My Newest Hand Stitching Awl Hafts and Blades

Proffesional Leather Working

 I know that many of you have been doing this for many years.  That said, I’m finding that it’s been helpful for me to explain how I came to make the awl hafts that I make and how I use them. I’m sharing this with everyone who buys these hafts and blades.

These new blades are so sharp that they will immediately start a new hole if you need to change direction. So just back out a bit, get your new aim, THEN push straight with no torque on the blade. You’ll feel it take off in the new direction. These awl blades won’t bend or break if you get in the habit of running them this way. The palm knob is large and matches your palm. So, push straight through your arm bones (radius and ulna) to your palm to the haft. That’s the best way to avoid torque.  I haven’t had one fail in many years (knock on wood…)

Temper to Bend VS Temper to Break

My personal preference is to have a blade bend rather than break, that way I can straighten them by tapping them on my benchtop with a rawhide or soft blow mallet.  However, I have recently decided to temper my blades a little harder to make them more like the blades that my customers are used too.  I’m using Super 7 steel, the most shock resistant tool steel available.  If used as I’ve described above, they will perform very well for many bindings without failure. The key is the sharp edge, which is polished with an exceptionally fine abrasive wheel rather than a buffing wheel to maintain its keen edge from the tip to around the first third of its length.  If you take one of these blades to your buffer you will destroy this edge stopping its ability to cut its way through leather.  It then becomes just a very pointy needle which will require you to use the torque that becomes necessary to steer it. That’s why awl blades break.  The edge that it comes to you with will last a long time.  I strop my blades and will be posting a video on how I do this so that I can find the bevel, and not round over the edge. 

Push through the Palm Knob

The inspiration for my hafts came from an awl haft, (handle), that was dug up during an archeological excavation in Historic Jamestown ca. 1607–1624.  https://historicjamestowne.org/archaeology/ .  

The haft was quite short and had a flatter shaped palm knob.  It’s worth noting that there was no such thing as a stitching machine at the time the haft was made and used.

I first read about this haft on a boot and shoe making forum in the 1990’s which was run by ‘The Honorable Cordwainers Society’.  Al Saguto worked at Colonial Williamsburg at the time and he introduced us to the discovery of this haft.  He gave us the specific dimensions of it and several of us started making them.  Hafts like it are now quite common among boot and shoemakers / cordwainers.

The key to its use comes from its length,  and the flatness of the knob with its larger circumference.  The knob matches the palm of the user’s hand when pushing it from the forearm bones through the palm to the haft and the blade in a straight line which will cancel out any side-to-side torque.  The haft is also short enough to allow the user to reach the blade and to push against the piece that is being stitched with the thumb to push the awl out of the leather rather than pull it out by wiggling the awl and pulling with the whole arm.

I look forward to sharing more about my awl hafts and blades in future posts which will include images and videos.

To order awls and blades please call me direct at 307-272-8585.  They will be available through the online store here at a future date.  I will send you an invoice that can be paid online without my having to collect your credit card information.  I also accept Venmo and personal checks.

Cheers, Gordon-

Is Form Dictated by Function? Does it Matter?

Each Portion Want Attention

Is Form Dictated by Function? Does it Matter?

Maybe... I have to ask what exactly is function? And, what exactly is form.  A house has to have a way in and out to function as a shelter.  It can have windows to let light in and air circulation.  Then there is insulation, heating, and on and on.  These things determine what needs to be included in the form that a house takes.  But we also consider aesthetics. When we do this, we turn the old saying on its ear and start to consider the function of the form itself.  That's why I don't view tooling on a saddle as non-functional.  I also don't think of refinement in the curves of the fork and swells as non-functional. I suspect that form and function are related to each other in ways besides one of them coming first.  A tree for example needs certain things to survive.  Getting those things is what affects the way it grows.  But other forces will change the form that it grows into so that it can survive.  Then there is the variety of forms that other trees in the same neighborhood take to solve the same problems.  I'm wondering how this all relates physically because I don't want to miss out on anything that the creative process has to offer, or what I can potentially bring to my work.  I think that perhaps intent and focus have as much to do with the form we give to a thing as the thing's aspect as a tool, and each detail want attention.  The question I like to ask is; what can I give to this thing that I'm making?

Gordon Andrus

New Standard Line Professional Awl Hafts

Standard Line Professional Awl Hafts

New Standard Line Professional Awl Hafts

I've started a new line of standard awl hafts that will sell for $85.00. $150 with a blade. As with a my Artisan Made line, the blades are secured into the haft with two 8-32 hex drive set screws. These tools are not a cheap budget item. They are turned by me on a manual lathe and are made with the same attention to detail as all of my Red Ox brand tools. They are simply less detailed so take less time to make. I'm happy to be offering a more affordable tool that will perform at a high professional level.

Gordon Andrus

Getting Ready for Sheridan

I look forward to the Sheridan Leather Trade Show every year.  Even though it leaves me exhausted.  It’s always good to catch up with friends, teach, and make my tools and books available.  I always learn from my conversations, and I never come away without having made a bag full of new friends.

It’s been a busy, busy year here at the Hoytsville Hermitage so far this year.  We have two new granddaughters.  They were born twelve hours apart; sort of twins from different mothers if you will.

The shop has been busy too. (I’m wishing I’d fed those elves better.)  In addition to taking and filling orders, I’ve been working on my tool offerings.  Last year I started making a few stamps to sell.  So far these have been mostly bevelers for which I get really good reviews from folks who’ve bought them.  I’m working hard with hopes to have some on offer at the show.  I’ll be teaching one swivel knife class which will ty in well with an article in the Leather Crafters Journal that will be coming out in the next issue in time for the show.  I believe there is still room in this class. Here are some pictures of work in progress and some of my latest offerings.  I hope you’ll find me at the show.  We will have some fun and interesting times I’m sure.

Wonderful Artist, Craftsman, and Friend

Takeshi Yonezawa

This article is a must see! Yone is one of our finest artists / craftsmen. It is such a joy to see what he does. His work is surprising and inspiring. My association with him has opened insight into the incredible history of Japanese leatherwork. I had been introduced to Japanese ceramics and woodworking but knew nothing about the rich history of the leatherwork of this deeply rich culture before meeting Yone. These words from this interview struck a particularly harmonious chord when I read them. "There is a Japanese proverb, “What one loves, one does well.” My passion for leatherwork drives me to continually seek knowledge. One thing people often forget is that knowledge is the accumulation our predecessors’ history; it is impossible for someone to learn completely alone." Takeshi Yonezawa Yonezawa Leather

Published in CanvsRebel
https://canvasrebel.com/meet-takeshi-yonezawa/?fbclid=IwZXh0bgNhZW0CMTEAAR1QE2pMQi0o6rVZkw0VUmg0762FdrEh_EdQfC0IUe9KBBvG8MA8z_25TVI_aem_AWLOGRIeCiKqvSpqOUDSMjoamzXCs-NRu4xzfrG-inNckgt4POvr-HmaiXmKjduktJNezbIozoBnoceGgUKEh4CU

What is Form?

What Is Form?

The English studio potter Michael Cardew expressed an idea, that form is a thing not of the self, separate from the maker, and existing by itself.  This thought has intrigued me since I first encountered it thirty-five years ago.  My musings on this idea have leant direction to my creative life.  The realization — that this search for form need not be crowded by an over emphasis on oneself as creator, artist, and maker — is liberating.  There is freedom in the idea that form is something to seek after, to look for in the world. 

Finishing Tooled Leather

I recently had a friend from Slovenia email and ask about my method for finishing my tooled leather.  I’ve wanted to take the time to write this information and answering that email has given me the perfect opportunity.

I want to share this here to thank the followers of this blog and especially all my customers.  Please read with my hope that you will find this useful in your work…

My process for finishing tooled leather is as follows.

 

When tooling has dried, apply Neatsfoot, or olive oil with a piece of saddle shearling fleece sheepskin (used to line western saddles) which has been trimmed to about 15mm and roughly 70mm x 100mm.  I apply the oil with one half of the fleece as evenly as I can in a circular motion and then immediately use the un-soaked half, or another piece of fleece, to wipe and even out the oil application.  You can let the work sit for a brief time and allow the oil to penetrate somewhat.  You don’t have to leave it overnight as some people claim.

 

I use nitrocellulose lacquer that is made for finishing guitars to seal the surface and provide a resist for the antique (Fiebing’s, I like the tan color for most things, Dark Brown for brown colored skirting).  Use a piece of fleece for this lacquer also.  It will take some practice to get this mastered.  You don’t want it to be thickly applied.  I do the same with lacquer as with oil, wiping it with a cleaner piece of fleece before it can start to dry.  Lacquer dries extremely fast and will become messy and sticky if you let it build up.  You don’t want to be able to see a coat of lacquer on the leather the way you would with paint or varnish on wood.  This film of lacquer will be dry in minutes, and you can move straight on to apply the antique paste.  Again, no waiting overnight as some would tell you.  Lacquer is not very flexible and will crack if it is applied to thick.  If you’ve seen an old guitar with a crazed/cracked finish you will understand what I mean.

 

I thin my antique paste to the consistency of thick cream.  It is left thick enough that it won’t run off from a paint brush.  I use mineral spirits, a paint thinner here in the US known as Naphtha.  Any type of mineral spirit paint thinner will work.  I apply the antique with a natural boar bristle sash type of round paint brush. These I believe are more common in Europe.  With this type of brush, I can pounce, or push the antique down into all the cuts and details.  If the paste is left as thick as it comes from the manufacturer it will not flow into the work the way I want it to or be able to be cleaned off sufficiently.  Work quickly, and on most pieces bigger than a wallet it is good to work in sections, so it won’t start to dry and be more difficult to wipe off.

  

When the antique has been evenly spread and worked into the tooling, I first wipe the excess off with paper towel, then follow immediately with a larger piece of fleece which is left at its full length.  The idea is to remove as much of the paste as possible.  This piece of fleece will become filled with the antique paste and must be replaced as it fails to remove the paste from the details.  I later trim this fleece to be able to use it for other applications such as the Fiebing’s Bagcoat that I use as the final topcoat.

 

Bagcoat and Tancoat are very similar.  Bagcoat is thinner, and I prefer the way it looks as well as the way it goes on.  Tancoat can be used.  I apply this topcoat with a piece of fleece also, spreading it with a piece that has been trimmed, and then wiping it off with a full thickness piece to create the thinnest film possible.  These products leave a beautiful lustrous result; however, they are not durable or water resistant.  If used by themselves without the lacquer the work will spot if water is dripped on it.  The smallest drop will cause water spotting.  This does not happen if lacquer is applied first.

 

Thanks for checking in, and please leave comments and questions so I can get an idea of the things you folks would like to see covered in future posts on this blog

Gordon-

Make a domed, silver, stainless steel, or nickel headed copper rivet.

I recently had a friend ask me if I knew of a way to get rivets that would match stainless steel saddle hardware.  This – riveting – video shows what I came up with.  I used nickel discs for this, and they came out very well.  The low temperature solder didn’t soften the copper and they are easy to set.  Please excuse my hemming and hawing.  I was winging it…