2^6 
RERAMIC STUDIO 
Illus. No. 1. 
marble and trace the design through the paper with the 
stylus. Remove the paper and outline every part of 
the design with the modeling tool (Illus. No. i.) held 
firmly in the right hand and guided by the index finger 
of the left. Hold the tool as nearly vertical as possible 
(Illus. No. 2) except in the "laying down" of the back- 
ground when it is dropped to a slant of 45° or so that the 
ball and tip of the spoon work upon the surface at the same 
time. Always work toward that part of the design which 
is to be thrown in relief. Keep the leather damp but not 
spongy. If it wrinkles under the modeling tool, change the 
direction of the stroke. When nearing a corner raise the 
tool to an almost vertical position and finish with a firm 
quick pressure. Continued pressing and smoothing will 
leave the background glossy and of deeper shade than the 
original color of the skin. In finishing the small places and 
sharp corners use the end of the tool which best fits them. 
Make the eyelets with a leather punch and finish with a har- 
ness buckle. 
To make a card case, cut a strip of leather 5x1 if in. 
On a piece of manila paper draw a rectangle 4^x1 of in., 
then lay out the panels ^ of an inch within this boundary, 
as suggested in Illus No. 4. Use the square in making 
all corners, remembering that good proportion and accuracy 
are the hallmarks of good craftsmanship. Wash the sur- 
face of the leather, dampen, pin the paper rectangle in place, 
trace and model as in the belt. When this is done the case 
is ready for lining. A suitable lining is of skiver, thin goat 
skin or silk. Skiver is the easiest handled. Cut with the 
knife a piece of skiver the size of the leather cover, rub 
paste well into the cover, apply the skiver and smooth until 
Illus, No. 2. 
every part is firmly pasted. Fold each end toward the 
middle to a depth of if inches and press under a smooth 
weight. When dry, stitch on the machine with silk thread. 
Tie the loose ends and slip under the flaps with a needle. 
Cut away the surplus leather | of an inch outside the stitch- 
ing. The completed card case, change purse (Illus. No. 6 & 
7) are made of sumach calf skin, modeled, carved and tinted. 
Of all methods of decorating leather, carving requires 
the nicest skill. It may be used to develop the whole decora- 
tive scheme, or combined with tooling, modeling or tinting to 
secure a certain effect. An example of the latter use is 
found in the sumach card case where a deeper shadow was 
needed on the leaf than the modeling and tinting indicated, 
so a cut was made along the required line, one edge pressed 
into a slight ridge and the other laid down with the modeling 
tool. 
To carve, apply the design as for modeling. Dampen 
the leather. Hold the knife upright. Guide with index 
finger of the left hand, using the thumb as a pivot. Cut 
half way through the leather. Spread the edges apart with 
the sharp end of the modeling tool and work down the back- 
ground with the spoon end. A suitable background for 
carved relief may be either modeled or stamped. Tools for 
stamping may be purchased or filed out by hand from a 
piece of tool bar. 
'' $ln decorating an object its identity must be retained. 
It is not art to make pottery look like metal, nor wood like 
iron, nor leather like a painted canvas. Leather properly 
decorated with color will be leather still with its flexibility, 
texture and finish unspoiled. 
For this reason leather tinting is a problem. Oil 
