veg tan

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Since the Merrill bracers themselves were probably going to be out of most people’s price range, I’ve gone ahead and posted the pattern for free, because I luv u nerds.

Didn’t have time to make proper, printable scans, but it’s laid out on a 1" grid so it should be easy to figure out. The straps are riveted to the back piece and then criss-crossed such that the rivets don’t show, tacked down temporarily with contact cement and then stitched around the edges to keep everything strong & tidy.

I used 4-5 oz veg-tan leather for this, but craft foam would probably make a decent (if more delicate) substitute. The straps for the wrists I riveted on at the A3/B3 holes, and the straps for the forearms are riveted at A9/B9, then both are included in the edge stitching. The length of those straps should be arm/wrist circumference + 4".

That pattern gives you way more length than you need for the palm strap, so figure out how much overlap you want, cut off the excess, and stitch it down.

Uhh, I think that’s everything. More angles of the finished bracers here.

And as always, if you do happen to be rolling in money, Armory Rasa can make them for you. ^_^

anonymous asked:

The picture at the top of the "stitching leather" post you just made shows what looks like a slit in the leather and a strap pulled through it. Is there anything special you have to do to cut a slit like that? Do you have to worry about it tearing (like, widening the slit, if you see what I mean), afterwards, or is the leather too tough for that to be a problem?

Ya! The tool is called an oblong punch, or a slot punch, and they are very handy. Here’s a pic of the Fili bracer laid out flat to make the slots easier to see:

It’s a clean, professional way of attaching straps so that the end is not visible from the top side, and it’s also stronger because it changes the direction that the stress is applied to the attachment point (usually a rivet, but in the Fili bracers I worked it into the stitching instead). Veg-tan leather heavier than like 5 oz is very, very unlikely to tear, and the rounded edges of the slot punch distribute any stress.

Some more examples:

(On the silver Loki shoulder, the strap runs through a slot in the top piece but is riveted to the bottom piece.)

Oblong punches come in a variety of lengths and they’re one of the more expensive leatherworking tools (like, the good ones run $30-$50 apiece). I have, over the years, eventually sprung for the nice ones in most sizes:

The two black ones are 1/2″ and 3/4″, from Tandy – the silver one is a 3/8″ that I had to order off eBay because Tandy doesn’t carry that size. The cheap ones look like this:

They’re much more likely to get clogged up, and the edges I think are flimsier and wear down and get hard to punch quicker.

But, good news, if you don’t want to buy a slot punch you can substitute with a hole punch and a utility knife:

Which is cool, because you need slots not just for hiding the ends of your straps, but also for buckles (as shown above) and also to use in place of round holes for locking buckles (this is what I originally bought the 3/8″ slot punch for):

So that is the slot punch, THE END!

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This is a passport wallet I made. I included a sleeve on the right for the passport, and a  bill/document sleeve with two card slots on the left. I hand-dyed the leather with a mixture of Fiebing’s Saddle-Tan and Fiebing’s Dark Brown (both oil based). The colour up being a medium brown with a hint of orange. I included a double snap closure, and sanded, burnished and polished all the edges.

Leatherworking with gremble: Anders round bag tutorial

How2Andersbag, part 1! The whole set is available at my shop, but some DIY-minded people had expressed interest in my method because the construction for round bags can be weird. Once you get the patterning done though, making it doesn’t take any fancy tools at all: awl, hole punch, rivet setter, needle and heavy thread, and you’re good to go.

Keep reading

New costume time! I’m making Celica from Fire Emblem Echoes!

Here are some of my main material choices:
- Wig and wefts from Arda. I’m combining the colors Auburn and Coral
- White plonge leather and gold pigskin trim, both from Hide House
- Black ponte knit for the skirt, stockings, and gloves. From Mood Fabrics
- Purple waxed cotton for the cape & dress lining, also from Mood
- Assorted leather paints from Lumiere (Jacquard) and Angelus
- Veg tanned leather (not pictured) for her armor, headband, and perhaps some portions of the dress. Tests incoming.

Can’t wait to make more progress of this. I’m aiming for Fanime!

I made a fancy leather backplate!

Since it’s been Christmas and I don’t have to keep John’s present a secret anymore, I can officially show you all what I’ve been up to! John wears an almost full set of armour to Swordcraft, rain or shine, and the only thing he’s been missing is a backplate. Since he wears a converted version of my old etched breastplate, he’s only been wearing the front steel plate, and as long as he’s been wearing it, he’s been wanting a fancy leather backplate (in the rules system we use, a 5mm leather back plate gives the same amount of HP as a 1.2mm steel backplate). So I made one! 

I started with a raw sheet of veg-tan leather. Creating the pattern for the shape to match the front plate was fairly easy coming from a sewing background. I cut the shape, cleaned up the edges and measured out and embossed the diamonds by pressing the side of my edging tool hard into the leather. There’s also the four straps to go into the existing buckles on the front plate.

Since I’ve had very little experience with leather dying, I used the neck hole cut out as a practice piece (you’ll see what I did with that later). It was looking pretty good so I went for it. I used tape to section off the diamonds like I would have if I were painting. But it turns out it was both similar and extremely different to your garden variety acrylic paint…

There was a fair amount of bleeding, and the tape upset the leather, but there was no stopping now…. Here are some progress photos.

I dyed the rough, inner side of the leather purple and slathered the whole thing in a leather conditioner and rubbed it in really well to give it a nicer finish…. and ta-da!

I purposely left the straps un-attached to I could adjust the size to John perfectly. But the end result would look something like this:

I found the blue dye tricker to work with than the purple dye, and in the light it’s still fairly streaky. But on the whole, and considering it was my first attempt at something like this, I’m super duper happy. And John was over the moon too, of course! 

It adds so much more colour and individuality to his kit, it honestly makes me slightly jealous of how good he looks on field. I see many more projects like this in the future!

Leatherworking Lecture: Casing

Hey, wow, I just hit 500 followers, thought I’d say thanks to everyone out there who’s stalking me and do something to celebrate. So here, guys, have something nice – have, uhh… *digs through closet* …a tutorial on how to prepare leather for tooling & shaping! :D

Greetings! Today I shall deliver an excessively long lecture on casing, aka, getting leather properly wet in order to carve it, tool it, and mold it. (You will be astounded how many words I have to say on the subject of “get it wet.”) This is not the most glamorous part of leatherworking, but it is an important one – properly cased leather will give you better results on your finished product, and also make it easier and more fun. Working with good, properly-cased leather is a genuine joy – working with cheap or badly-cased leather is an exercise in frustration.

I haven’t really found anywhere else that puts all this information in one place. Other people have talked extensively about tooling, because that’s the fun part, but I’ve never found a comprehensive guide to casing. When newbies get on leatherworking forums, etc, and ask for advice on casing, the old-timers tend to say things like “You’ll learn to tell when it’s properly cased” or “You’ll get a feel for it” – which is true, but not all that helpful when you’re first starting out.

Keep reading

Dark Souls Abyss Watcher WIP

Belts, belts, so many belts!  These are all real leather that I cut, dyed, and weathered myself.  Most of the buckles and stuff are real metal, but I did make a couple things out of thibra painted silver, and am glad that they’re not very obvious.  The chrome spray paint I found is awesome.

I’m also working on throwing knives for my pauldron.  I used veg tan leather for the sheaths (still need to be dyed) and two layers of thibra for blades (still need to be painted silver).  I was originally going to glue the knives in or maybe use magnets so they’re removable, but I was pleasantly surprised when I found out that the knives stay in from friction alone.  I’ll also be making the little strap thingies that go over the sheaths, once that’s all dyed and ready to be attached to the belt.

Still on schedule for PAX EAST 2017 w00t w00t :-D

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I made myself up an axe ring to carry my viking inspired  Peeledmouse belt axe in https://www.instagram.com/peeledmouseaxes/

The large brass ring was scavenged from a shipwreck found on the Jurassic coast probably some sort of boat mooring ring and its been well battered by the sea and the elements .

The leather belt loop is 4mm veg tan double dyed after the pyrography was added with a brass eyelet added which is then secured to the added copper locking ring by 3 strand braided sinew .

 Custom knives , sheaths and gear from rtknives@hotmail.com

Letters

Royai Week 2017 - Day Five
The letters on her back founded a life long contract between them.


When I thought about this prompt, my mind kept turning to the letters marked into Riza’s back. If she had never carried those letters, or never shown them to Roy, would there have been Royai?



So I thought about embossing part of the flame alchemy tattoo into leather. The letters are scribed into the leather and then painted over with leather dye.

Embossed veg tanned bovine leather with antique finish. Yet to be sealed and polished. I used a piece of belly leather, which isn’t as tight grained and smooth as leather from closer to the spine, but I kind of like the way it hints at the scaring on Riza’s back.
Scale wise the finished piece will be a folder for holding an A5 notebook.
These photos are unfiltered and I think they show the actual work and finish pretty accurately.

Huge, huge thank you to @meiosis2​ and her work here, (not sure I would have pursued this idea without your fabulous work) and to @capthawkeye​ for showing it to me. 

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Ulu masked .

4mm veg tan wet formed leather rustic ulu mask .

The one piece leather sheath was distressed on the workshop floor and indented using a gnarly stag antler before being sponge dyed with dark and light brown dye for an aged effect .

Hammered copper saddlery rivets and antiqued brass kydex eyelets were used so the owner can mount it to his pack whilst hunting . The sheath was then stonewashed with marbles in a tumble drier to complete the aged look .

  The drop point tip of the Ulu fits snug under the last brass eyelet to aid in retention  so the ulu must be pivoted to draw from the sheath .

Secondary retention comes in the form of a braided latigo lace thong with twisted copper wire and a Nepalese ox bone skull mantra bead .

 Custom knives , sheaths and gear from rtknives@hotmail.com

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Nessmuk style patch knife sheathed .

 Part three.

 3.5mm veg- tan leather wet formed from @theidentitystore .

The leather was double sponge dyed with dark and light brown dye and distressed for an aged effect with copper saddlery rivets and brass kydex eyelets .

Available now to over 18′s only , please contact at the email below .

 Custom knives ,sheaths and gear from rtknives@hotmail.com