to; the use of water combined with brains, fat, and oil that have undergone emulsification. The method of tanning leather using a bran mixture is a method that was used at the beginning of the preservation of leather by the early craftsmen. Nowadays, however, we have chrome tanning, which is a method making use of chrome ions that pushes out any water molecules in the collagen material of the leather for it to combine with the protein molecules present in the leather successfully. The end product is easy to handle and comfortable material that is a regular item in the clothing making with leather. Available are other specialty tanning methods; however, for that leather that you work on without breaking a sweat and getting from your neighborhood store, the vegetable-tanned leather is the go-to choice.

The term tanning was obtained from the chemical substances gotten from the exterior part of the plants called tannins. This method of using tanning or vegetable tanning is as old as man himself and has remained to this day because of the quality products gotten from the process. After the leather’s tanning, it will still go through a few procedures to be ready for use.

The leather is composed of fibers with differing compactibility from the outer part of the skin, which is denser than the innermost part of the skin, which lies directly next to the meat or flesh.  The end use of the leather will determine how the leather is divided into varying types based on whether the leather’s inner or outer part is to be made use.  The outer part of the skin is referred to as the grain, and the inner part is called the corium.

The full-grain type of leather comprises the outer part of the skin and the part between it and the corium. Typically, the grain has a tightly packed collection of fibers giving it a smooth and pleasing burnished outlook.

Moving away from the full-grain, the next type of leather in the hierarchy is the top grain type. This grade of leather is devoid of defects, scars, and other unwanted imprints in the skin that are removed by carrying out a shaving action on the level directly after the hair layer. With this level packed full of fibers eliminated, the longevity of this type of leather grade cannot be compared to that of the full-grain far outlives the top grain.

Finally, we have the last type of grade of leather, which is commonly known as “Genuine leather.” It is typically located in the area where the corium begins; thus, it is made up of dispersed and unevenly distributed fibers. A common type of genuine leather is suede.

The rawhide is a category of leather that has not undergone tanning, and it is characteristically tough and cannot be easily manipulated. To work on it, it has to be soaked for a while in the water; it, however, returns to its previous state once the water dries off. This unique feather of this type of leather makes it useful in the construction of furniture, soles of certain types of shoes, drums, etc. Technically, rawhide is not categorized as leather because it hasn’t undergone tanning.

Pressing, Splitting, Shaving

With the pressing action, the leather material undergoes compaction to remove as much moisture as possible that is remaining in the leather, and it also undergoes some drying. In the splitting stage, leathers that haven’t undergone the treatment in previous phases are focused upon here or leather that are heavy. In the shaving stage, the thickness of the skin is reduced further to make the skin uniform’s surface with no uneven bumps anywhere.

Tanning Again

This process is done over again, with the aim been to impact the leather desired qualities such as fullness and softness to aid the taking in and retention of essential materials that are applied to it during the process.

Dyeing

This gives you the choice of colors that can be given to the leather. However, the color can not just be applied to the leather without due consideration to the tanning mechanism that was carried out before. This is because the tanning plays a massive role in the type of color that can be applied to the leather at any given time.

Fattening

Here, substances such as oils from marine animals, mammals, or vegetable sources are applied to the leather to fatten it up, thereby improving their hydrophobic qualities.

After the fattening is done, the leather undergoes further drying to remove more water to the bare minimum, and staking is carried out. The staking is to make the skin soft and pliable. During all these processes, the skin will continue to enlarge in surface area, one of the ultimate goals of the processing.

Finishing

This is the final stage of the leather processing stages. Here the skins are put through several ever-changing mechanisms that aim to improve the looks and strength of the material. The color of the material can be altered by the addition of specific dyes and pigments. The surface of the skin can also be made to be more smoothened, or some form or wrinkles can be introduced to change the general appearance of the leather.

Chapter Two

Getting Familiar with Leather

The best known and readily available leather is from cattle, but you can also get your leather from almost any other animal ranging from snake to crocodile, fish to the ostrich, etc. Alongside the natural forms of leather, there are artificial types, e.g., polyurethane. With the numerous kinds of materials synonymous with leather, nothing beats the leather obtained from the cows’ hides due to its unique ability to be dyed, stamped, carved, and tool.

The leather or skin used for the production of different materials are generally grouped into three categories;

-      Hides, which are the skins of adult and matured animals such as the cow, horse, ox, etc.

-      Kips, are the skin or outer coverings of the young of the animals listed in the previous group.

-      The last group is the skin obtained from animals that are not as large as the cow, ox, horse, etc.

The type of skin most used in commercial activities is from cow, horse, deer, sheep, kips, etc. Nowadays, however, it is not uncommon to see products made from exotic animals such as snakes, reptiles, ostrich, etc.

For your practice sessions, you don’t need to buy full-length pieces of leather; instead, you should go for scraps and irregularly shaped pieces of leather that will allow you to hone your skills. As you progress with your craft and begin to work on complicated and well-defined projects, you can then go shopping for more significant and regularly shaped leather. Typically, the skins of cows are not flat, and the different parts of the body have different levels of thickness, which means the ease with which these parts will be flattened differs. For example, the middle part of the leather is most times thicker and thin gradually as you move outwards.

The prices at which you get your leather depend on the apparent and inherent quality of the material. For example, buying a piece of the same part of leather can vary significantly based on the type of treatment the leather has undergone and where it is coming from. Qualities such as the extent and nature of tanning the leather are given, the type of cattle the leather was gotten from, how packed the grain on the leather is, scars, and other imperfections will affect the leather price.

For proper learning of leatherworks as a beginner, you should start with lower grades of leathers that might not necessarily produce pleasant results.  High-grade leathers are most times quite expensive and will leave a massive dent in your bank account if you decide to make use of it in your practice runs. With constant practice on lower quality leather, you will, in no time, move onto been able to work on more expensive and high-grade leather.

Some folks who are conscious about the impact humans have on the environment try as much as they can to get sustainable materials for their projects. So what is done is that they go salvaging leather from a variety of sources. However, the challenge is that such leather obtained from such places can be a bit hard to work on. This is because the leather most times have undergone finishing making it difficult to dye or tool.

Do not despair if you fall into the categories of folks who love to recycle as there are several types of crafts that you can carry out with recycled leather. Recycled leather can be studded, snapped, and also conchos can be added to it. This is also in addition to cutting and sewing the material, which makes it ideal for individuals who are also careful about spending and saving the environment from unnecessary pressure.

Basic Leatherworking Activities and Tools

In this chapter, I will be taking you through the essential tools and activities that you will need to understand as a beginner with leatherworking. There is no fixed type of device or technique to be used as every individual will develop or series of processes to follow in achieving the result for a particular project, which may differ slightly or significantly from the next guy. For example, in sewing of leather, some folks are partial to hand sewing while others favor the sewing machine, and at the same time, others don’t sew at all. What I will be touching on here are the barebones leatherworking methods and tools that can be built on and modified. The devices are not highly specialized, and at this stage, you will need to familiarize yourself with them before moving on to niche tools later on.

Leather Cutting or Removal

With leatherworking, you must inevitably carry out some cutting at one point or the other. To achieve this, there are different types of tools that can be put into action. With constant use, the tools used in cutting have to be honed appropriately for them to serve you well. If a tool is not looked after and maintained, the cutting of your leather will be a tiring and frustrating process resulting in badly cut material and waste of funds and time.

Scissors and Knives

A pair of well-honed scissors is a must-have that is used in cutting the needed pieces of leather from a more extensive stock. Scissors also come in the form of shears that are required for the effortless cutting of large hides. Shears give a much higher cutting pressure than the scissors, which is more useful for smaller cutting actions.

The Head Knife

The head knife is an all-rounder that can perform several tasks when the user knows how to use it correctly. It can be used to make small and detailed cuts and remove significant parts of leather from a whole section, skiving or beveling. The unique and distinctive design of the cutting part of the knife can be hard to get used to for beginners, but with constant practice and use, it will become a best friend that a leatherworker can’t do without.

The head knife is also commonly referred to as the head knife when it is in the form of a larger and more curved type of head knife. The head knives are a dying breed, and you won’t easily find them used in a lot of cutting processes save for some specialized functions.

Utility Knives

They are sometimes called snap-blade knives or box cutters used in removing small areas of leather at the edges. The sizes of these knives vary with the bigger ones ideal for removing or cutting leather with thick areas. These types of knives also do not pose a challenge in their maintenance.

Another type of cutting tool is the rotary knife, with the relative ease of use cutting a variety of lines ranging from curved to straight lines.

These are the basic types of knives that you will find in a typical leatherworker toolbox. However, there are many other types of knives, which are offshoots and modified variations of the ones detailed. The type of blade you eventually go with is that which you are most comfortable with and assured will give you the best results.

HINT: Any tool that has a sharp cutting edge or pointed needs to be handled with the utmost caution.

These tools that are bevels, cuts, gouges, or punches leather with relative ease will carry out the same action on your skin if proper attention is not paid to it.

Err on the side of caution in using any sharp tool as there is always someone out there staining the leather with crimson blood. If you are putting your children or any other young person through with leatherwork, watch over them, and ensure that only tools right for their ages are permitted to be used.

HINT: You must never use your metal hammer to beat on a metallic object directly. If you want to make use of your hammer, you can go for rubber or non-metal hammer that will not mar your material if the mallet you have at hand. However, it is a metal one, set up a piece of thick leather directly beneath the area that the punch is to be created to prevent the pointed part of the punch from going into the surface on which it is placed after the hole has been created the material.

The Rubber Head Mallet

The functions of a rubber mallet in leatherworking are numerous, and you will be amazed at how often you will reach out for it during a project. The creation of holes, stamping, embossing, the setting of dies, and rivets are best carried out with the aid of a rubber mallet. Some brands of rubber mallets have removable heads that give you the ability to change replace a defective head when it becomes unusable with the wooden or metal handle still very much functional. These types of mallets are very economical as there is no need to buy the complete unit. Instead, you continuously replace the head as needed.

When you go shopping for a mallet, you will come across various types, and your choice or hammering power you need is determined by your budget and other factors that are peculiar to you.

The Leather Awl

This is a ubiquitous piece of equipment that is to be found in any leatherworker’s toolbox. This tool is made use of in the punching of holes needed in the marking of the leather for a design or stitching. As with other leatherworking tools, the awls are available in various sizes, replaceable or non-replaceable tips.

The typical awl has an elongated metallic part that broadens out as you progress away from the tip. The tip, when pressed firmly against the surface of the leather and pulled along the path of the proposed design, leaves behind an elegant outline that can then be worked upon by other tools.

Wooden Leather Burnishing Slicker

This is an essential tool that must be present in your toolbox if you aim to make quality leather works that turn heads. The burnisher is rubbed in a back and forth motion quickly over the leather, which generates heat and causes the leather’s fibers to melt at the edges producing a gleaming finish. You can also get a burnisher fixed to a rotary device that quickly gets the work done.

Round Leather Stamping Mallet

This is not a must-have and is only used when you move onto stamping of your leatherworks. This stamping mallet has a slightly heavier weight when compared to the traditional mallet. This gives it a bit of extra pounding power. The circular rounded head is an advantage in the accuracy needed to get the precise spots. With the everyday use that the mallet will be involved in, the head’s large area will be something that you will come to get used to and take advantage of.

Tooling Stamps

The numbers of leather tooling stamps are in the thousands, and you can rarely get al of them. The more you try to acquire a few, the urge to get the next set will always be there, and in the end, they will only take up the limited and valuable space in your box. Instead of continuously shopping for stamps, you can also produce your own to personalize your leatherwork from start to end. Simplicity is vital when it comes to buying and using leather stamps. You can always get a starter pack from the nearest store, and they come with a few necessary stamps that you can combine to give your work a great look.

Calipers

This tool is not an absolute necessity, but having it is a plus. Calipers are used for drawing uniform, even straight lines along the edges of the leather. When properly adjusted, the calipers can be used to mark the leather for other processes, such as grooving adequately. Besides drawing of lines, the calipers can also be used for decorative purposes by drawing fancy lines at selected places on the project.

Bone Folder Creasing Tool

In the molding of leather, this small tool is one guy that you should have in your corner. It is conveniently used in the molding of leatherworks such as a sword or knife sheath, holster, etc. to give that well-defined crease and edges to the piece. They come in a variety of sizes and shapes that are to be used for various leatherworks and not to forget, they are quite cheap, and won’t put a dent in your bank account.

Adjustable Leather Stitching Groover

This implement is designed basically for giving an even and uniform marking to the edges of the leather and is has a part that can be adjusted in such a way to enlarge or reduce the coverage area of the tool. Some variants of this device have removable tips that can also be replaced with a blade if you need to make small cuts.

Sewing Thread

Leather threads are used in linking multiple pieces of leather pieces together. This is one of the several choices that you have for this process. You can make use of a temporary fix such as glue, but to be sure that the pieces will stick together, sewing is the best option. The type of thread to be used is determined by how strong you want the joint to be and how thick the leather pieces are.

Gouging and Grooving

In some projects, there is the need for a well-formed crease; thus, creating a bend is needed. To form this, a groove is cut on the underside of the leather to minimize the breadth of the leather to a thin line and, at the same time, gives a well-formed and clean bend just where you need it. The groove can also be cut on the upper side of the leather if there is going to be stitching involved.

The use of gouging tools such as the v-gouge and round gouge is an avenue through which fine and well-created lines can be repeatedly produced. The type of gouge that you use will determine how easy you find the project and the production of grooves. Gouges that the depths can be adjusted and lay straight on the leather’s surface are the best to work with.

Swivel Knives

The embossing of designs onto the surface of leather requires the creation of lines with no depth at various areas on the pattern. The depth of these lines varies with different parts of the design, giving an illusion of solidity. With designs with circular and twisted patterns, you can bet that it will be hard to get it transferred to the leather surface with the aid of a straight cutting tool. To solve this problem, the blade is attached to a piece of equipment that swivels. It allows for easy alteration of movement and directions of the cutting point, giving you a seamless cutting experience of those curved patterns.

The swivel knife has a wide-angle with a sharp blade of thick proportions. The handle of the knife makes provisions to be guided by your pointing finger while at the same time held in a firm grip by the other fingers.

Edging and Beveling

There are several functions to which bevellers and edgers can be employed. Still, the most prominent is the removal of surplus or unwanted edges of leather through the process of beveling.

The same edger and beveller can be used for the same tool; though there is a slight difference in the cutting of the beveller, it produces an angled and flat edge while the edgers can either create a rounded or flat side. The cut produced along the edge of the leather varies in width, depending on the angle at which it is held. The actions of the tools are most times introduced to make it easier to bring several pieces of leather together and also to make the leather feel more comfortable against the skin.

Punching

There are processes like the cutting of leather that involves detailed cutting of leather or the production of holes that are preferably carried out through the use of equipment with a sharp pointed end that punches the leather instead of cutting the material. There are accessories such as studs and rivets that typically need holes that are small or large enough to hold their shape. The major ways through which a punch can be performed is either through a stamp in which a die is beaten on leather, which has been placed on an anvil. The other way is called the squeeze method in which the punch pushes the die and the anvil on two sides.

Drive or stamp punch is used on heavy and thick leathers with several different types of designs. In addition to punching holes, they are also used to create shapes such as oblongs, ovals, and circles. As with all your tools, proper maintenance is essential, no matter the price paid for such a tool.

The other types of punches are the rotary or spring version, which allows you to move around several holes with different sizes and shapes quickly.

Joining Leather Pieces

When you have several pieces of leather that have been cut and are ready to move on to the next step of joining them, you can do this either by joining them permanently or temporarily. The permanent joining of leather is the focus of this section. The permanent joining methods include riveting, sewing, and stitching, while the use of clasps, Velcro, snaps can be used in the temporary arrangement. The technique of joining that you intend to use is determined by the nature of the project and the ease and advantages that such a joining method has over others. As a beginner, you might find it challenging to pick a joining method that will go well with the nature of the project at hand. This is where constant practicing comes in as you will be able to determine through trial and error the best approach to take.

Sewing

Hand sewing of leather is an ancient method of linking leather that has been in existence since man has fabricated and worn clothes on his back. The practice of stitching leather with hands is a practice that is very common among leatherworkers because of its ease and its adaptability to various situations. Sewing is a term best suited to cloth materials while stitching applies more to leather. However, both terms can be used interchangeably. In stitching, holes are prefabricated into the leather material through which the thread and needle are passed. With sewing, on the other hand, the needle passes through the cloth material and firmly drags the thread to hold the pieces of the cloths together.

In the formation of holes in the leather to be used for stitching, there are several types that you can use, and the basic ones are going to be touched here. The use of a machine is one aspect through which you can sew leather, but they have several restrictions that would inadvertently affect your work, such as the price and technical know-how needed to operate the machine. However, if you started your leatherwork journey with hand stitching or you are a recent convert, you will be able to discern the difference in the ease of use between the two methods.

In stitching, the types of stitches available are as varied as the products on which they are used.

The type of stitch most favored by leatherworkers is the saddle stitch with several other types such as the baseball, hidden, and appliqué stitches.

Rivets, Grommets, and Screws

Some particular leather projects do not favor sewing as a method of joining leather, and you will have to seek out other means of getting your work completed while making sure that the functionality of the alternative means of leather joining does not in any way affect the aesthetics and usage of the leatherwork. As in stitching that makes use of holes already punched, makes use of hammered, bent or screwed metals.

Grommets serve basically to add strength to any part of the leatherwork that needs some backbone. The sizes of grommets on the market vary from the massive ones used on canopies and tarps to the relatively smaller ones used on clothing materials. A grommet on a leather material has a hole with a ring that allows a post to pass through on one side of the leather piece while on the other side, there is also a ring with the washer. The post on the opposing side is bent in such a way that it holds the washer from the other side firmly in position.

Though eyelets look a lot like the grommets, they have only a single ringed hole with a post. When the post is bent, it goes directly to the opposite side of the material. It should be noted that the grommet provides more strength to a linkage point than the eyelet. However, both the eyelet and the grommet both provide considerable upgrades in terms of longevity and looks of the final piece.

When a hole is punctured in a piece of leather and not adequately reinforced, constant use will ensure that it gets worn out faster than if it had been protected by the presence of the grommet or eyelet. These pieces of equipment are cheap, and it is better to have them installed on the leather piece than spending far more on repairing or replacing the piece later on.

Screws typically have two pieces that compliment each other;  the female part has the thread on the inner part and the male head with the thread located on the outside. The male part is affixed to one part of the leather while the opposing leather will have the female screw situated there. The slight disadvantage with this method is that the screws can come undone when you least expect it to because of this downside, screws are used more for show rather than for any functional purposes.

Rivets are also not uniform, with them having various types that suites different project. The best-known rivet is the slender metallic rod in the shape of an umbrella. The majority of rivets on the market nowadays have one side flattened to enable the leatherworker peen a single end. The rivet post is typically pushed through a prefabricated hole on the leather material. On the other side of the piece, a washer is set up. The post is then edged in such a way that it can be pended to fix the washer down; thus, the connecting pieces of leather can be held down firmly. The preening of rivets is a skill and art that can only be improved through constant practice. If you don’t want to use the rivets, there are other types of methods that you can use, but note that they are not as sturdy as the rivet linking technique.

The rapid rivet is a fan favorite in the world of leatherworking, and it is made up of a cap and base with a post. As is the tradition with other types of rivets, the post goes through the hole in the leather while the cap is then placed over the top. A compatible setting tool is placed over the cap and hammered to hold it firmly in place.

Another type of river is the tubular rivet, which is comprised of only one unit. When the post is pushed through the prefabricated hole to the opposite side, it is beaten down with a hammer or mallet’s aid. The setting tool used in hold down the post divides the post into several slender pieces of metals, which you can then proceed to curve and pin to the leather. The attachment of these types of a rivet is easy to implement, but as it ages with constant use, the thin pieces of metals will most likely break away.

Needles

No matter the type of holes you have punched into your leather, at a point, you will need a suitable technique to insert a thread and secure the two pieces of leather together. There is a gulf of difference between the standard sewing needles and the leather sewing needles; they are much sturdier, and the pointed end is not that sharp when compared to the typical sewing needle. The leather needle’s eye is also large enough to take in large thread types without giving you any trouble. Despite the relative advantage of the thick needle and the already fabricated holes, there is still the challenge of having broken needles once in a while when stitching leather. This is why you will need to buy a pack of the needle rather than in singles.

Closures

The type of closure that you choose to go with in a project will determine its functionality and ultimate durability. The cover chosen will be to be adequately secured to make sure that it performs optimally.

Rings and Buckles

For a leather strap used in a wristwatch, bag, belt, or some other clothing accessories, there are available different types of ways in which closure can be applied to secure the leather properly. For this type of leather piece, the most common ways of securing the leather are either to make use of a buckle with a straight and strong piece of metal to keep it firmly in place with the addition of appropriately punched holes or string the leather strap around a ring or pair of rings with enough force to keep it in place.

Buckles differ; there is the double bar, roller, the buckle with no mobile units, the center bar, two-prong, etc. With the vast array of designs, colors, sizes, etc., you are spoilt for choices on which type of buckle to go with.

With rings, however, there is the need to have the leather strap secured around them to hold the strap in place. Rings can come in the shape of a half-moon, spherical, circular, or some other shapes that will perform the task assigned well.

Studs and Buttons

Studs are a cyclical or spherical piece of closure material that is fixed to a short stem that has a foundation that employs a screw to lock onto the material. The hole through which the stud is passed is to have a diameter a bit reduced compared to that of the stud. The stud goes through the opening with the aid of the slit before it goes around the stem. The ease with which one opens and closes a piece of work having a stud as closure material makes it a favorite.

When you observe the leatherworks very closely around you, you will notice that many don’t usually have buttons, as is the case with your typical clothes. However, if you want to include a button in your work, a unique style of button is referred to as the toggle button that will give your project an uplift. The button is cylindrically shaped and fixed at its center point. It moves in by the side, passing a loop and settles down properly. It does not come undone easily.

Snaps

You will love to have the snaps on your work because of the sound and feel you get directly from it as clicks into place. With a hand, you can push it into place and open it, and they don’t come undone by mistake, which can lead to a wardrobe malfunction. A typical snap needs to have an opening the leather for it to go through. The topmost part of the stud links to the socket and the cap while the lower end is fixed to by the eyelet.

Clasps and Hooks

They bear a lot of similarities with buckles with clasps coming in the form of plastics, bone, or metal. They are often in the form of two intertwined units, but you can still get single unit types. The strength with which the clasp secures an enclosure differs, so the type of project to be done will determine the type of fastener to be used.

Glue

This material has been in use in the leatherwork industry for a long time and continues to serve as a crucial joining material. Types of glues include and are not limited to; super glue, rubber cement, etc. Glues can serve temporary purposes when other actions are being carried out on the leather such as sewing, or permanent fixtures in the design. With the vast array of leather, you will have to play with different types to determine which will go best with your leatherworking projects at any stage. Other factors to consider are how strong the glue is and how long it holds, is the smell agreeable with you?

Magnets

Magnets used in leather project closures can either be fixed to the leather through the aid of thin metal spikes or sown directly onto the leather surface. The major disadvantage of using magnets as closure agents is that they can quickly come undone, but they are favorably looked upon for the ease with which they close. In some projects, the magnets are used as a second closure option and a significant closure device.

Chapter Three

Decorating and Shaping your Leather

The starting point for how your leather project will turn out starts from the design pattern you have in mind, how you cut and join in. Other ways in which the beauty of your project can be brought out include and are not limited to stoning it with rhinestones, decorative cuttings, etc.

Conchos and Spots

Conchos are a great way through which you can beautify your work. These materials have a form of attachment, which can either be a rivet or a screw through which it is held firmly to the leather. Other than riveting or screwing, the conchos can also be tied to the leather.

On the other hand, spots can be referred to as studs and are either metallic or plastic. You will find them on the jackets or bikers and in other niche designs. There are tiny metal spikes at the back of the studs or screws used in attaching them to the leather.

Carving

When you hear the word carving, wood comes to mind, cutting, and removing parts. In leather, however, carving or tooling does not in any way relate to this. Instead carving of leather is a sequential action used on leather to get some desired properties and qualities from the processed material through manual means. Tooling, which is a process of stamping or embossing of leather is most times, carries out alongside with the carving process of can be done on its own.

The equipment used in the carving of leather can be found in other forms of art crafting, such as pottery. A regular set of carving tools can form lines, sharp angles with corners, smoothen the leather, form depressions, and other tooling functions. The carving tools are best used alongside other leatherworking tools in other to create pieces worthy of your skill set.

Molding

Leather can be molded into almost any shape or design when it is wet, and the shape that has been created will still maintain that particular design after it has dried out. Molding of leather need not be a hard task as it does not have any specific tool that you should have. All that is needed to get the molding process started is an object with the same shape as the case or package that you want to produce. For example, if you’re going to create a sheath for a knife, you can use an existing sheath or other materials with the same shape as the knife. If the object that is to have a case created for is water sensitive such as a phone, it is unlikely that you will wrap a wet leather around the phone to get a mold for it and wait for it to dry out. To get around such a situation, you can use a 3D printer to get the exact shape of the phone or tablet and then wrap the wet leather around the model. The formation of sharp angles, corners that will most likely be needed in the molding is best done with tools such as the plastic, bone, sanded wood, etc.

To ensure that there is as minimal movement as possible, the wet leather can be firmly held down in the desired position with appropriate pins’ aid. Not all pins are desirable as they can cause discoloration of the end product, e.g., iron nails, clips, or tacks. To prevent this from happening, use plastic or wooden pins or clips. The clips or pins to be used should also have the jaws wrapped in soft, thin leather to guide against the transfer of the jaw marks to the leather.

Hand Stitching Leather

Leatherworking involves a plethora of skills that you may or may not need in your everyday crafting. There are necessary skills that are an essential part of your journey that won’t cost you much, and the time spent learning them will appear in your works in the future. One such is skill is leather stitching. This section is dedicated to showing you how to go about hand sewing leather using one of the most durable stitching techniques.

Sewing leather manually is a cost-effective, time management, and cheap way of stitching leather. The technique we will be touching on here is the saddle stitch method. One crucial fact that a lot of leatherworkers and purchasers of leatherworks fail to appreciate is that hand-sewn pieces are one of the most durable and long-lasting pieces that you can ever buy with your money. When compared to machine stitches, which, if it breaks, there is no stopping of the whole threadwork from coming undone, the hand stitch, however, on the other hand, will have the threads hold other threads together if breakage occurs.

-         To carry out a saddle stitch, a pair of needles will be needed, and on opposite ends of the thread, a needle will be fixed. The thread used for leatherwork is unlike the type used for regular clothing stitching; it is much more reliable with heft and typically has several cords of individual synthetic threads intertwined.

-         First, unroll about 3 feet of the thread, or you might need more depending on the project requirements. Thread one meets at one of the ends and then insert the needle into the thread once or twice about 4cm from the end.

-         Draw the thread till it goes past the eye of the needle before securing it. Apply some beeswax at the area where the insertion was made on the thread and gently roll it with your fingers. Carry out the same process at the other end of the thread with the remaining needle.

-         Move to the leather and produce a line that is the replica in length from the boundaries of the leather material compared to how thick the leather pieces joined together.

-         Space in-between holes fabricated depends on how thick the leather is, the heft, and the leather’s end-use. With the use of an awl, to pinpoint and mark the areas to be worked on precisely, an overstitch wheel is the best tool to engage. You can also make use of a chisel fork in place of an awl; the choice is yours. 

-         Set the leather pieces in the alignment of how the will be stitched. On a table with no dirt or any other unwanted material, lay a thick piece of leather that will serve as protection for the work. The leather should be one that can be damaged without you getting antsy.

-         Set up the chisel fork on the previously marked points and gently use a rubber head mallet to beat it on the leather. The fork should penetrate both pieces of leather and come out on the other side.

-         Remove the fork and move onto the next site. Continue with the punching until all the entire length of the leather has been worked on.

The name saddle stitch came from the technique of holding the leather on a saddle-like device while stitching. In the end, the leather been sewn should be held with any device as long as you have your hands free and able to work without any hindrance. Securing the leather is all up to you as long as the needle goes through the first hole and moves through the other hole until it gets to the center of the thread.

-         Pick up one of the needles that will go through the rear side of the project and thread it through the punched hole that is nearest to you. The stitching is to be done coming towards you.

-         Thread in about 3cm of thread in the hole. Pick the needle laying at the front side and insert the pointed end into the hole at the foreside of the thread been inserted. The method with this technique of stitching is to always place the needle on the foreside in front of the thread of the needle on the rear side.

-         When you are about to thread in the needle on the foreside into the hole, check thoroughly to ensure that the needle does not touch or go through the thread coming in. If an accident occurs and the needle touches or goes through the thread, the whole operation will have to be canceled and restarted. To prevent this from happening, the thread coming should be pulled back as the needle comes in from the front. As the needle from the front gets in halfway, the pulling can stop, the two needles are handled, and the stitch is pulled to firm up.

This same procedure should be carried out for all the other holes, and in finishing the threading, a backstitch will be done on the last pair of holes. This implies that an alteration of the direction will be carried out for the penultimate and last stitch.

Passing in the needle into holes that already have threads will be tough. To get through this stage, you can make use of needle-nose pliers to pull in the needle. As you pull in the needle at this point, exercise the utmost caution to prevent the needle’s breakage.

When the last stitch is done, cut the thread next to the surface of the leather.

Before the stitching begins, you might decide to create a gouge between the holes for the thread to settle in when you are done with the stitching. This is a way through which the longevity of the stitch and the piece can be ensured.

Wet Forming Leather

With this type of treatment that leather undergoes, two primary methods are commonly used, and they are; using a two-piece mold and manually. Any of the ways that you decide to use will require some strength as they can be energy demanding. The two-piece mold method is ideal for items that will be seeing a lot of use while the hand forming method is best suited for items that will rarely be used. 

The best type of leather for wet forming is the tanned vegetable leather, and it is best to use leather that is strong and firm because they tend to maintain the formed shaped perfectly. However, you can also use certain medium or soft leathers as long as they keep the shape without much hassle. 

What you should look out for is how thick the leather is, because this will affect how easy it will be for you to fix it around the mold. The thicker the leather, the more time and experience you will have to apply to get the molding done. Leathers without much thickness are a beauty to mold, and this is the best type of leather that beginners should start with. 

Manual Wet Forming

Even though the two methods of wet forming require a lot of strength to get done, this method on its own is more energy-consuming. After several attempts, when I started working with leather, I discovered that the 5oz+ leather is not ideal for manual wet forming most times if the subject has a bit of height. If you are working with smaller objects such as a single pen case, it is a great leather to work with. However, if a bag is the case, you will be facing a lot of challenges. This is because a bag pattern will need a more significant mold, and if you decide to go ahead with it, it will probably be an exercise in futility and may not be worth the stress you put yourself through. Here are the steps to get you started;

- The first step is to cut out the amount of leather needed to cover the mold without having too much surplus sufficiently or not having enough to cover it. Ideally, it is best to have a little surplus leather covering the mold that will work best. This can be a bit tricky, gauging the perfect amount of leather needed to thoroughly cover the mold or shape you are working on. To be on the safe side, always give room for some excess, place it on the mold or the object, and cut the needed leather with room for surplus. Remove some of the surpluses as this will lower the probability of wrinkles that will be formed when the forming starts and reduce the size of the lines that will come up. In essence, this will save you a lot of working and fighting with the leather as you try to mold it. 

- The next step is soaking the leather, and you can accelerate the process by using your hands to press and pummel the water and leather mixture; focus more on the rear end of the leather. The leather should be allowed to sit in the water for about forty-five minutes before taking it out and working on it. 

- Take out the leather from the water and place it over the mold or object and firmly fix it with your hands. Focus more on the edges and curves that define the general outline of the object. Continue with this until the leather takes on the shape of the mold. After this, set the mold and the leather down on a flat wooden board and clamp down the leather on the surface. Move on to firming up the leather around the sharp edges and corners with a bone folder. Begin from the topmost part of the mold and proceed towards the bottom. There will be the formation of air pockets as you do this. When you get to the lowest part of the mold, raise the clamp and tighten the leather by pulling it down a bit more over the mold before fixing the clamp back to the surface of the wood. Do this several times until you are satisfied with how it looks. 

HINTS: the wet forming process can go on longer than you envisioned, and during this time, the moisture content of the leather will start to reduce, causing it to become tougher to work with. To solve this, always have some water and a piece of soft foam at hand to rehydrate the leather as you work. 

A piece of wet leather is prone to accidents such as marks that you can inflict on it, which is not part of the original concept that you have in mind. To get this sorted, pick up a spoon and firmly press the curved portion in a circular motion over the affected part to regain its original appearance. 

The formation of curves and sharp edges can be a headache when working with wet leather. Working on the smooth or flat surface is a breeze, but once you move onto an angle, the likelihood that the leather will begin to fold or bunch is increased. To overcome this problem, the cut of the leather should be as close to the mold surface as possible. Predicting how much leather is required for a wet forming can be difficult, so leave about two inches around the edge when working with an object and about one inch when a mold is used. 

When the project been wet formed has a depression, bunches will unwanted folds will start to develop as you mold. To solve this problem, cut where the bunches are, from the bottom of the object out to form a triangular cut. Typically, there will be several of these cuts on the edges, and you will have to get a flattened object to place over these areas. The cut's essence is to allow the leather to expand out rather than folding or bunching up. 

When using a mold rather than an object, go with the following steps;

Cut the amount of leather needed.

Soak the leather for the required amount of time.

Form the leather around the mold and remove any surplus from the edges, leaving about an inch. 

Press down the leather at the top of the frame and firmly hold it down with a clamp-on a wooden board's surface. Make the triangular cuts at the folds and bunches. Let the leather and the mold sit for one day. 

So how do you go about the creation of a mold for your subject? Here is a quick guide on that.

The mold is made of two integral parts, which are the frame and the form. The form is the object on which the leather is placed, while the frame is the material that you force down on the leather on the form. 

The form can be a piece of flat wood onto which smaller pieces of wood are fixed, usually having the general shape of the object. Work on the pieces of wood to be smoothened without any unwanted corners or curves. 

The frame is formed in a general shape that will fit over the form.

It is always essential that you consider the thickness of the leather be worked on when constructing the frame and the form. The mold must have the appropriate width and length in addition to the depth of the leather, while the form should have the needed breadth and length without the thickness of the leather included. 

Here are a few tips;

Make use of hardwood when constructing the frame and form.

Ensure that the frame is as tight as possible.

Always use G-Clamps and nothing else.

Straightening Wrinkled Leather

Leather can be a hard material to work with, and its wrinkling comes naturally or when treated with some chemicals, and this most times is not a wanted quality as it affects the appearance of the finished product. To get the wrinkles out of your leather; you will require the following supplies; 

Cloth rags

Iron

Blow dryer

Directions

- Hang the leather in the bathroom when you have a hot bath or shower. This enables the leather to be adequately steamed. 

- After the steaming is done, place the leather on an ironing board or any other flat surface.

- Massage the leather with your hands and try to remove as many wrinkles as you can with your hands.

- Arrange some clothes on the rag, put on your iron and press it over the cloth. 

- Apply the blow dryer over the areas with the wrinkles. 

- Do not allow the hot iron or the dryer to come in direct contact with the leather. 

- When you are done treating it with the blow dryer, you can apply some mild soap to the surface with a damp cloth. After this, sprinkle and rub some baby powder over it. This is to block the pores on the surface of the leather and give it a shiny gleam.

Shrinking Leather with Alcohol

The factors that bring about the shrinking of the leather vary, and hot water is one of the most common ways to achieve this. To ensure that the desired results are achieved using hot water, a rubdown with alcohol must be carried out. The application of alcohol removes the hydrophobic layer guarding the leather against the action of water. This allows hot water to penetrate the leather properly. The combination of alcohol and water is the best way to bring about the shrinking of leather other than the use of hot water. The shrinking process can be carried out several times but note that the leather will not undergo any reduction in size after the first shrinking process. 

To carry out a shrinking or leather, the following supplies will be required;

Leather

Rubbing alcohol

Leather conditioner

Bucket

A piece of cloth

Directions

- To a bucket, add equal parts of alcohol and water to the midway point of the bucket.

- Dip the leather into the bucket and allow it to sit there for about fifteen minutes. 

- Take out the leather from the mixture. Wash the leather with some water and squeeze to remove any remaining water.

- Set up the leather outdoors under a shade in an airy place for at least a day.

- Apply some conditioner with a piece of cloth to the leather. This acts as a process of returning the hydrophobic qualities that the alcohol removed from it. Rub the conditioner into the leather with gentle and round motions. Allow the leather to air dry again for another day before applying another layer of conditioner to it, and then it is good and ready for use. 

Setting Crystals in Leather

With the soft and bendable surface of leather, you are given an avenue through which you can decorate and bring out the beauty of leather through the addition of crystals and stones to your pieces. In other materials, before crystals and stones are added to the surface, it will first be set in stone before attaching it to the surface. With leather on the other hand, however, you can get to set the crystals or stones directly to the leather surface. 

Materials

A small craft knife

Leather

Leather cement

Water

Crystals

Directions

- Soak the leather in cold water for about ten to fifteen minutes. The duration of soaking will differ, and this is based on how thick the leather is. The thicker the leather, the longer the time that it will need to be sufficiently soaked. 

- Take out the leather from the water and allow all the excess water drain from it, but it should still be soft and damp enough to work with.

- With the craft knife, make a small cutting that is the shape of the stone you intend to set there. The cutting should be on the leather's surface and should be shallow and should not be deep as to cut through the leather to the other side. With this in mind, you should make use of thick leather so that you don't damage the leather while trying to cut a space for the stone. However, if you still want to make use of thin leather, you should omit this stage. 

- Set the stone into the cut and firmly enclose the leather around the stone with your fingers ensuring that the leather encircles the crystal to keep it securely and place and prevent it from falling off. 

- With the stone set in the leather, drop the leather with the area having the stone in boiling water and let it stay there for about twenty seconds. Remove the leather with the stone still firmly wrapped by the leather until the leather cools down considerably. The part of the leather having the stone set in the leather should be the only part allowed to come in contact with the hot water.

- Take the stone from the leather while it is still damp and into the cut in the leather, add some drops of leather cement, and do the same for the lower part of the stone. Set the stone into space and secure it firmly with a piece of twine. 

- Set the leather with the stones in an airy place and allow drying for at least twelve hours. 

- Cut out the twine and unwrap the leather. The stone will have been fixed into the space with the leather cement's aid and the hardening of the leather. 

Writing on Leather

Writing can not only be done on paper or cardboard, but leather is also a perfect surface to be written on. It readily accepts many different actions, such as dyeing due to its breathable and robust nature. Materials needed to write on leather are;

Marker or leather pen

Ruler

Cardboard

Chalk

Directions

- Set up the cardboard on a clean and flat wooden surface.

- Take off the covering on the leather pen after shaking it for a few seconds.

- Write out what you intend to transfer on the cardboard with the pen or marker.

- Place the leather on a table and create lines with chalk on the leather to ensure that the writing will stand upright if that's your intention.

- The leather should be held firmly with your hand or a clamp while you write the exact words on the cardboard earlier.

- The writings should be allowed to sit and dry for about sixty minutes. 

Embossing Leather

This is a stage in the leather production process in which specified tools are used to emboss patterns, logo, designs, or any other unique additions to the leather's surface. Tools such as sliders, rollers, metal plates, etc. are used. Some leatherworkers also make use of hot stamping tools on vegetable-tanned leathers. Stamping on leather is a way through which one can get to personalize that particular leather piece. Initials, brands, dates, quotes, symbols, and many other things can be embossed on the leather. 

If the tools needed for embossing on leather are not readily available, you can use a clamping technique. Note that embossing is not carried out on leather that has undergone pre-treatment only on unfinished leather. The stamps can be bought from your neighborhood hardware store or ordered online. A metal charm can also be used but ensure that it does not have a tapered pattern but should have cut edges. This is to make the design on the leather stand out and more distinct. 

-         Set up the leather are to be embossed on a table with the backside of the leather lying directly on the table. The edge of the leather should be as close as possible to the edge of the table to enable you to secure it with a clamp. 

-         Using a wet sponge, gently rub it over the surface of the leather. The leather should be damp and not dripping with water.

-         Set up the embossing tool, which can be a metal stamp over the leather at the area where you want the design imprinted. 

-         Place the C- clamp on the middle part of the stamp and turn it until you can't turn it again. Let the clamp remain in that position with the metal stamp for about thirty minutes before removing it.

-         Apply some leather finish to the embossed surface to ensure the longevity of the area. This should be carried out before any other processing, such as sewing or joining different parts of the leather piece. 

Leather Stamping

As discussed earlier, the range and complexity of the type of stamps used in leatherworks are mind-boggling. You can make your stamps from the cap of screws, studs, etc. or buy insanely expensive top of the line stamps. The stamps’ patterns or designs are easily recreated on endless pieces of leather by using a single stamp or by being ingenious with several types of stamps on a single piece of leather to produce unique designs. Do not forget when stamping not to use a metallic mallet or hammer. Your workspace and, most importantly, the table on which the stamping is to be done should be devoid of any foreign materials that will impair the stamping process’s outcome.

Buy your stamping set from any retailer closest to you or order online. A 3D stamp is a good option as it comes with a cylinder that can be fixed with several stamps at any given time. When buying, ensure that the stamps and the barrel are compatible. The cylinder is the tool that is to be employed when beating the pattern of the stamp onto the leather material. 

The leather should have the backside resting directly on the table, and the front side should be facing upwards. 

-         Pick a location on the unfinished leather surface where the design will be located. 

-         Dampen the surface with a sponge and then place the stamp over that area. 

-         Fix the stamp into the cylinder and secure it properly with your hand. 

-         Pick up a rubber head or wooden mallet and pound it a few times while ensuring that the stamp does not change position. 

-         After several poundings, remove the stamp to view the new pattern created on the leather. If the imprint is ok, then the work is done and, if not, carefully set back the stamp into the pattern and beat it again. 

-         If you have other stamps that you want to use on the same leather, carry out the same process, after which you apply a leather finish to the surface. 

Elementary Leather Carving Method

The type and intricate carving designs applied to a leather piece depend entirely on the leather piece's nature. For example, a book and a small purse have the size and shape for them to have designs that can bring close enough to view and check out the smallest details. With larger projects such as a sign, belt, jacket, etc., there might not be a need to input as many details as with the smaller objects. The smaller objects will require more time to finish because of the painstaking amount of time needed to input and carve all the details. With large projects, just a fraction of the time is required to get the work done. The type of details you decide to put on your piece is determined by the quality, what the piece is to be used for, etc. 

In carving leather, go with the following steps;

- Get a piece of vegetable tanned leather, stay away from leather that has undergone chrome tanning because it won't hold onto patterns carved into it. 

- Draw or transfer the design you have in mind onto a waterproof piece of paper.

- Use a damp sponge to rub down both sides of the leather without allowing the water to be too much on the leather.

- Place the waterproof paper with the drawing on the leather and secure it with masking tape while ensuring that the paper's part with ink is not in direct contact with the leather's surface. 

- Using a pen, trace the drawing onto the leather and then take out the paper when you are done with the tracing and allow it to air for about two hours. 

- Using a swivel knife, carve out the drawn pattern about ¼ to ½ the thickness of the leather.

- A correctly done carving will not need you to go through the next stage.

- Set up the deepest part of the beveller into the groove area and the other part on the area to be pressed down. Every time you beat it with a hammer or wooden/rubber head mallet, lay the stamping done before by two-thirds of the tool's length. This technique will enable you to carry out tooling of fifty percent of the leather's thickness. Expect to spend an excessive amount of time here with several hours spent beveling, tracing, carving, and finishing. 

A major method used in this age and time is aiming to produce an effect in which the background is flat, and the foreground experiences a raise. You can use a flat tool that accumulates the suitable dye and leaves the background several shades darker than the foreground, thereby creating a contrast. During this process, there is an overlapping to prevent the markings from been too individualistic. The extent to which there is overlapping is also a choice to be made by the leatherworker concerning the amount of time given to achieving a near-perfect job, with the energy expended in beating hard continuously for a very long time. 

Setting up a carving image on the leather can also be done by the continuous and repeated stamping of a particular image repeatedly or using a sharp object such as an awl to form a speckled design by poking the leather in a precise way or by removing the background.

Materials needed for carving

A wooden or rubber head mallet

Bevellers (pointy, medium and small)

A swivel knife

Backgrounders

A strop

A strong wooden board with a strong rubber base

Waterproof tracing paper

A ballpoint pen

Spoon

Dyes and paints

Leather cement

Vegetable-tanned leather

Directions

- Get the pattern that you want to carve onto the leather printed out or draw it. The design should be formatted in such a way that it will fit in nicely to the space on the leather.

- Get the tracing paper set up and attach the paper with the image to it. Hold the two pieces of paper securely in place with masking tape. Trace out the image directly to the waterproof paper. 

- Get a damp sponge and rub it on the surface of the leather to soften it up. There is the probability that the leather will get dried and hard when you are carving; all you need to do is simply soften it up again by making use of the damp sponge. 

- Place the waterproof paper with the image traced out on it over the leather. Hold it firmly in place with suitable objects. 

- Using a stencil, copy the image on the waterproof paper onto the leather. You can apply some paints to make the stencil lines more pronounced if you didn't get a clear image of the leather.

- Use the swivel knife to cut out some parts of the image that you want to be pronounced. 

- A bit of stamping can also be done around the design pattern to give contrast and texture.

Burnishing Leather

The number of ways you can get that charming and attractive look to the edges of your leather piece is infinite. Leatherworkers have developed individual styles that differ from the next person. You can leave the edges of your project just the way it is without any finishing touches, apply some sort of paint to get a matte look or make it glossy; whatever burnishing method you decide to go with is determined by several factors that will eventually have the desired effect on the finished project. With the vast array of styles, I will discuss the foundation style that, as a beginner, will guide you on how to go about burnishing leather and eventually developing your style. 

Steps 

Cutting of the Leather

A properly measure cut is essential for well-adjusted alignment of your leather pieces when you join them. This is a basic leatherworking principle which you tend to overlook and try to boycott in your earlier days of leatherworking. You tend to see it as a relatively straightforward process that merely cuts of leather, joining them, and viola you are done with the project. The cutting process is one to which patience and unwavering attention are needed to ensure that you get the desired piece. To avoid the inevitable anguish that you will experience if your leather is not cut correctly, take your time to ensure that you don't rush through this stage. 

Joining of the Leather

There is almost no action in leatherworking that is as simple as the joining of cut leather pieces. It sounds simple, and yes, it is simple. Since there are different joining methods, I will discuss a bit more about gluing here, and there are some factors that you need to consider with this method. Ensure you glue the piece as far as the edge to avoid it coming apart when you are burnishing. Making use of glue requires you to join one piece of leather at a time and not apply it to all the needed surface at the same time. This is because the glue dries quickly. Pick up one piece of leather and apply the glue to it before joining and moving onto the next piece. Always ensure that you keep the glue application as straight as possible. A messy application can make some projects come out looking haphazard and unsightly. If such an accident should happen, you will have to take everything apart, and in the process, your leather will most likely suffer some damages. So you should take your time when applying the glue to avoid costly mistakes. 

Another Cutting Process

After the gluing is done, go through the edges to confirm that they are all lined up well, and if by any chance there are some significant misalignments, gently cut that area off. If the misalignments are not that major, you can leave it as it will be taken care of during the sanding process. 

Beveling

Most times, if stitching would be carried out along the edges, it is ideal that it should be done before you bevel. This is to bring about a curving finish to the edges, and this is a prerequisite to the sanding stage. The beveling is done to prevent the edges from curving in when you start to burnish. 

Sanding

Sanding of the edges is a personal process that can be carried out with various grits depending on how you go about it. Some folks might use two grits, and others might go for more. Always sand for a short area at any given time to make sure that your hands remain flat during the process. I usually begin the sanding with one hundred and fifty grit sandpaper to bring out the area's elegant shape. This sanding gives a more finessed look to the relatively sharp and pointed edges resulting from the beveling. With this grit size, you should the leathers joined at that area should be reduced to the same level before you round it. You should also focus on getting rid of any excess glue that might be remaining in the area. The glue can be easily observed when sanding is it brings about a discoloration of the area. Sand continuous until every trace of the glue is removed because if there is any glue remained and you applied a dye, it won't accept the dye bringing about a patchy look in the appearance of that spot. 

When done with the one hundred and fifty grit, move onto the six hundred grit to remove further smoothen the edges before finally finishing it off with an eight hundred grit size.

The Dyeing Stage

When dyeing the edges of the leather piece, extra care should be taken not to touch the main part of the piece, which most times would have already undergone some form of dyeing. You can get around this problem by constructing a makeshift paintbrush from pieces of wool or sponge that will get the job done.

Burnishing with a Wooden Slicker

With constant practice over some time, you will get the hang of this process. First, apply some tragacanth to a small area of the edge, arrange the area on the inner part of the burnisher in such a way that the notch picked in no way crimps the leather. Move the burnisher very fast in a to and fro motion along the edge in a firm yet gentle manner. The burnishing's primary purpose is to bring about the formation of heat by the friction been generated between the contact of the burnisher and the edge of the leather. This should continue until you hear a distinct sound. This is a signal that the burnishing is complete, and a visual cue is the shiny appearance of the edge. 

Beeswax Application

This is done to make the edge appear warm and attractive with a soft glow. Apply some beeswax to the edges and rub it down with a piece of a soft cloth.

 Chapter Four

Hole Punching in Leather

This section is dedicated to guiding you on how to punch holes in projects that require a hole and the best type of tools to make use in every situation.

Round Hole Drive Punch

The drive punch is the simplest, sturdiest, most-commonly used a variety of leather hole punch. It comes in different sizes. The 3/32 inch leather punch makes holes for small jacket snaps and small rivets, the 1/8 inch drive punch makes holes for intermediate big rivets, and the 5/32 inch punch makes holes for significant jacket snaps. These dimensions can also be used to drill buckle holes and make holes for eyelets and grommets, but the density of the buckle pin or circumference of grommet or eyelet dictates the choice size of the hole punch.

There is a cost-effective and diverse form of hole punch; it is the adjustable punch set. It works best for anyone who is confused about the type of hole punch to get or who doesn't make too many holes but needs to make multiple holes. Various sizes of extractable hole tube tips can be fixed to the body of the adjustable hole punch to suit the gap you want to make. The setback of this punch is that switching the ends is time-consuming.

Operational instructions for a drive punch

Begin with a robust and steady surface when you are drilling holes. Let's illustrate with a reliable tree trump. Set a piece of scrap leather or poly cutting board on the stump; this hinders the cutting edge of the drive from getting blunt or the punch from chewing the wood and destroying the cutting surface.

Tick the spots where you want the holes on leather with a pencil. Lay the leather on the stump and align the punch. Ensure that the hole punch is transversal to the leather. Maintain this position firmly, and hammer directly downwards according to the leather's density, the blow should puncture neatly with one or two strikes.

It is advisable to punch holes on a tree stump covered with leather to shield the drive punch. Different types of metals can be used, large poly head mallet, heavy rawhide mallet, or a simple carpenter's hammer. Using a metal hammer can expand the end of the punch as time goes on.

Creating a Buckle using an Oblong Punch for Leather

Oblong hole punch makes pin holes for belt buckles. It may need one or two more blows than a smaller drive punch. To make a hole on a rigid point, incline the oblong leather punch a bit to concentrate the strength of the hammer at that point.

You can substitute a round hole punch for an oblong hole punch if you cannot spare the price of an oval punch. Make two round holes with a distance of one inch between them; connect the round holes with two parallel cuts. You can make the parallel cuts with a knife or wood chisel. It is guaranteed that you wouldn't want to improvise ever again if you get your hands on an oblong punch.

The size of the buckle hole determines the type of oblong punch that you will use. If you can't bear the expense of various oval hole punch sizes, you can utilize the one you have. Punch a hole and then superimpose the blow on the previously made hole, projecting it beyond the said hole to the preferred length. Strike it with the hammer so that both borings create a prolonged hole. Use a poly cutting board beneath to shield the bench and the tool's cutting edge.

Making Circular Holes using a Rotary Punch

This device is fitting for drilling peculiar quick holes. The benefit of using the rotary punch is the ease of usage. It has six varying dimensions of punches that can be interchanged by spinning the wheel. This tool used to make an appearance at craft shows to drill extra holes on a belt when anyone asks for it.

The drawback of using the rotary punch pliers is that it exhausts the arms' muscles if you have several holes to bore. You also cannot use it to drill a hole in the middle of the material because it leaves a space of one inch away from the margin of the leather. The thickness of the leather is directly proportional to the size of the tube; it is difficult to force thick leather into a revolving punch. It is imperative to twirl the punch a bit to accommodate the leather jacket in cases like these. This leather device is excellent for odd punching holes, but it is stressful and challenging to drill several holes.

We cannot overemphasize the use of junk pieces of leather beneath the material you intended for drilling to protect the tool's edge. Without doing this, you are grinding the sharp blades of the tube unto the rugged metal anvil. The grinding will numb the pipe faster and weaken the metal anvil.

 Drilling Round Holes for Lacing

A four-hole punch is mainly designed for lacing. Apart from the rotary punches and primary drive, there are special made leather punches for specific uses. An example of convenient tools in leather artistry is the four-hole punch; this tool is primarily for producing little holes for lacing leather. The individual hole on this punch has a 3/32 inch diameter, and a distance of ¼ inch separates them. The leverage of the four-hole punch over other types of punch is that it guarantees a uniformly spaced hole, and it is time-saving. This four-in-one punch is the best option to achieve a straight lacing hole, but the aforementioned single hole punch is more suiting to create curvy lacing holes.

The usage guideline of this hole punch is similar to that of the individual drive punch. As in the case of an oblong punch, it is also necessary to twirl the punch to concentrate the hammer's strength on a particular hole.

Dyeing

To confer color on the leather, you can either dye it or apply pigment to the exterior. Sometimes, leathers are base dyed to get an even surface before treating with pigment finishes. Often, aniline dyes are used to bestow color intensity and improve the leather's organic grain feel. The most commonly used techniques of dyeing are:

Brush dyeing

Drum dyeing

Spraying

The essential techniques for dyeing different leather are spraying and drum dyeing in the drumming procedure; skins are rolled in rotating drums holding the dye compounds, with allowance to maintain appropriate temperatures. The acid or basic dyes selection is influenced by preferred color, coloring methods, and successive culminating procedures.

In the spray technique, dyes in an atomized state are introduced to the leather with pressure spray guns, spraying booths, or automated sprayers. Spraying imparts extra color manifested in insoluble pigments that are afloat in water. Binding agents like shellac or casein can be mixed with pigment compounds; pigment coatings help the tanner ensure consistency and intensity.

Brush dyeing is employed in dyeing weighty leathers like tapestry hides strap sides and different unique leathers. The exterior of appropriately primed leather is grazed by a thin dye mixture a couple of times for color uniformity. When color is wanted on the surface of glove leather, the same method is used.

The Leather Dye Color Uniformity

Leather artists do not joke with color regularity; they usually look out for colors that give a uniform, natural finish to the leather. Color uniformity is primarily influenced its speed of permeation while leather dyeing is ongoing; the rate of color penetration is inversely proportional to the color uniformity.

The Rub Off of Colors

Leather artists also pay close attention to the degree of color linkage with the leathers. The weak interconnection between the dye compound elements and the leather fibers is majorly responsible for color rub off. Color rub off is a massive problem because colors on bags or leather items used regularly can leave color residue on clothes or any other thing they touch. The correct choice of leather dye and subsequent use of unique fixing products can curb color rub off.

The Leather Dye Drying Time

Drying time is essential to everyone who crafts leather products. This is because drying time affects the production time and the quality of the finished product. Fast-drying causes a prominent color rub off. You have to search for a leather dye that creates a balance between the duration of drying and finished products.

The Leather Dye Application Sample

Consideration should be given to user convenience when picking leather dye. The leather dyes are usually applied by hand by the artist, but spray application follows the hand painting on a large scale leather production. You are required to gain mastery of how to create colored leather from natural leather with uniformly distributed dye to give a natural finish.

The Even Coating

Color regularity is usually desirable when producing colored leather, eliminating all forms of contrast in colors and shades. The exception to this is the creation of a vintage appearance on the finished product. Even if the dye is coated on the leather numerous times on the same spot, it must retain a near-even look. On rare occasions, a leather dye thinner comes in handy to reduce color intensity on the leather surface.

The Leather Dye Smell

Another important aspect of leather artistry is the smell, though there are more important factors to consider. The scent of leather dye is derived from the particles dispersed in the air when a dye bottle is opened. Alcohol or solvent-based stains have a more noticeable smell because they are very volatile. The reverse is the case in water-based dyes.

Procedures on administering leather finish

Leather finishes maintains the characteristics and look of the leather product. There are numerous things to note before application of leather finish:

Every process must be completed before finish application

Ensure that the surface area is moisture-less and utterly free of filth, dust or particles

Apply the leather finish before you join and frame the product.

Press a moist sponge lightly on the dye bottle; tilt it slightly so that the dye runs onto the sponge.

Apply a thin layer of finish to cover the leather's molded part, shifting the sponge circularly on the leather. Do this until the finish is imparted on the impressions and cuts.

Allow the finish to completely dry. Cover the leather with another coat if you want a glossy finish, then let the leather dry thoroughly.

If you long for a sparkly finish, polish the leather with sheepskin or fluffy material. You can fix the different parts of the design together by lacing with leather or sewing with waxed thread.

Chapter Five

Stitching, Lacing, and Braiding

Procedures for Lacing

Lacing bestows aesthetics appeal on hand-crafted leather items. The quality of lacing influences the appearance of the finished design. With the directions below and a routine exercise in lacing, you are on the path to becoming an expert in lacing.

Please, note that you should always lace with the completed part of the design directly opposite you.

Threading a 2-Prong Lacing Needle

You should stack the lacing needle with two yards of lacing at once. It is challenging to operate with more lengthy pieces of lacing; it weakens the lacing as it is dragged across the lacing holes.

The Process of Lacing and Connecting the Double-loop stitch

Suggestion: use 3/32 or 1/8 lace alongside slits or holes of the same dimension. The length of the lace in double loop lacing is about eight times longer than the design's actual length.

Sewing a Running Stitch

The length of lace required for this procedure is almost two times longer than the gap to be laced.

Procedures for lacing the Whipstitch: the methods for lacing whipstitch are employed on designs of regular starting and finishing ends like a billfold.

The lacing needed is about 31/2 times the length to be laced.

Hand Stitching - Procedures for threading the needle

Notice: fix a needle to individual ends of the thread according to the following guidelines.

Hand Stitching – Using Two Needles

For hand stitching, you need close to three times the length of leather you want to stitch.

Hand Stitching – Using One Needle

To hand stitch, you need close to three times the length of material you want to stitch.

Lacing Leather

Leather lacing bears a close semblance to the process of sewing fabrics. You need to drill holes in leather before lacing since it is a thicker and long-lasting material; this results in a broader distance than fabric sewing. As in sewing, several stitches can be employed in leather lacing.

Making Holes

A lacing chisel or a leather punch is the best tool in the formation of holes in your leather. Create quite, but not unreasonably wide holes to accommodate the lacing material. The material and the pattern you want to lace with will determine the width and size of craters.

Ensure that the distance between the holes are equal, with minimal space separating the holes from the leather's edge. Make holes on the two pieces you want to lace together and be attentive to the holes' alignment. It is possible to make the holes on both pieces at once with a punch is the leather is not too thick, which guarantees the precise alignment of the holes.

Stitching

A variety of stitches that produce diverse finished toughness and look are available for selection when lacing. Running stitch is the most basic stitch. Harmonize the holes on both pieces of leather, and insert the lace, facing opposite directions, in the first holes. Insert the lace in the second holes, each end against its initial course, and replicate the process until all the holes are filled. Double running stitch enhances a running stitch without extra intricacies. When the running stitch is complete, repeat the procedure backwardly going the opposite direction.

A loop stitch can also lace leather. Run the lace through individual holes, turn the lace around to the first side and pass it through the next hole. The lace should pass through each hole in a similar pattern. This style offers a unique outlook than the running stitch. Attempt each of the stitches to decide which model works best for you.

Procedures for Sewing a Double Needle Stitch on Leather

-         The double-needle stitch, also known as a saddler's stitch, tightly connects two pieces of leather. It is the tightest stitch in leatherwork.

-         Ensure that the holes in both pieces of leather are uniformly aligned. Insert a waxed linen thread or synthetic sinew in a leather-stitching needle; do not fasten the thread end.

-         Run the threaded needle through the first two parallel stitching holes from either direction. Pull the needle so that an even length of thread is on each side.

-         Insert the free tip of the thread in another needle.

-         Put the left needle to the right side of the next hole; put the right needle on the left side of the corresponding hole. Pull the two threads firmly. Replicate the procedure for subsequent holes.

-         Towards the end of your stitching, take about three stitches rearwards. Continue with the original motion until you complete the stitching.

Leather Lace Braiding Methods

Heed definite braiding instructions to produce key chains, leather belts, or bracelets. Utilize various sizes and colors of leather laces to make leather ornaments splashed with different colors.

Wide Flat Braid

With more than three laces, make a broader braided leather trinket or key holder. Join the tips of several shoelaces with a square knot. Organize the laces opposite you in two uniform categories. Bring the lace on end over to the center, next to the inmost lace of the remaining group. Repeat the motion until you have a complete braid.

Round Braid

Make a braid similar to a rope with a basic home-crafted loom. From cardboard, mark and trim a circle of 3in diameter, and perforate the middle. Cut eight slits with ½ inch length into the significant ring; ensure that they are uniformly spaced. Tie the tips of seven leather laces together with a square knot and secure the knot by putting it in the hole. Pass individual hole through a slit, leaving a slit vacant. To make the Braid, take the lace three slits apart from the bare slit and fix it in the bare slit. Again, take the lace three slits apart from the newly created vacant slit and put it in the empty slit. Continue this pattern until you complete the Braid.

Endless Braid

Make a braided leather trinket without securing the ends of the lace with a knot. Measure and cut a streak of 10in long and 1in wide leather. Make uniformly spaced slits on the leather across the length, starting from 11/2 inches apart from the streak's margin. Braid the three laces by intersecting them on each one on another. The tip of the laces will form a braid, but the center of the streak will be lax. Pass the lower end of the stripe through the center, between the first two laces, so that the lower end of the streak is downwards. Go on with three other intersections to make a biped, and pass the base end through last two laces. Repeat till the whole streak forms a single braid.

Herringbone Braid

Arrange five laces and hold the ends together with a crimp end. Bring the third lace beneath the first two laces so that it is now on the extreme left. With this new position, bring the fourth lace over the second and third laces and intersect the second lace with the fifth lace. Bring the first lace over the fourth and fifth lace and beneath the second and third lace. Repeat this procedure until you complete your Braid.

Braiding Lessons

You'll need:

Binder clips, thumbtacks or pins

Sharp scissors

Awl

Leather needles

Pound board and quartz slab

x-acto knife

Double-sided tape

Cutting mat

Leather lace

Rotary punch

Rope cord core – for round Braid

Waxed thread – thick

Stitching chisels

Surface to hold your pins and secure your leather during braiding

Standard 3-Strand Braid

The most convenient way to start leather braids is by using any of the fringe cutting methods, followed by braiding the cut strands together. This step is an excellent method of creating braids because already connected streaks on one end do not need to be secured by the additional final procedure.

You must be sure of your desired Braid's length and width before making a simple three-strand braid with this method. Braiding reduces about one-quarter of the length and breadth of leather, which fluctuates with the leather's circumference, so you need to consider this when cutting the leather strips.

To create a simple braid, cut a fringe of three cords, and secure the top point so that you can braid with convenience.

Then, braid it in the usual manner of braiding by interchanging the sides, pulling the outmost cord across the center. See to it that the cords are upright, and the grain side does not overturn.

3 Strand Trick Braid

The 3-strand trick braid is similar to a regular braid, but it is sealed on the two ends, making it appear complex in a captivating manner. The benefit of this Braid is that you don't have to worry about completing the ends, and it is a fascinating braid to keep in your collection for making little ornaments.

Begin this Braid with three strands of leather as in the 3-strand Braid, but the two ends should be joined. It is best to make holes at the start of the individual cut to seamlessly intersect with each other if you are using hard leather.

Adhere to the guidelines below to make your braids:

-         Put the center of the right strand across the center strand and beneath the left strip until it takes the left cord's position. You have virtually formed the basis of a braid; you have to loosen the lower ends of the strands since they are joined and interconnected.

-         Fold and thread the bottom right corner of the leather between the two cords that are now furthest to the right. Pull it over entirely and twirl so that the grain side is upward once more. What you have probably looks chaotic, with several spiral twirls in the cords. Relax.

-         Crimp the bottom right corner of the leather once more and let it go through the distance between the extreme left and middle cords. Once more, you will have something cluttered, but the structure beneath the mess keeps going.

-         Starting from the top, loosen individual strands with your hands so that the Braid is horizontally leveled. Yes! It's beginning to resemble a braid. Repeat the procedure from the beginning to proceed with the Braid. The concluding part of Braid can be precarious because there is little or no room to intertwine the cords.

4-Strand Braid

There are several discrepancies in the typical 3-strand Braid. The more cords you add, the more the Braid framework resembles weaving, and you can make broad strands with attractive designs.

Braids with even several cords are more functional than those with odd numbers of strands. Due to their gaps at the Braid's precise center that functions as borings on the buckle, you can use them as suspenders that pass through buckles.

The 4-strand Braid is nearly as easy as the 3-strand Braid, but for this Braid, you begin with for strands of leather in place of three.

Begin with crossing strand number three over strip two; then lay the first strip on the new strand two. Proceed by bringing strand four beneath the new strand three. Repeat this pattern to complete the Braid.

As you did in creating the 3-strand Braid, ensure that the grain side is upward and the firmness with which you intertwine the stress is even throughout so that the Braid is uniform.

4-Strand Round Braid

The Braid result is stunning, appealing, and categorically different from a conventional braid because it is fantastic from any viewpoint. You have to consider the length shortage in this Braid when cutting your laces because this Braid will shorten the initial length of the laces by 1/3.

The collective wideness of the laces should be equal to the rope's circumference so that the Braid will effectively conceal the cord.

Start the 4-strand round braid by fixing four lace lengths that will encircle the heart of the rope; this is easier by twining thread about the upper part of the laces.

You should once again fasten the rope to anything so that you have your hands available for braiding. Adjust the cord so that there are two strands, each in the front and back. Start braiding by intersecting the front left strand across the front right strand.

Then, bring the strand at the extreme left over to the back of the rope, beneath the strand at the far right, and across the immediate strand to the left, so that it is positioned at the center of the front. Pull and fasten the strands around the rope so that you form the basis of a braid.

Repeat the motion from the right-hand side. What you are doing, in essence, is winding the first strand from alternate sides round the back of the rope to the second side, and beneath the next foremost strand. Go on with this pattern until you have a complete braid. Pay attention to the lace's grain sides so that they are facing out and do not entangle.

Finishing Braids

To introduce an extra loose braid to your design, you have to be tactical about it so that the end of the Braid won't loosen. There are several means to achieve this, albeit a bit complicated. The simplest solution is to conceal the two ends of the Braid in the design seams.

You can leave the Braid's loose ends or cover the Braid's ends if you want to attempt a hanging braid. If you don't mind the ends of the lace being visible, you can wind another lacing or thread around it in a way similar to tying the end of the hair braid with a scarf. You have to stitch or use and adhesive on the ends of the lacing if you choose to use lacing.

To make the design more skillful, you can cover the Braid's ends with two pieces of leather or a single piece to create a shape or flat end. Apply glue or drill holes on each braid strand, and sew. Go on to prune the ends to make it neat. Use one piece of leather, fold the leather, and sandwich the lace between it and punch sewing holes through the layers. For a two-piece covering, stitch the leather's edge first, fix it on the Braid with an adhesive, and make the remaining holes. Then, sew the cover on the Braid using a saddle stitch.

Introduce Braided Details to Your Project

There is no one way to do this; you can explore and attempt various designs to make your projects more attractive and distinct. From your knowledge of different kinds of braids, create variations with leather and play around with patterns.

Unleash your imaginative ability and ingenuity to incorporate as many braids as you can into your design. You can get insights from the internet, manuals, or textbooks.

Tandy Leather Moccasin Lacing Guidelines

You can produce a couple of moccasins that look like Native Americans' blueprint with a Tandy moccasin gear. The gear contains everything you require to create a pair of shoes on your own. Set the base item of the moccasin with the exterior against the surface. Put the foam insole in the middle of the leather, a sketch for the placement of the insole may be available in your gear.

Put the leather tongue on the leather moccasin anterior. Crimp the base leather atop the tongue and align the holes. Crimp the bottom piece over itself across the edge and align the holes.

Fix the laces in all the holes. You are stitching the moccasins by securing the fastenings and holding them down.

Start at the last hole of the moccasin behind the ankle and place the right tip of the lace in one hole and start lacing in the right direction. Place the left part of the tip in the immediate hole and start lacing in the left path. In theory, the two lacings should end up at the center of the moccasin atop the tongue, where the lace can be fastened.

Replicate the procedures to create the next moccasin.

Procedures for Knitting with Leather

Knitted leather is pliable, rugged, and resourceful. Artists can knit anything ranging from bandana to tee shirt using a leather cord. Artists use light leather strips to make firmly twisted material and a dense strand for the loose weave. Flatten and weaken leather strips before the commencement of full knitting operation, use similar to a thick yarn.

Unpack the leather strips. Starting from the edge of strand, shape a few inches of the strand into a loop, and work the strand till it weakens. Go backward with the circle and work on the second side of the strip.

Replicate the procedure with the other portion of the strip. Go on with this motion until you have works the full length of the strand. Flatten any strand that has been looped due to packaging by going with the curve. Weaken an especially difficult curved leather strip by stringing a bone bead on it. Tilt the dot so that it lightly scratches the leather, and then tug the bead down the strip.

Chapter Six 

Sewing Leather on A Home Sewing Machine

You will need:

Different needle sizes: tiny blades on the individual axis of the eye differentiate leather needles from traditional needles because leathers need small holes before threads can pass through.

Thread: nylon thread works best for leather because leather breaks down the standard cotton thread. It is not advisable to use polyester thread, for it cannot secure leather stitches. Choose a toneless thread.

Cutting leather: a sharp, elegant cut is compulsory for skillful leather. Use rotary blades or the most pointed scissors in your kit for thick leathers, and a knife for delicate leathers. It is important that you mustn't spare any expense in cutting leather if you want your designs to be always excellent.

Machine Setup

You need to modify some configurations on a household sewing machine. The leather needle makes a tiny hole in the leather with every stitch; elongate your stitch length to a minimum of 3.5 to avoid ripping or piercing the leather down the seam line.

You will figure out what tension level gives you a lovely stitch on your own by attempting to sow with different thread tension. Ensure that you keep the beautiful side of the design up because of the leather's downside when sewing is always a bit irregular due to the puncturing before stitching.

Instruments

You need to have some equipment when designing with leather; a few may be available in the domestic kit.

Essential Necessities: knife, cutting soft leather with rotary blades will blunt the cutting edge rapidly, a utility knife will last longer.

A cheap cutting mat: a rotary cutting mat is not durable when working on it with a blade. Use a cheap a typical rotary mat that you are willing to discard.

Metal ruler: you can wound your fingers and a plastic ruler if you use a static blade alongside a plastic ruler. Get different sizes of metal rulers to solve this problem.

Adhesive: water water-soluble cement is the best option for leather. You can also use standard contact cement as long as you strictly follow the safety guidelines.

A mallet: a mallet is preferred to a hammer to strike leather equipment that cannot only damage the tools; it can wound you as well.

Hole punches: rivets and snaps need the hole to be drilled in the leather at; first it is possible to use the two alternatively.

Lighter: it melts the tips of the thread to fasten them.

Optional Tools

Cobbler's hammer: this hammer flattens the thread of a seam. The advantage is that this hammer will not cast a mark on the leather from the margin due to its round surface.

Edge finish: gum tragacanth or beeswax works well as edge finish for designs.

Edge beveler: this gives an extra aesthetic appeal to the finish of the leather. It is similar in effect to sanding a chunk of wood.

This skill is a fitting hobby and an extra stream of income for most people with a zeal for sewing. Sewing leather and fabric are very different; leather usually has coarse exterior and robust formation because it originates from animal skin. For this reason, it is difficult to sew leather by hand.

Sewing machine effortlessly makes needle holes and stitch fast enough. Choose a sturdy needle for leather because they sometimes become fragile during leather stitching. Get all the tools you need for patterning, cutting, and making holes ready before you start sewing.

The use of different instruments, the required expertise, and leather sewing thickness make leather sewing more complicated than stitching and designing other materials. Comprehensive knowledge of how to use a domestic sewing machine to sew leather follows the nine simple procedures below.

Inspect your leather for flawlessness

As always, the quality of a finished product largely depends on the quality of the raw material. Examine the leather for flaws and ensure it has even exterior. Choose from the different types of leather available - aniline, nubuck, pigmented, suede, faux, and semi-aniline. Take the longevity of the tools you will use on the leather into account.

 Create a template as your yardstick

This process enhances precision and saves time. This procedure is crucial because it provides a pattern to place, trace, and stitch your work. Reproduce the design on the new leather carefully without leaving a mark.

Rotary cutter, Stanley or press knives, cardboard patterns, pen, and clicking press are tools that make tracing simple and easy.

Press the leather to fit

This procedure can come before or after the template creation. Press the leather till it's flat and is the right size to go beneath the presser foot smoothly; this ensures that the feed dog and needle can sew the leather without a hitch.

Clipping the material or gluing them is a means to press leather for skillful sewing.

Use sewing machine needles dedicated to leathers

Needles differ on account of their use and harmony with the sewing machine you own. Tiny needles are the correct ones for clothing materials, but a thick needle is the best for leather to facilitate easy penetration.

Choose a long-lasting needle to prevent bending and interruption of the sewing process. Check the internet for more information on the correct usage of leather needles.

Pick the most appropriate sewing thread for leather

It is essential to regard the leather thickness and longevity of the thread before sewing leather. Polyester or nylon thread is the best and frequently used for leather because they are sturdy and durable.

Fix an interfacing fabric

This procedure is not mandatory since it depends on your material. An interfacing fabric secures your leather. This method usually conceals unwanted seams or marks on leather, consequently reducing flaws and making the project distinct. Please, note that you should use a thin cotton fabric in order not to make the leather heavier or appear so.

Ensure that the garment leather is flat

This process prevents interference during stitching. You can achieve flat leather by using thin interfacing cloth and applying adhesives thinly to the leather so that the leather will not expand.

Maintaining flat garment leather aids smooth running of the sewing machine and will protect the feed dog, needle, and presser foot.

Inspect the needle regularly

Ensure that you inspect the needle after every stitch you run. The back and forth movement of the needle during leather stitching can make the needle edge-less, and it will call for a new needle.

Keep as many spare needles as you can afford to save yourself stress if the present one you're using becomes weak and dull.

Smoothen the leather's surface with plastic equipment

This process provides you with a parallel and light surface. Put the device beneath the presser foot but out of reach of the feed dog and needle.

The essence of this procedure is to make the leather perpendicular to its surface to allow productive leather sewing. You can devise a tool as long as it serves the same purpose as a plastic tool.

 Change the Presser Foot

A presser foot that is consistently used adheres to leather and obstructs proper feeding of leather through the machine. The way to fix this is by merely switching the presser foot for a Teflon foot or roller foot, which works as best as presser foot.

Change the Stitch Length

Use a stitch length that is longer than the usual you'd go for; a3.5 is okay. You can prolong the stitch length as you want, but do not extend it beyond a basting stitch.

Tape but do not pin

Do not use pins in leather because they will produce a permanent hole. Align the leather pieces and secure them with double-sided tape before sewing. Put a line of tape on both sides' margins, not going beyond the intended seam allowance. Then, sew. You can leave the tape on the leather; this is a norm in leather artistry. You would probably find a tape in the seam allowance of industrial leather products if you could manage a peek inside.

Always Assess Your Stitches First

Leather stitches produce a lasting mark because of the slits the needles make in the leather. It is, therefore, not easy to correct errors in sewing as it is in fabric tailoring. Always use a junk piece of leather to test the tension, stitch length, thread, and overall running of your machine before starting the original work.

Plan efficiently

A lot of domestic sewing machines cannot sew through thick and bulky leathers. Always choose basic designs that do not call for piling layers of leather on one another. The highest number of layers that can pass through a home machine without a hitch is three, including aspects required to sew along seams.

Sourcing Leather

You can get leather from several places. Working with a home machine demands getting thin leather. The standard measurement for leather thickness is in ounces, use 3oz or less on a home machine.

I'd recommend Tandy leather as a store to get your leather supplies. They sell fantastic products and have excellent customer service; it won't hurt to check out one of their stores if it's in your vicinity.

You can also find leathers at a thrift store. Though the leathers don't always look catchy, no worries, it's not for dress up. You can make use of them to cut out parts.

Online stores for leather are everywhere. Proceed with caution because you do not know what will be delivered to you. Order small pieces or sample material to test and ascertain the quality.

Chapter Seven 

Guidelines on Gluing Leather

Gluing comes in handy in leather artistry, either to repair a piece of leather, attach pieces to sew effortlessly, or join two leather pieces into a completed design. It is, therefore, essential to learning how to do it properly.

Gluing leather goes smoothly with a neat workspace, appropriate tools, and the right adhesive. All you need to do is get the glue ready, apply it uniformly, roll or strike it with a hammer to hold it in place and dry it according to glue specification. Store the glue suitably so that it will be useful for subsequent projects.

Some straightforward but essential procedures ensure an effective gluing process. Let's consider and review the intricacies so that the project ends up beautiful.

Summary of Leather Gluing Procedures

Gluing leather is fusing two pieces of items with an even covering of adhesive. The vital aspects include picking the suitable equipment, glue, application technique, and right implementation. Once you understand your way around it, it's reasonably straightforward. Gluing leather is an excellent way to fuse finished products that should be pliable and sturdy.

What is Leather Glue?

Every type of glue is not suitable for leather. The majority of leather artists endeavor to utilize super glue or conventional adhesives on leather, but they can damage the leather in a snap of the fingers.

Pay keen attention to the parts of leather you want to join before choosing glues. Choose the appropriate adhesive for the material, and also can hold pieces together firmly. Be cautious about picking fitting glue; it should be impenetrable and durable. 

There are different types of glue available in the market for leather. Pick the corresponding glue to fit the particular leather you need to join or fix. I'd nominate the rubber cement for leather as the best option. This glue is durable but can get grimy and slimy with usage. There are specific glues for specific purposes; glue for the leather bag is different for leather shoes.

Procedures for Gluing Leather

Most people are likely to choose glue in their surroundings to fix leather; the most common and frequently used is super glue, leather glue, or contact cement. Super glue is the most popular among domestic artists. More often than not, they get curious about whether super glue works on all leather products like shoes, wallets, or bags.

Though super glue is perceived to be multi-functional, it is not the most fitting glue for every leather product. It certainly doesn't measure up to expectations in finished leather items.

If you are inexperienced and use super glue for leather, you will most likely struggle or ruin it. Therefore, it is crucial to choose the correct paste based on what you intend to rectify. You must seek strong adhesive, but you must also consider the material you plan to use it on before choosing glue for leathercraft. Without paying attention to the material, even the best glue might not yield the expected result.

The techniques of repairing vary according to the products you want to mend. Let's explore the procedures involved in gluing leather extensively.

Identification of the material

Before choosing and applying glue on leather, mentally decide on the material you intend to join with leather. It might be leather to wood, leather to leather, or leather to any kind of material. So, deliberate ahead of time and duly prepare.

Needed materials:

Paper napkin, leather material, fitting leather adhesive, clamps

Leather Gluing for Sewing versus Joining Material

You can glue leather for various reasons. Occasionally, it is to create a momentary bond to assess the appropriate point where pieces come together. Mild glue with moderate adhesion that is easy to remove work best in this scenario. For example, the usual Elmer's or PVA glue.

If you want to sew materials, glue helps align and secure the edges of the material while stitching through with a machine. Here, the glue that will stay in place beneath the material is not too strong at the same time. In this case, a Tandy Eco-Flo Leather Weld functions effectively.

When you intend to use glues as the primary medium to fuse leathers enduringly, contact cement always works well. It is pliable, water-resistant, reliable, and durable.

Guideline to Gluing Leathers in Ten Steps

1. Get the work surface ready

An extensive, smooth, and free work surface is the best for gluing. A table or a workbench will suffice, laying some papers on the surface to protect and maintain the surface's neatness from any glue that might drop.

Provide enough space for equipment, movement, and other activities. Occasionally, the ability to move around the table without hindrance improves the gluing process; this is not a prerequisite, but it doesn't hurt to indulge. In as much as you have sufficient space to work, you are good to go.

2. Obtain the appropriate tools

Though leather glue requires just a few tools, they facilitate the expected result. Let's look into them and learn their mechanism of operation and usefulness.

(a) Leather glue and adhesive

Various kinds of glues are on the market for leather. A few of them produce a momentary bond with a crude outcome that is readily removed and reapplied. Other adhesives are firmer, more forceful, and harder to remove. Some glues swell inside the materials during drying; still, some are indestructible, perceived as abiding. When the sturdier adhesives are used, an attempt at separating the attached pieces will probably ruin the leather. You can learn more about how to pick glue for various designs on the internet.

(b) Leather glue pot

Glue is a valuable addition to your running leather gear; the common challenge is that they dry if it remains open when you are working. A glue pot is a little plastic, an air-tight container that holds glue and adhesives. Glues can stay for a while in a glue pot without drying up.

To use the glue, loosen an air-proof cover to expose a brush and a fraction of the adhesive. Immerse the brush into the bare glue and use it on the leather. When you are through, replace the air-proof cover by fastening it, and the adhesive will retain its properties until the subsequent uses. Gluepot comes in handy to preserve glues if you carry out a lot of gluing.

(c) The glue spreaders

Glue spreaders are usually tools with smooth margins and come in plastics. They ensure uniform distribution of glues on even surfaces, permitting the light spread of adhesives or glue concentration on a certain point. After use, clean, and use again. Retaining the flat borders is crucial to even distribution of the glue.

Glue application brushes are not necessities in dispersing glue, dip in a liquid glue and use on the leather. They accelerate the application of large amounts of glue, although glue spreaders do a more fantastic job of even spread. In summary, spreaders simply aid glue dispersion and concentration.

(d) Hand leather rougher

A rough surface improves the strength of the bond between materials. When the intended materials to be joined are smooth, a hand leather rougher scrapes the surface and produces the needed rough layer. This created rough layer will catalyze the fusion of the materials. Hand rougher are the norm in saddle making and related work.

(e) Leather edge clamp

Leather clamps are unique instruments built with steel but the clamp jaws with rubber. The jaws are very even so that they do not mar the leather; the rubber covering on the clamp jaw ensures that it is almost impossible to leave marks. Furthermore, the rubber aids the clamp to hold the leather firmly. Some other varieties of edge clamps are made of metal, while some clamp jaws are coated with leather to accomplish the same purpose rubber will.

Edge clamps also grip the attached leather pieces in place during the drying of the glue. It is also essential in cases where an instrument works best to secure a part of material than ordinary hand will. It also helps to smoothen and spread out leather.

(f) Leather weights

Leather weights are little metal tools that keep leather steady during punching, stamping, gluing, or cutting. They also flatten the leather further into a smoother working surface. They have even glossy surfaces so that they will not leave a mark on the leather when they are on top. They are usually made of steel or brass.

Leather often moves during cutting or shifting. It is also possible to have an unwanted but standard curve in thick leathers during cutting; leather weight will fix these problems by holding leathers in place or keeping the leather flat to avoid bends. Leather weights are available in different sizes.

Though there are specialized leather weights, you can use anything as a leather weight as long as their exterior will not scrape or wound the leather.

 (g) Leatherworking shoe hammer

Leatherworking shoe hammers are usually utilized for ensuring striking stitches, holding attached leather pieces in place, tapping through sharp folds. They possess a large, dense steelhead that creates a profound, stable effect. They are common in bag, saddle, and luggage making, and shoemaking as well.

(h) Leatherworking metal roller

Leatherworking metal roller flattens joined leather layers. A precise tool for this purpose is beneficial because leather can sometimes be thick and also common has a beautifully completed even surface. Removal of air gaps and bubbles contribute to the beautiful outcome and fantastic appearance of the leather.

The metal roller consists of a solid, dense metal cylinder joined to a handle. When tugged at, the roller rolls across the leather, putting pressure and ensuring that a firm fusion is created between the leather surfaces.

(i) Rags

Rags serve the purpose of wiping up glues and occasionally to press it down and flatten it. Lint-free cloths like used cotton blouses or microfiber fabrics will fit the bill.

(j) Wire brush

A wire brush has metal bristles and wooden handles; they are rough and rugged. They are commonly employed in brushing leather surfaces to roughen them. It serves the same purpose as the hand leather harsher.

3. Prepare the leather surface

Rough surfaces produce superior adhesion because uneven surfaces give more space for the glue to stick. It is beneficial to roughen the surface to reveal the slam leather fibers during gluing; this increases the effectiveness of glue and contact cement with leather.

You might need to leave the leather surface even if the joined pieces are sewn or desire a highly tight tolerance between the materials. Nonetheless, it is advisable to always roughen the leather with a hand leather rougher or wire brush.

Leather surfaces should always be clean and free of dirt; brush some deglazer lightly on unfinished leather to remove the dirt and residues on it. For a milder method, a lint-free cloth removes thin dirt and fragment on completed and fragile leather.

You can proceed with gluing when the surface is clean and ready.

4. Prepare the glue

Glue sometimes can be thick and stiff; they are usually thinned to become lighter and more free-flowing and dry with minimal bulk. Even with this, they still maintain their potency. There are different thinners made, especially for glues and contact cement.

Manufacturers usually sell thinner that works best for their glues, according to corresponding constituents. The common unspoken rule for thinning contact cement is mix 2/3 cement with 1/3 thinner, though different manufacturers may give another prescription. So, you should read the instructions that accompany the products to keep you on track.

You can either use your glue directly from the tube or a glue pot if you like its original consistency. Glue pots are a great way to preserve thinned glue from drying out. Store large portions of glue in a glass container; it yields more amazing results than plastic. This will save you the stress of preparing glue fro coming projects.

Once you have prepared your glue, it is ready for usage.

5. Use the adhesive/glue

Gluing is the most exciting aspect, and it is quite straightforward. Begin with applying the glue in the middle of the item to disperse across the rest of the material, though most of the adhesive will remain in the middle. The strong glue is then spread uniformly across the surface. Starting the gluing procedure from the center promises the best, and most effortless result, beginning in the middle, makes the distribution difficult, and may even mess up the leather's edges or the work surface.

Use a leather glue spreader or glue brushes (paintbrushes, in some cases, or specialty brushes packed with the glue) to distribute and thin out the glue from the center of the material. /ensure that the glue is dispersed uniformly and smoothly across only one surface. However, both surfaces should be smeared with glue when the choice is contact cement. The coming step is mandatory if you are utilizing contact cement.

6. Allow the contact cement to dry

The glue needs to somewhat dry for about twenty minutes when using contact cement before joining the materials. Remember that both surfaces have been smeared with the adhesive. While they are drying, they will get a bit sticky. Then, you can join the surfaces together.

A little trick for when you are designing with thick leather, or one that has a coarse or spongy surface and you desire excellent bonding strength, consider applying a layer of contact cement, and then dry for about twenty minutes. Proceed to spread a second coat of contact cement on both surfaces. The first coat of contact cement will stick to the leather, filling a few pores in the surface; then, the second covering will give a more uniform and smoother layer of contact cement for the other surface to bond.

A running fan or hairdryer will accelerate the drying process, and consequently, save time.

7. Press the layers together

After the contact cement or glue application, and the contact cement is a bit sticky, proceed to merge the pieces of leather. Give your best to make the bond smooth, firm, and uniform for professional and breathtakingly beautiful outlooks. A few instruments can help you to achieve this.

Start by placing the leather together and ensure that the edges are aligned to your satisfaction, then press with your hands. Yes, you are well built and able, but no, you don't have to expend unnecessary energy. Some tools can accomplish this. A leather roller will press flat pieces to produce standard and regular outcomes. A hammer with a broad head helps to strike the leather together—unwanted leather pieces between the hammer and leather to avoid marring of the project by the hammer. The hammer also plays a vital role in the gluing of tight, bent, or far corners. Both leather rollers and hammer expels surplus air and glue.

8. Hold the leather firmly during drying

Holding the leather in place is essential after gluing and flattening out; this will keep the surfaces steady, unmoving during drying, assuring a strong bond. Several tools can facilitate this. The leather clamp is an example; it holds the pieces tightly clamped together while drying. Placing leather weights on the glued leather pieces keep them in place for drying. Anything rugged and that won't leave a mark will serve the purpose of securing leather pieces during drying. You can keep between your leather weight and glued leather pieces.

Another tool that functions in this regard is a vise; they have teeth in the clutches with leather in-between them. The attached leather pieces can shield the leather in the grips. You have to be cautious with a vise because too much pressure can mark or ruin the attached leather's shape or cause any artist's nightmare: move the leather out of place.

9. Clean up surplus glue

You've done a great job of setting the leather; now, it's time to wipe off residual glue from edges and surfaces before it dries completely. You can use a lint-free cloth, or a moist rag if the glue is already /tacky. An eraser will do the job in some cases as long as you are patient and careful not to mar or ruin the leather beneath it.

If you do not have an air-proof container for keeping brushes, wash them thoroughly and dry. Make sure that there is no glue to join any brush to a glue pot if you used one; before fastening the lid of the glue pot, ensure that there is no adhesive around the edge of the pot or the cap. This will guarantee that the pot can be unscrewed later.

Maintain an upside-down position when keeping adhesives in pots, cans, or tubes, especially those with in-built brushes. This technique ensures that the items in the container are close to the /top of the container and prevents drying at the points where they are fastened. It will also keep them handy and useful. With the upside-down position, put in a plastic bag and tape to prevent leakage unto the tabletop or rack.

There should be enough glue in the container to cover the tip or the brush to /prevent drying. When you realize how priceless functional adhesives are, you'd want to keep them for as long as possible. Store thinned glues in small glass jars or canning to maintain the moisture and consistency of the adhesive.

10. Allow the adhesive to dry

Wow! You have finished the most challenging aspect of the job. Grab a seat, sit comfortably, and let the glue work its magic. Drying can take place from a few hours for some adhesive to 21-48 hours for bulkier adhesives and contact cement. Exercise patience, and you will have a beautifully connected leather piece

 Procedures for Gluing Leather to Metal

Joining leather to metal is complicated because of the differences in the physical properties of the materials. Fortunately, we have a couple of adhesives that can accomplish the task. Unique superglue-style adhesives have sufficient adhesive strength to join the surfaces, cement and shellacs are more appropriate for fragile projects because they have less adhesive strength. Your leather to metal fusion will be effortless with a suitable adhesive.

1. Choose the correct glue for your project; you have two fundamental alternatives. You can either use a superglue-style product or household goop if you want an enduring, strong adhesion. Both products are excellent on metal or leather surfaces, coarse or with grime.

Use cement glue if you want to detach the surfaces after a while or attach importance to aesthetic value. Rubber cement attaches the metal to leather and is water-soluble. Shellac-based glue gives a firm fusion that can be dissolved with an alcohol solution.

2. Scour the metal surface with sandpaper or steel wool. This will remove or prevent rust and result in a better surface for the glue to stick.

3. Use the preferred adhesive on the leather and metal surface.

4. Align, join, and secure both surfaces in place. Do this instantly if you chose a rapidly drying adhesive to prevent the glue from drying.

5. Keep both surfaces steady until a firm adhesion is created. Superglue and rubber cement will create the bond rapidly. Shellac glue requires close to 72 hours of drying to complete bonding.

Guidelines for Gluing Leather to Wood

It is also possible to mend leather furniture. The most appropriate glue is required for leather repair, particularly furniture because it is complicated. Pick glue that ensures the most reliable and most durable bond because wood and leather are contrasting materials.

The cement contact is the best and most productive glue when attaching the leather to wooden furniture. Scrape the fleshy side of the leather with sandpaper beforehand, then spread contact cement on it with glue applicator or foam brush. Then, allow it a moment to dry until it is glutinous.

Smear the second coat of contact cement on the leather after the first layer has become glutinous, and then allow the second coat to become glutinous. Position the leather on the wood and push down firmly to enable the items are wholly joined to the wood.

Use a hammer to exert force on the attached aspect. Leave the piece till the glue does its job entirely.

Guidelines on Gluing Fabric to Leather

To join fabric to leather, you have to /learn the method of attaching leather and fabric surfaces in a manner that forms firm adhesion while maintaining the flexibility of both materials. There are two kinds of glues that serve this purpose; spray-on glue forms a weak adhesion but dries clear, while contact glue forms a very sturdy bond.

1. Clean the surfaces with a dry rag; dampen the cloth with water and drag over both surfaces to remove tacky residue. Air-dry the two surfaces.

2. Apply the glue. For contact glue, smear a mild layer of glue on the leather and fabric. In the case of spray-on adhesive, keep the spray can three inches apart from the leather and spray a drizzle of resin on the leather. Replicate the process for the fabric.

3. Place the surfaces with glue on each other, press together, and firmly hold it in place for about two minutes. Place a weighty item on the attached materials and leave for close to four hours, or as long as possible to guarantee a dry, sturdy adhesion.

Hints: Often, leather adhesives are pliable, but super glue and contact cement are the exceptions; you cannot alter the items after applying these glues. Therefore, ensure that you position the pieces correctly and be attentive after the leather pieces' attachment.

If you choose to hold the leather down with clamps, wound tissue paper around it. Else, the clamps can mar the leather for good.

Use a fair amount of glue if your gluing's purpose is sewing because extravagant use of glue can impede sewing or produce a slit.

Don't ever touch the grain side of the leather with glue because it is not removable, and leaves a lasting mark. Pay attention to the leather side to apply glue because the grain side of the leather never sticks, irrespective of your glue choice. Always use glue on the flesh side.

Always wear gloves during gluing with contact cement, because it is challenging to expel contact cement from the skin.

Chapter Eight

Do-It-Yourself Projects

The Leather Backpack

Needed materials:

Pen

Awl

Safety pin

Artificial sinew

Cord

Leather

Ruler

Shears

Rivets and rivet setter

Sewing punch

Stitching needle or sewing machine

Leather backpacks are way more durable than the fabric versions. The evidence of this sturdiness is in the price tag that accompanies it. You can make a fancy leather backpack instead of spending a fortune on one. It is pretty easy to make a backpack for yourself in as much as you maintain simplicity. The tools you need for this project are peculiar, cheap, and useful for subsequent leather projects. A sewing machine can also be employed for the sewing process if you are more comfortable with that.

Directions

-         Settle on a particular size and measure it out on the leather. A 20-by-18 inch measurement will leave you with a medium-sized bag. Divide the material with sheers and spread in a manner such that the short end makes the upper and lower end of the leather. From the upper and lower part, measure 3in away from each side, and mark each point visibly with a pencil.

-         Fold the leather equally so that the lower part is over the upper part. Measure and mark one inch from the new lower end, and punch holes at the left and right side of the marked distances with a punch. There will be four holes when you are done.

-         Fix the human-made threading material through the stitching needle. Begin sewing the halves together from the 4-inch mark. Create a slit through the leather with an awl to ease the stitching. Sew the two edges together, ensuring that the holes at the 1-inch mark beneath remain aligned.

-         From the leather overlapping each other above the stitches, fold the upper part down. Pull the edge down with just one inch and pin on both sides with supplementary stitching needles, sew the folding down from end to end. Turn the backpack and replicate the procedure for the second side.

-         Flip the backpack inside out so that the stitches are now inside. Put a rivet in each of the 1-inch holes and secure them with a rivet setter.

-         Cut two 2-yards strands of leather, pin one end with a safety pin. Pass the strand through the band above the backpack using the safety pin to navigate through the band. When the strand appears on the other end of the band, remove the pin, and replicate it for the second side. Insert each end of the strand in the rivet in its corresponding direction and fasten them to create straps.

Painted Leather Bracelet

High-quality faux leather or vinyl also works in place of leather if you prefer vegan options. Cut leather strands that are longer than your wrist band by 1-2 inches. Draw analytical designs with paint, have a good time exploring.

To fix a clip on your bracelet, you will need a hammer, clip hardware, and a hole punch tool. Attach the clip on one end, and then evaluate the spot for your second clip with it. Obey the guidelines on the clip hardware to simplify the process of fixing your clips.

Leather Pouches for Children

Needed materials

One cut of 8-by-18 inch leather

Small pieces of different leather for precise and particular features

A leather needle

Awl

x-acto knife

Three 2-by-42 inch strands of fabric

Waxed linen cord

A cutting mat, sharp scissors

Directions

-         Cut out shapes, features, or any other particulars you want to add to the top overlap. Trace the edge of a dish with a pen and cut the traced line with shears. Measure six inches away from the side and create a circular, triangular cut with the x-acto knife to form ear flaps. Use the negative gap to fix the straps.

-         Position your shapes and special features on the open flap; punch holes on the layers of leather with the awl. Pull them apart, make wider holes, and then stitch them to the front flap. In the case of felted wool or vinyl, a gorilla or fabric glue will be great to attach your shapes and other particulars.

-         Braid your fabric strands to form a strap, stitch each end on the pouch interior so that the straps are poking out of the ear holes. Fold the side up, drill holes through the sides using the awl, stitch them up starting from the top to the base, and back up.

-         You can alter this design into a pouch for item collection by adding a clasp and some facial features to give a creature semblance.

-         You will need the following materials for the modification: one piece of 8-by-14 inch leather, small pieces of different leather or felt for precise and particular features, a leather needle, awl, x-acto knife, three 2-by-42 inch strands of fabric, waxed linen cord, a cutting mat, and sharp scissors.

-         Cut a small strand of 1" x 3" of fabric, mark 1in away from the edge of the significant leather piece, and stitch the leather strand on the marked point. Do the stitching in a way that the strand is /almost folded like a caterpillar. You should create slits beforehand with an awl and pass the waxed linen through the needle. Knot the strand behind the leather.

-         Round off the other side with a dish; make a middle circular-cut 1.5in over the rounded edge. Make sure that your cut is more significant than the strand to fit through the cut.

-         Overlap the pouch and stitch both ends. Cut tiny holes on the same point you fixed the ear flap in the old pouch, and insert the tips of the strap through the gap to the bag interior, and then stitch to hold down.

-         Add two pieces to form the eyes and stitch.

Leather Cufflinks

Needed materials

Leather scraps

Scissors

Sticky glue

Alphabet punch

Gold cufflink

Directions

-         Trace the borders of your gold cufflinks on leather, and cut out the shape. This process is the most challenging aspect of the design. Try as much as possible to make the circles as round and precise as possible. Make use of the flimsiest leather to ease this step.

-         Moisten the leather circles with a damp tissue paper and punch in the letter. Attach to your cufflinks with glue and allow it to dry.

Hand-made passport cover

Needed Materials and tools

Contact cement

Leather

Beeswax

Waxed thread

Awl

Cutting mat

Two leather needle

Knife

Stitch spacer

Metal ruler

Directions

-         This design requires sufficient leather for the original cover and two flaps on the inside. Cut a 75/8 x 51/2in cover, and each fold should be 21/2 x 51/2in.

-         Place the pieces in their positions, mark the point where the flaps will be, separate the parts, and smear contact cement on the exterior margins.

-         Allow the adhesive to dry totally before pressing the pieces together. Holding the pieces in place will ease the stitching.

-         Position the flaps down on the workbench, put the ruler 1/8" away from each end, and run the stitch spacer through the edge. This procedure will evenly mark each stitch; exert a lot of force to get a lovely pattern.

-         Press individual edge with the awl to get an imprint that extends far down for the needles to pass through. Then, insert the thread in the leather needle and start sewing. It is quite simple to thread a needle, insert the thread in the eye, pull the tip down totally along the eye, and fasten the thread's end. To further tighten the thread, wax the thread with some beeswax.

-         Finish up the stitching in a crossing pattern across the leather; individual needle passing through the consistent hole, be cautious to avoid stitching through the thread.

-         During sewing, tug at the stitches firmly to maintain a neat outlook. It is not advisable to get a vice or pony for only a project; it is the most appropriate tool for sewing. Lacing pony is a necessity if you will be hand stitching for more leather assignments.

-         Hand sewing takes time, but be patient through the process to ensure that you have neat and firm stitches backstitch through three holes after sewing all the edges to tighten the thread, and then cautiously cut the tips. Even out the stitch with overstitch wheel to push the thread down the leather and tidy the stitches' outlook.

-         Round the corners using scissors or knife, wax the edges, and smoothen with your fingers. Your passport is ready, book that flight, and tour the world!

Leather Mason Jar Coozie

Needed materials

Pint-sized Mason jar

Catgut thread

Hammer

Heavy needle

Cutting mat

Knife

Two sets of rivets

Carving leather

Directions

-         Cut a piece of leather equivalent to the measurement of your jar, and a thin strand of half to three-quarter inch wide and six inches long.

-         Drill six holes on each short side of your jar leather with a leather hole punch or a heavy needle.

-         To make the handle, rivet the strip into big leather, with the leather's wrong side on the outside. Turn and rivet the right side at the base. It should form a half heart.

-         Punch holes and push the riveting studs through the posterior of the leather. Put the thin strand on it, and place the rivet cap atop it.

-         Strike the cap on the stud with a hammer using a firm surface. Twist the strand and push ii down the second stud. Cap and strike with a hammer to hold it in place. What do you see? An excellent mug handle! You can now carve the leather if you wish.

-         You will discover that the handle doesn't wound around the jar completely, not a problem; leather is springy.

-         With the heavy needle and catgut, thread the holes on the side firmly so that the corners touch each other.

-         Meander it front-to-rear through the holes and fasten it inside the coozie; this will provide a perfect mug shape.

-         Fix it round the Mason jar; moisten the leather if it seems challenging to press.

The handle is fantastic, and the rivet looks stunning. Enjoy your drink!

Chapter Nine

Scrap Leather Projects

Small, shapeless pieces of leather are left after crafting items like a backpack, pouch; it is innovative and beautiful to think of means to transform them into usable items. It is advisable to devise methods of converting junk leather pieces to practical and viable items.

As with fashion, home decoration mirrors individual preference and flair. Leather artistry goes beyond what you can wear, bags, and accessories; it can add an unusual hint of grandeur to an assortment of items. About this diversity in leather craftsmanship, you will find eight of the best ways to blend leftover leather pieces into home decoration.

It is crucial to understand the various kinds of leather and the most appropriate type for your project.

The two main types of junk leathers are the English bridle and the Chap leather. English bridle leather has a dense texture and utilized mainly for bag handles and belts. Chap leather is flimsier, softer, and more convenient to use; it the leather that creates everyday carryon bags. Either of the leathers is appropriate for the assignments below, according to your taste.

There are some vital instruments and materials that all serious-minded do-it-yourself leather artists should have readily available. For convenient and attractive leather artistry, it is essential to have the following items at your fingertips: power drill, x-acto knife or a sharp knife, screwdriver, revolving leather punch hole, hammer.

You are all set to create all or any of the eight domestic leather crafts when you have the junk leather pieces and correct tools.

Herb Planter Tags

It is well known that a small interior herb garden is attractive by itself, complementing it with a leather herb planter tag can add a touch of grandeur to the plain pot.

Needed materials and instruments

Revolving leather punch hole

Twine or string

Fine-point paint market in silver, white, or gold

x-acto knife

Scrap leather (English bridle leather is the most fitting, but you can use any type) 

Directions

-         Cut out rectangular shapes of 1" x 4" (or with higher dimensions according to your pot size) to serve as labels.

-         Drill holes on any end of the labels.                             

-         Inscribe the name of your plants on the individual label with the paint pen and dry them.

-         Pass the strings through the hole and tug to fasten the tags on your plant pots, and you there you have it!

Cabinet and Drawer Pulls

Drawer pulls are functional, and they add flair to any second-hand shop dresser renovation project or kitchen cabinet overhaul. This homogenous material style requires minimal effort to create.

Needed materials and instruments:

12" ruler, hammer

x-acto knife

Revolving leather hole punch

Leather scraps (any type of leather will do)

Screwdrivers, screws (ensure that they size the holes bored by the initial hardware)

Directions

-         Unscrew the original hardware from the cabinet or drawer doors. Estimate the distance between the holes left by the hardware and cut leather strands long enough to overlap on each side and accommodate your hand in the handle after installation.

-         Cut designs on the ends or add any hint of style and unique features you love or leave the leather for a simple and more homely look.

-         Drill holes in the leather; ensure that the distance is even for the individual strand to guarantee a stable outlook.

-         Pass the screws through the holes and fasten the pulls in your cabinet or drawer in appropriate positions.

Picture frame

Leather can produce a simple, extraordinary, and elegant picture frame. You can get a cheap frame to refurbish is the second-hand store.

Needed materials:

Plain picture frame with even surface

Leather cutting devices

Clamp

Sturdy glue

Leather scraps (any kind of leather works for this project)

Directions

-         Measure the exterior corners and breadth of the picture frame. Cut the same length and width of leather strands. Afterward, cut the ends at 45° so that the strands will not intersect when positioned on the frame.

-         Attach the strands to the frame with glue and hold with clamp during drying.

Light Switch Plates

Less is more; the light switch plate is a testament to that statement. Everyone, even the first time guests will catch sight of it.

Needed materials and instruments:

Revolving leather punch hole

x-acto knife

Scrap leather

Modular leather stylus (at your discretion)

Directions

-         Trace the shape of your used light switch plate behind the scrap leather and the rectangular switch hole at the middle and the spot for screws on any end.

-         Trim along the traced lines and separate the middle switch hole. Engrave a design on the forepart of the leather with the modular stylus (if you wish).

-         Punch holes for the screws. Fasten into position above the light switch and turn on the light.

Coasters

Leather coasters are simple, at the same time, elegant. You can play around with different colors or create a monochrome set, based on the colors of the scrap leather you have.

Needed Materials and tools

x-acto knife

Paint (if you wish)

English bridle scrap leather

Thread and leather needle (by choice)

Directions

-         Create a stencil in your preferred shape, circles, or squares are recommended. Trace the stencil and cut out the coasters.

-         You can choose to leave the coaster plain and pretty or liven with leather stamps, stitching along the corners, or beautifying with a paint tinge.

Bar and drink tags

It is a given that these leather stunners will delight your next cocktail party guests.

Needed Materials and tools

Brass eyelets and a setter

x-acto knife

Twine or string

Mallet or hammer

Revolving hole punch

Leather stamp set

Scrap leather

Directions

-         Cut out the tags in your most preferred shape, ensure that they are big enough to accommodate your letters.

-         Dampen the forepart of the tag with a moist sponge or cloth. Put the label on a secure, even surface, and brand the leather by striking it a couple of times with your hammer.

-         Punch a hole atop the tag with the revolving hole punch. Using the setter, place an eyelet in the hole and weave it with the string.

-         Beautify your bar by attaching the tags to your glass handles or bottlenecks.

Tray with leather handles

Decorate your coffee table with a handcrafted tray with leather handles. It is the best place for your appetizers or candles.

Needed materials and tools

Sandpaper

Bronze screws

Wood stain, and a satin cloth or paintbrush

Drill

Sewing machine and thread (by choice)

Scrap lumber

Scrap leather of any type

Directions

-         Sand the wood till it's even and flat. Paint the wood with any color of your choice and allow it to dry.

-         Cut the scrap leather into strips. Be aware that you want the strips to be plane and even on the board but high enough to lay one's hand.

-         This step is not mandatory. Set both strips on each other, with the wrong sides towards each other. Stitch around the corners with a sewing machine. If you want to skip this step, utilize a single-layered hit for a more homely outlook.

-         Align the strips with the sides of the board and join using screws.

Napkin rings

Leather napkin rings are easy to make, giving a homey feel to any dinner setup.

Needed Materials and tools

x-acto knife

English bridle scrap leather

Directions

-         Cut the junk leather into 0.5" x 6" strands. Wind up a napkin, knot the leather strand around the towel, and exhibit with the knot atop it.

Leather valet tray

For a valet tray, choose a piece of leather that is thick and sturdy enough to maintain its shape. You can either use a dye vegetable bronzed leather (purchase it pre-finished) or choose the kind of leather with the color and feel you desire.

Needed Materials and tools

Copper rivets

Copper burrs

Leather scrap

Marking tools like awl or pencil

Knife

Ball peen hammer or rivet setter

Hole punch

Ruler

Directions

-         Settle on the size of the valet. Take several items you intend to place on the tray, lay them out, and measure their trail. Add an inch on every side.

-         Mark the valet's exterior shape on leather according to the measurement, including the lines where you will ultimately crimp the leather to form the sides.

Hint: it is preferable to use a metal point for marking because it leaves an imprint that this is simple to trace, and does not require ink, thereby eradicating the problem of ink staining or spillage on the leather. You can use a pen for marking, though.

-         Proceed to cut out the leather. There are unique knives for this task like a woodcarver’s knife or a head knife, but an essential x-acto knife with a new cutting edge will do it.

-         Fold the leather on the engraved line; this boosts the leather's ability to maintain the wanted shapes when the edges are drawn together.

-         Hold the four edges in place after drawing them together. Use rivets for this procedure, it appears to be challenging, but it is relatively easy. You can get copper rivet separately at a hardware store in your vicinity, but remember the copper washers that accompany them.

-         Find out where to position the rivets. Keep in mind that rivets keep the leather together about 1/8 inch apart from the margin of the rivet head. If this is your first time using a rivet, get some additional leather scrap and train them before going on with this step.

-         Put the rivet in their holes and bang them down firmly. Throw in your wallet and key and you have a fantastic leather beauty before you.

Leather and Flannel Snap Scarf Tutorial

Needed materials

Five heavy-duty snaps - #105

1 ¼  yards of flannel fabric

Sewing machine

Scissors

Hand sewing needle

Matching thread

Schmetz leather sewing machine needle

A 3" x 9" piece of soft leather

Pins and clover clips or binder clips

Heavy-duty snap device for joining- #105 and #5

Ruler 

Directions

-         Wash the flannel fabric in a machine and dry it. Cut the flannel into two, each piece measuring 19" x 45". Do the cutting cautiously and patiently to ensure that the fabric's pattern aligns when the pieces are sewn.

-         Pin the short ends of both pieces together, ensuring that the right sides are facing each other. Confirm the alignment of the fabric pattern and sew with a half-inch seam allowance. Open the seam and iron. This process should give you a 19" x 89" lengthy piece of flannel.

-         Fold in half such that the shorter sides touch each other, and the right sides facing each other and put aside.

-         You can ease this process by getting 2 ½ yards of fabric and cut it along the length so that there is no more prolonged need for piecing the material together. 

-         Cut the piece into two equal parts along the length; you should have two 1.5" x 9" leather pieces. Take the crimped flannel piece and hold the corresponding long borders with a pin. Leave the ends unpinned.

-         Insert individual leather piece between the layers of flannel at the unpinned end. Ensure that the linear, cut the margin of leather piece matches with the crude margin of the fabric and hold steady with binder or clover clips. Leave a half-inch gap atop the leather piece and crude margin of the material to serve as a seam allowance.

Hint: if you desire a scarf that twirls on its own, place it the same way on each side, but if you do not want it, put a leather piece with the right side up and the second one with the right side facing down.

-         Sew through the crude margin with a half-inch seam allowance using a leather needle. Leave a three-inch gap-free (that is, not sewn) at the center of the scarf for flipping. Do not forget to backstitch at the start and finish of the opening.

-         Hold the edges with scissors; be cautious not to cut through any stitch. Flip the scarf through the gap to have the right side out using a point turner or a blunt pencil to have the sharp and neat corners. Iron the flannel properly, while avoiding the leather.

-         Stitch the gap with a blind ladder stitch to close it using a hand needle—measure and mark uniform snap position. Fix the snaps following the guidelines on the snap packaging.

-         Tie your scarf and snap it close. It is gorgeous, right?

Leather shoulder tutorial

Materials

Double-sided tape or the conventional tape

Needle, and thread or fabric glue or sewing machine

A small piece of leather

Shirt or jacket, marking pens or pins

Directions

-         Take three measurements of the shirt or jacket to obtain the correct size for the leather

-         Measure the top of the shoulder where the shoulder and sleeve intersect. Measure the seam, ticking 2.5" - 3" below each side, starting from the middle of the shoulder seam or as wide as you want it—Mark the starting and finishing point of the measurement on your jacket or shirt.

-         Measure 1"-2" starting from the shoulder seam of the collar on each side to ensure a centered and correctly positioned result. Tick both ends of the measurement with a pen.

-         Measure the distance between the sleeve end and the collar end, ensure a progressive taper, and mark it.

-         Cut the leather according to the measurements you took; it should resemble a trapezoid. Assess it by putting it on the jacket or shirt to check for forwarding or backward modification, mark the corrections, if you have any. Trim off the excesses if they are there.

-         Hold the leather on your markings steady with a usual or double-sided tape. Bobby pins or paper clips will also work.

-         Sew the place in position; I'd recommend a wider linear stitch because it looks finer, and it is more convenient to remove if the need ever arises. Stitch along the tapered margin and smaller end of the collar, leave the big end.

Basic leather bag

This procedure will produce a 38cm by 40cm leather bag.

Materials

0.55m2 of leather hide or any significant piece of leather

Durable linen

Nylon or thread

Two-needle

Hole punch

Beeswax to wax the sewing thread (according to your discretion) leather strips for strap – your desired strap length will dictate how long the strips should be, go on to add 15 cm to each strap to accommodate knotting, magnetic snap

Mallet

Wooden or rubber hammer

Everyday crafts glue

Stitching awl or prickling iron 

Directions

-         Cut a 39 cm x 80 cm rectangle, and then create stitching holes about 0.5 cm away from the side across the long side with a stitch punch, prickling iron, or an awl.

-         Cut thread that is five times longer than the long side of the leather. Insert the thread in a needle and 'secure the needle,' then sew the side seam with a saddle stitch.

Hint: you will discover that stitching pony is typical in most sewing videos, it's not compulsory to have one because you can improvise.

-      Push your leather through two hardcover books joined by a belt or rubber band; this will achieve the same purpose as a stitching pony.

-Cut six 5 cm squares from the remaining leather. Set four of them aside, fix the female and male part of the magnetic snap to the two squares. Smear a fair amount of glue behind the magnetic snap square, and attach them to the wrong side of the bag, precisely at the center and 3.5cm away from the top.

-Strike with a hammer to ensure that the square sticks. Clean surplus glue gently. Allow the glue on the squares to dry.

-Identify the straps' position as you like it, then place it and attach the four other squares with glue. These squares will strengthen the leather at the point where the strap holes will be. Strike gently with a hammer, and clean the surplus glue with great care, and aloe them to dry.

-Tick the middle of each square, and punch a hole in the center using a hole punch. Replicate for the remaining squares.

-Cut the leather strips according to the stipulations above, to make two straps. Make a double fisherman's knot on one end, insert it in the hole, and complete it with another double fisherman's knot. -Replicate with the other strap, and you are done!

Baby boy Leather Boots

Needed materials

A piece of leather hide or an old jacket or purse you can also use leather or vinyl, which won't be as pretty as real leather, but will still be adorable. 1/8 yard of vinyl is more than enough.

Felt or fleece: this will serve as lining, just a scrap is okay, or 1/8 yard if you are buying in yards.

High-quality thread: you don't need to bother with a particular type of thread, but use exceptional quality, multipurpose thread.

Leather needle: you can use the conventional needle, but it is challenging to work with and frustrates the artists. A leather needle will give you a more beautiful boot.

Sharp, heavy-duty scissors

Clover clips or small binder clips (pins cannot function here)

Disappearing ink fabric marker

Non-mandatory materials: an eyelet punch (if you want to add lace), leather laces or ribbon, metal eyelet grommet

This procedure will produce a pair of boots for 0-3 months old boy. It will size a foot of 3.5"-3.75", measuring from the longest toe to heel.

Directions

-         Prepare the pattern. Cut out the materials you choose to use – real or pseudo leather. 

-         This project demands that you cut out two from the individual pattern as exact replicas of each other from the primary material.

-         Cut pieces of felt a bit bigger than the upper shoe pieces to serve as the left lining. They will soon be trimmed to fit in a while. The soles do not need lining.

-         Place the top piece of the leather atop the felt or fleece. Hold them steady by hand, though you can also hold them together with clips.

-         Change the needle in your machine to a leather needle. Sew the felt or fleece to the top leather piece on the curviest side. Do not sew all through; sew across the border will be the boot's upper interior part. Cut away the surplus felt or fleece.

-         Mark the spot on the wrong side of the sole with the sole model. Measure linearly and mark again. The last place is the starting point of your sewing. Turn the sole model over and replicate for the second sole piece.

-         Align the curved end of the top piece with the last spot you ticked on the sole pieces. Hold the top part and sole together with a clip all around. Ensure that the clip the pieces with the wrong sides facing each other, and that the felt or fleece lining lines up with the leather top piece.

-         Take off the first and second clips, and place the end of the upper piece beneath the top portion of the shoe where you started your clipping. Put the top shoe portion back in its place atop the end of the top piece and hold the two layers steady with a clip.

-         Sew all over with a quarter inch seam allowance.

Tips for Sewing with Leather

Sewing unhurriedly tackles most of the challenges associated with leather sewing.

Lengthen your stitch to 4mm; this gives a more pleasant look and more even feed through the sewing machine. Top-stitching the lining to leather provides room for a longer stitch of about 4.5 mm. do not elongate the stitch beyond normal at the sole because the boot's wear will try the sturdiness of the seam.

Reduce the seam allowance to 1/8 inches.

Woven Leather Stool

-         Measure your leg height and tick the boards using a square. A perfect square will guarantee an ideal bench. Then, cut the stringer boards. For a rectangular desk, cut out four 18 inch long and 12 inch wide boards.

-         Bore your pocket screw guide holes. A cheap pocket guide is available at almost all hardware shops. Fix the pocket guide to the board and bore all your holes.

-         Sand the boards to obtain an even outlook. Sanding is more convenient at this stage than after fitting the pieces together. Sanding to a minimum of 220grit will produce a furniture standard surface.

-         The next stage is the assembly. Cut a few 3/8 pieces of junk board to aid the placement of the stringers in the middle of the leg pieces before joining. Use some junk to create an even gap between the base stringers and the top. Place a finished side on the work surface before fastening all the screws. Fix both polished ends and proceed to join both with the leftover stringer boards. 

-         It is time to apply the finish. I'd suggest Danish oil because the application is convenient, and it produces a fantastic outlook. Obey the guidelines on the can and allow the oil to dry totally before adding straps. A couple of 1 ½ inch strap from a previous project or seatbelt webbing or tapestry strap is the ideal option for the woven top. Cut your belts lengthy enough to wound around your boards. Fix the long pieces before twisting the other ones in one after the other with the help of a tack hammer. It is crucial to space leather straps because they are so thick, to ensure easy weaving. You can weave thin straps tightly. 

You are at liberty to explore several different finishes, in different colors.

Leather Accent Pillow

Needed materials

Embroidery floss

Poly-fill

Embroidery needle

Cheap but weighty leather

Directions

-         Determine the size of the pillow. This procedure will create a small accent pillow of 15 inches squared. Place pieces on a smooth surface, with the outer sides facing each other and the seams in the opposite way. The seams will provide you with a reasonably linear line to trace on every side.

-         Sew aside together with a lengthy strip of embroidery floss and embroidery needle; use a simple stitch not longer than half an inch to make sure that the filling won't be visible. You can stitch the three sides in one round if you are confident enough to use a very long strip of embroidery floss. You can use shorter pieces and sew one side at a time. Leave a half to one inch away from the border of the fabric to leave space for crimping; else, the material will crease the between the stitches.

-         Secure the stitches with basic overhand knots. After sewing aside completely, go back on the seam to form a sturdier seam. Sturdy seams compel the leather to maintain its shape.

-         After sewing the three sides totally, sew the side partially to give space for turning and filling the pillow. Fill the pillow with cheap poly-fill if you are working with a weighty fabric, a pillow form is ideal if you are working with flimsy leather material. Close the space by folding the edges in and sewing a basic but firm stitch between both pieces. This aspect will be evident if the seam is not firm, color floss that fits the leather color will reduce the seam visibility.

Leather Strap Key Ring

Needed materials

Rotary punch or awl

Rivets and setter

Craft knife

Large-eyed needle

Organic cowhide leather strap

Waxed cotton cord

1 ¼ inch nickel-plated flat keychain

Leather glue

Ribbon

Paint pen

Alphabet and number set (non-mandatory)

Directions

-         Waxed thread closure: cut a strip of leather according to the desired size.

-         Drill four small holes on the leather strip with awl and mallet. Insert the ring in the strap and twist so that holes line up. Insert the cotton cord in the needle, and sew around the ring to secure it. Stitch around twice and complete with a square knot. Prune the edges with a craft knife to make it uniform. If you like, complete the sides with paint pens.

-         Cut a strand of leather for rivet closure—drill two holes on the sides of the leather strand with a rotary punch or awl and mallet. Insert the ring in the strap and twist so that the holes line up with each other. Set the rivet.

Leather Tablet Case

Materials needed for leather tablet case: 

1. Leather – a tooling leather of about 1/8" deep or 7 - 8oz heavy makes up the primary body piece. It is up to you to conclude how you want to create this, either from a single leather piece or two pieces. Carving out this dimension is more convenient on one leather piece. Have some extra leather pieces handy to cut the part that secures the tablet.

2. Essential leather work instruments

A rawhide or simple wooden hammer

A hard surface like granite or marble panel

Clamps

Feather design (not compulsory)

Swivel knife (mandatory)

Some beveling instruments

3. Materials for sewing

Pliers – for threading

Leather needles

Waxed thread or sinew thread

Creasing tool – to from a fine uniform line on margins before sewing

Craft-tool stitching groover – dents a passage through the edge for hole drilling and sewing

Awl – for punching holes in leathers

Overstitch wheel – marks the position of the holes for uniform stitching

4. Tools for fixing snaps

Fasteners – in a kit

A hole punch tool

Setting tool or setter – for clasping the parts together

5. Materials for leather treatment: 

Leather dye (not compulsory)

Satin sheen (to give the leather a glossy outlook

Leather glue or rubber cement

Spray bottle containing water – to moisten the leather

Disposable gloves, sponge and a piece of cloth

6. Ruler and cutting tools – rotary cutters, scissors, or utility razors

7. Suede lining – equal length to the complete pattern pieces and some surplus to be safe.

Directions

1. Cutting and shaping the leather

Begin by cutting the leather to the desired size, form your tablet or device. If you don't have leather that is lengthy enough, cut two pieces of leather and sew together. Follow the steps below if you are working with two pieces of leather: cut out the leather pieces, use the edge creasing tool on the corners, and moisten the leather to ease folding. Then, go on to give it a simple shape. After drying, cut out the flap piece, use a flimsy material for the flap to effortlessly cut with scissors. Sew the pieces with sinew thread, align the pieces and dampen.

Smear glue on one side of each piece of leather; allow them to sit for a while to get sticky. Put the pieces together and place a weighty object on the attached materials.

After twenty minutes, dampen the leather and use the creasing tool on it. Use the stitching groove afterward to mark sewing lines and then overstitch wheel to produce marks to identify the holes' position. Create slits to stitch through with an awl through the pieces of materials, put a few cutting mats under the leather while doing this. Sew with hand, ensuring that you tug the thread as firmly as you can.

After stitching, you have to reshape the leather. This step is necessary even if you are working with a single piece of leather. Moisten the leather; wound your tablet in a plastic wrap or a book that it can fit. 

Shape the leather along with the book or plastic wrap and cover it with anything to prevent crinkling marks from nearby items. Place a weighty object on it while it dries. Be cautious with your tablet while doing this, use clamps to hold but be attentive and precise so that you won't mar the leather.

2. Tooling the feather

This step is where it gets interesting. You can carry out any form of tooling you love on your leather piece, but this procedure explains a feather's stencil. Place the stencil on your moistened leather, then use a smoothing tool to flatten and even out the particular stencil you desire to move to the leather. Cut through the lines with a swivel knife.

Moisten the leather again if it gets dry. Use the simple beveling device and mallet starting from the exterior margin of the leather. Strike lightly with the mallet, shift a bit ahead of the line and strike once more, move again and continue and one till you finish the line. Repeat the process with the interior margin; hitting with more pressure will give you a profound contrast and more visible marks.

3. Suede lining for the leather tablet case

Cut out the suede and prime the suede for gluing. Smear the glue uniformly on the leather's interior and a side of the suede with a brush. Let both surfaces dry a bit or till they become sticky, place the suede on the interior of the leather case, and even it out immediately.

You can dye the leather exterior and the interior suede, but if you wish to dye just the leather, it is advisable to do it before setting the suede inside the leather. When the glue is utterly dry, cut off the surplus suede.

4. Adding the interior pieces to hold the tablet

This procedure can be complicated if you are not accurate. You should put the tablet in the middle, and then snap the case shut so you can have an idea of where to set it—Mark the space intended for the tablet with a couple of pins to ascertain the position of holders.

Cut the pieces for the holders; punch a hole on the part that will be on the top left corner if you are working with a kindle instead of the tablet because it has a speaker on the spot where you have the hole. Hold the pieces with glue. Moisten the leather, punch holes in the small pieces with an awl, to sew both longer pieces. Dampen the leather after sewing the pieces together, position them on the tablet the way you'd like them to be, and dry.

After drying, take them off one after the other, and let the base strands intertwine. Punch holes in the appropriate place on the primary piece of leather with the awl. Sew the little pieces of leather to the primary leather piece at three different points to hold them together.

Fix individual corner piece one after the other, measure and re-measure if the need arises, to ensure that the tablet is positioned correctly.

5. Adding the snap closure

Determine the perfect spot for your closure, as much as you can, ensure that it's in the center, and mark the point. Do the same for the base snap and align it with the upper one. Moisten the leather, punch a hole with the rotary hole punch, and then add the snaps.

Follow the instructions on the snap kit. For the upper snap, there should be a small metal anvil beneath the flat metal piece. The top piece has a cap and socket, while the base piece comprises an eyelet and a stud above it. Afterward, strike the pieces lightly with craft-tool setter and mallet to push them in and hold them in place.

6. Dyeing and finishing the leather

The leather design will look dull without a finish. You can put suede behind the case to shield the stitches. Attach the suede with glue or sew the edges, but it looks more beautiful with gluing. Although it is not ideal to dye suede with leather, it turns out amazing, so try it if you want.

Clean the leather surface with a deglazer, alcohol, or by any other means before dyeing the leather. Try the dye on a junk leather piece before using it on your main leather. You can also try a hi-lighter; this improves the color without totally dyeing it. Use the "dauber" that accompanies the dye to ensure uniform application of stain or a fluffy fabric and allow it to dry completely. 

After the dye is dry, apply satin sheen over it. Make sure you wear gloves and use a reasonably moist sponge to rub it in a uniform coat. After it is dry, you can add one or two more layers for a glossy finish.

Precautionary Measures

Leatherwork is a worthwhile venture that provides artists with the opportunity to develop expertise, exposure, and experience. Leather kits simplify and ease some projects because the most challenging activity has been accomplished. Designs become trickier as artists build their skills. If you are a learner or an expert, safety is a constant and is very important. Each needful skill in leatherwork is somewhat hazardous if the artist is careless. Below are some essential safety tips for a leather crafter.

Wear protective clothing

The most fundamental thing you can do to protect yourself is to wear clothing that will protect you from unforeseen occurrences. Put on safety goggle, particularly during leather stamping or punching. The steel-toed shoe will protect your leg if heavy equipment should fall. A thick apron will shield your body from wandering material.

Be careful during cutting

Tools with a sharp cutting edge are a necessity in leather artistry. These tools are no respecters of objects, and unfortunately, people too. Ensure that you always cut in the opposite direction of your body, and keep the sharp edges of these tools away from your body.

Keep your fingers away from machinery

Your fingers are your gold; they are essential in crafting but can be obstructive once in a while. Be cautious of machinery during crafting, and always keep your fingers away from the course of the tools. Put a minimum of 1in gap between your fingers and sharp tools. Sewing needles also require a fair dose of your deference.

Ventilate your workshop

You need several chemical solutions to get particular features, some of these chemicals and their fumes are toxic. Ventilate your workspace properly. Wear a respirator to protect yourself from poisonous gas.

Clean your space after every project

Keep tools and materials away after completing a design. It gets the space ready for a subsequent project and puts tools out of harm's way of adults and children. Irrespective of your years of experience, obey the following guidelines to keep yourself and the people around you safe.

Everyone involved in leather artistry must be aware and enlightened about the safe use of every tool.

Check the burner and power cord for signs of damage or malfunction before using them.

Examine all sharp and pounding equipment for extreme battering and deterioration. Check all sharp tools like leather knife, shear blades for bluntness. 

Whenever any leather tool or electric burner fails the assessment, notify your parents, guardian, or any other person in charge to take it out.

If any sharp object falls, do not endeavor to grab it.

Use leather shears in consistent, small motions. It is more convenient to use from left to right if you are left-handed and vice-versa.

Don't ever run with sharp objects in hand. Hold them with great care and a minimum of one inch away from the sharp edges.

Strike the mallet or hammer with the head down with consistent pressure. Do not over-exert the pressure during striking.

When a hot electric burner is not in use, put it in tool rest. Unplug the burner from power /source when you are no longer using it.

Don't ever use fractured or damaged needles or awls to sew.

Wear gloves during the application of leather stains. After applying stain on sponge or cloth, cover the container before applying it to the leather.

If you get hurt during crafting, inform the authority figure if the wound is not severe, clean with soap and water, and put a neat bandage on it. Seek immediate medical care if the injury is severe.

Other Books by the Author

The Bonsai Beginners Guide: A Step-by-Step Manual on Cultivating, Growing, Caring for and Displaying your Bonsai Tree with Illustrations

Becoming a sensei in the timeless art of cultivating and loving a Bonsai tree is at your fingertips

You must have come across some of these beautiful and breathtaking miniature trees, and the thought of growing and caring for one crossed your mind. Caring and cultivating for the Bonsai is not all about the tree as you also derive immense satisfaction in being able to dedicate time to seeing your work come out excellently in the end. The whole process also has a soothing effect on the mind and you will learn to take your time in dealing with other aspects of your life without being in haste. 

This ancient art from the Far East has slowly but surely crept into our consciousness in the West in its purest form. The art of growing bonsai trees is like no other as it acts as an air purifier, relieves stress, and the joy and fulfillment that you get at the end of it all cannot be surpassed by any other hobby that I know about. This pastime is most certainly going to be with us for a relatively long time. 

This all-encompassing manual will enlighten you about what it entails to bring up a bonsai tree lovingly and to see it flourish under your care. You will be provided with the basics, techniques, invaluable tips that will take you from a newbie to a professional without breaking a sweat in a flash. 

In this manual, you will find;

The enthralling history of this plant

The different varieties of the bonsai tree and techniques for selecting trees

The proper way to pick the arrangement and placing of your bonsai tree based on your choices and the time of the year

Things to look out for and consider before buying a bonsai tree

Environmental factors such as repotting, watering, fertilizer application

Shaping and trimming of the bonsai tree

And so much more!

This book is designed with you in mind, even though you might have never cultivated any plant before now. This book will guide all through your journey in bringing your bonsai tree to looking beautiful and healthy.

What are you waiting for? Scroll up and CLICK ADD to CART button now. 

https://www.amazon.com/dp/B08FP54WSS

The Simple Beginners Guide to Cricut Explore Air 2: A Manual on how to Setup Cricut, Design Space, Cricut Project Ideas, Troubleshooting, and Essential Tips

Are you interested in upping your craft game with the Cricut Explore Air 2 or any of the Cricut brands? You are here, and that is all that matters now. This is the guide that you need in this ever-morphing environment of designs. There is always something new to be learned in the world of Cricut if you are a professional or a newbie. Why hold onto yesterday's ideas that will make your work look outdated? It is time that you take a dive into the amazing world of the Cricut Explore Air 2 and other Cricut brands to learn and relearn some of the following;

-         An introduction on what the Cricut machine is

-         The different types of Cricut machines

-         How to unbox and setup the Cricut Explore Air 2

-         Understanding the different types of materials that you can work on with your Cricut machine

-         Choosing the material settings

-         How to use image files

-         Installing and Uninstalling the Cricut Design Space

-         Making use of Design Space

-         Installing fonts from Design Space

-         Uploading your image to Design Space

-         The Basic set of the Cricut Tools kit

-         Pairing the Cricut Explore machine through Bluetooth to the Computer

-         Resetting the Cricut Explore Air 2 Machine

-         Using Print and Cut in Cricut Design Space

-         Vinyl tricks

-         Amazing DIY Project Ideas

-         Sample Projects

-         Tips that a lot of folks overlook about the Cricut machine

-         Maintenance for your Cricut machine

-         Troubleshooting
And so much more!

https://www.amazon.com/dp/1702647226

The Pyrography Beginners Workbook with Exercises

Learn to Burn with Step-by-Step Instructions with Introduction to Basic Tools, Techniques, Modern Wood Burning Textures and Patterns, and Sample Project Ideas

The art of pyrography, also known as pur graphos (fire writing), is as old as mankind, and this form of art gives immeasurable satisfaction to artists by giving power to the imagination. This book opens up a brand new vista to you, laying bare all you require to begin your journey with this timeless art. In The Pyrography Beginners Workbook with Exercises, Clayton M. Rines shows you the basics of writing with fire, types of tips, pens, shading techniques, and other lesser-known methods that help you develop your craft. You would learn the in and outs of buying your first pyrography machine, types of woods to burn, safety tips, maintaining the workroom, and other essential tips for successful wood burning projects. This book offers you some easy to carry out projects as a way of getting you accustomed to the art of wood burning, from making of wall clocks, key holders to creating cup coasters and bangles with images.

You will learn;

Easy projects for everyone

Learn how to write, shade and apply outlines

The importance of temperature settings

Knowing what type of burning nibs to use

Important safety tips

Must know techniques for texturing and finishing

Burn those great gifts for your loved ones

And so much more!

With The Pyrography Beginners Workbook with Exercises, you are on your way to becoming a pro in wood burning carvings, wooden plates, household items, and so much more.Grab a copy today and begin your pyrography journey.

https://www.amazon.com/dp/1674755775

The Simple Woodcarving Book for Beginners: Simple Techniques for Relief Carving, Easy Step-by-Step Beginner-Friendly Projects, and Patterns with Photographs

Getting started with woodcarving or any other form of art can be a bit daunting. You are at a loss on the type of equipment and tools to purchase the simple projects that your skill level can start with. Mr. Clayon M. Rines has got you all covered with everything to get you started as a novice woodcarver or an experienced hand looking to refresh your wealth of knowledge.

The Simple Woodcarving Book for Beginners, Simple Techniques for Relief Carving, Easy Step-by-Step Beginner-Friendly Projects and Patterns with photographs is a personal guide with a passionate teacher. You will learn how to make those clean cuts in different ways, sharpening your tools and putting the finishing touches on your work.

Your desire to master this age-long art of woodcarving has brought you this far, and this passion will be fueled and guided with everything you will be learning from the pages of this book. Clayton M. Rines will expose you to secrets of the trade, such as the basic cuts, smoothening techniques, how to carve contours, and the essentials or relief carving.

The directions to follow for each method are clearly explained and accompanied by photographs to further breakdown the process. What do you need to get that first project done? This book in your hands, a few well-honed essential cutting tools and a piece of softwood, and you will be on your way to carving the most amazing and exquisite objects that will continuously recharge your bank account, serve as gift items to friends and loved ones and give you joy unlimited. With your desire to fully understand everything about carving in relief and producing masterpieces, this all-encompassing book on woodcarving will enlighten you and show you the best way to go about it.

From when the idea comes to you, the initial cut to the final finishing touches, these steps will guide you every step of the way; •Step-by-Step practice projects with visual guides to build your confidence levels• Types of woods, tools and your workspace, finishing •Basic and well-explained carving techniques• Detailed directions• Carving relief projects• Maintaining and keeping your tools well-honed and in perfect condition. It doesn't matter if you are a novice or a professional carver; this is the book you should get and expand your woodcarving horizon!

https://www.amazon.com/dp/B084P6T7Q3

The Beginners Modern Calligraphy and Hand Lettering Guide for Relaxation: A Step-by-Step Manual on Creative Lettering Techniques with Workbook and Project Ideas

This book is all you could ever need in your journey into the beautiful world of modern calligraphy.

With this beginners' in-depth guide on the art of modern calligraphy and hand lettering, you will gain immeasurable inspiration and knowledge about this timeless art form. This book is designed with all classes of people in mind; it doesn't matter if you are an experienced hand or newbie; there is something for you. You will learn how to fashionable write beautiful and well-crafted letters that will develop into your signature style, which will then evolve into masterpieces. 

In this jet age, there is this emptiness and a gaping hole in the link we have with writing both for communication and as an avenue of artistic expression. Modern calligraphy and hand lettering is a link with this lost part of our history. Modern calligraphy fills the void in us and, at the same time, creates beautiful letters that are a sight to behold. With simple and, at the same time, fancy projects that you will get to learn, you will develop the vital habit of learning how to calm yourself while deriving happiness simultaneously. 

The beginning of the journey can seem a bit daunting at first, but with constant practice and following the guidelines within this book, you will, in no time, develop the skill and confidence needed to take on complex and simple designs.  

The Beginners Modern Calligraphy and Hand Lettering Guide for Relaxation is a must-have book for learning the art of lettering and calligraphy in a stepwise and gradual fashion. You will learn how to morph your regular handwriting into beautiful calligraphic and fancy letters. There are tons of project ideas that you can use as gifting projects or for commercial purposes. 

While you aim for the perfect writing experience, you should also have at the back of your mind that this is a beautiful way through which you can get to heal, calm yourself, and relieve stress. You will fall down a few times; these are learning experiences that should not be the end of your calligraphy lessons, but a step towards discovering inner peace and also elevating your hand lettering skills. 

Within the pages of this book, you will learn;

What modern calligraphy is

Commonly used terms in calligraphy

Supplies needed to get started with your journey.

How to draw small and upper case letters

•        Brush pen calligraphy

•        Faux Calligraphy

Warm-up exercises

Sample workbook

Project ideas

And so much more!

Get started with your journey into the beautiful world of calligraphy today by CLICKING the BUY button now.

https://www.amazon.com/dp/B088B96JRQ

About the Author

Clayton M. Rines is a techie who lives in and around gadgets. Knowing what makes devices all around us tick is his life ambition, and he is always on the lookout for new ideas to everyday technological problems. He is a DIY expert, naturalist and animal lover.

Clayton is from Sacramento, California and enjoys globetrotting, savoring new experiences, enjoying new cultures