My Suppliers

When I first started doing leatherwork a couple years ago, I had only one supplier (Tandy Leather Factory) and one goal: amass my materials and tools as cheaply as possible. My reasoning was this: if I got tired of doing leatherwork, it would be less of a loss with cheap tools. And with cheaper materials, my learner's mistakes would be less costly.

I still think this is a good decision for starting out - leather is expensive, and so are good tools. That being said, it became almost immediately clear to me that if I was going to be at all serious about my work, I would have to get serious about my supplies and where they came from. Some cheap tools (like stitch markers, groovers and things) work perfectly well, while others (awls, punches, etc.) end up being more work than they're worth.

Disregarding economic reasons, there are various ethical concerns involved. Where was the leather tanned, and what did it take to get it to me? what impact did it have on the local environment and people? Do I want to support businesses that exploit the their workers and damage the environment through negligence? What does it say about me if I purchase supplies from such companies? How can I demand change from governments and corporations if I refuse to change my own purchasing habits?

When I buy something, I like to know where and how it is made. Now that I've started a business doing this stuff, I think it's important that people know what goes into the items I make. I evaluate my suppliers (and supplies) based on a lot of things - quality of the product, it's relative environmental impacts, the distance it has to travel to get to me, and the conditions workers deal with. I've had varying degrees of success (as you'll see below) but I think it's worth the effort.

Supplier #1 - Longview Leather (Longview, Alberta)

Don Vincent, the proprietor of Longview Leather, knows his business. Right now, he's the only Canadian supplier I know of for Hermann Oak Leather (see below).  He's also got a good selection of quality hardware, like belt buckles, swivels, etc. Recently, he's begun stocking more tools and a much larger variety of leathers.

But where Longview Leather shines is customer service. Don has called me to double check orders, to give me the option of waiting for better quality leather to come in, and has even given me store credit when shipments are a little late. He's sent me samples of leather he had got in limited quanities he thought I might like. He's never taken more than a day to answer my emails. If it sounds like I'm gushing, well, that's just the way it is. I never have a problem buying from Longview, and the stuff I've gotten is top rate.

Supplier #2 - Hermann Oak Leather (St. Louis, Missouri)

This one's not really a direct supplier - I only purchase their products through Longview Leather - but they're key to my process. Hermann Oak leather is a high quality vegetable tanned leather made St. Louis, Missouri, from North American steer hides. There's simply no comparing it with cheaper imports. It's firm, has little stretch, stamps well, takes oil and dyes well, and holds up well to hard use. As an added bonus, for my SCA/historical stuff, it's the closest match to leather tanned in ancient times and the middle ages. 95% of my items are made using this leather.

Being sited in the U.S., they have stricter environmental standards than tanneries in the developing world (There's a reason Hermann Oak is one of the last tanneries operating in North America - most have fled to less-regulated countries). And, because Hermann Oak  is vegetable tanned, there are fewer toxic byproducts produced. It's not perfect, but leather tanning has always been, and likely always will be, something of a dirty practice. For more information, see their Environmental Statement or Tannery Tour video.

Supplier #3 - Douglas Tools/ Sheridan Leather

Bob Douglas makes tools I regularly drool over. He now sells his tools directly through Sheridan Leather (themselves a quality operation). I would buy more from Sheridan Leather, but shipping and duties become prohibitive for regular supplies. The one tool I've bought from Douglas Tools there is the awl and awl blade. The awl handle is made from cocobolo and has a smooth, comfortable finish. It takes a little getting used to if you like a contoured handle. The blades, though, are worth their weight in gold. These are handmade and come sharpened and polished. They go through leather  easily and hold an edge. After probably hundreds of hours hand stitching with these blades, I've only ever stropped them to keep the edge up. They are expensive ($27.00 for a blade) but the time saved on re-sharpening, and the ease of stitching, make them a worthwhile investment.

Supplier #4 - Isle Away Apiaries (Manitoulin Island)

This is the most local supplier I have - they're right here on Manitoulin Island. They produce high-quality honey and beeswax from their 65 hives. Their honey is delicious, and their wax is great - and I must say, among the cheapest I've found. I mostly use the wax for making leather finishes or for hardening drinking vessels. Nancy Kains, my contact there, is super friendly and knows her stuff - they run courses on bee-keeping as well as their own operation. I'm not sure if it qualifies as 'organic' or pesticide free, but given what I know of the immediate area, there doesn't appear to be much intensive agriculture nearby. I'm confident that it's as close to organic as honey and beeswax can get without certification.

 If you're ever on the Island, buy some Isle Away honey - you won't regret it.

Supplier #5 Campbell-Randall
I don't purchase much from Campbell-Randall, but they're a critical supplier of mine. As far as I've found, they're one of the only retail suppliers in North America for large rolls of unwaxed linen thread. I mostly use their Barbour linen thread. The thread is consistent and looks great on the leather. Much better, in my opinion, than the synthetic threads I once used. I don't really know how it compares to other linen threads. Customer service at Campbell was very good - they answered my questions promptly and helped me track my order when it got held up at the border.

The linen itself is made from flax and is a natural fibre. When I can get it, I use the Barbour linen thread that is made in the United States. I haven't been able to discover where the flax is grown - according to FAOSTAT, flax fibre is mostly grown in China, Russia and Europe. Canada's flax industry focuses on the export of the seeds from the flax, so it's not likely grown here.

Supplier #6 Tandy Leather Factory

Ah, Tandy. The Wal-Mart of leather suppliers..

Tandy's low end tools are a boon to beginners. You can get into hobby leather working without spending a huge amount of money. To be honest, I've purchased most of my tools there. They have an online store, they have good shipping options, and the staff has always been helpful and friendly, though they don't reach the gold standard of Longview Leather.

The down side: If you want tools made of good steel that will hold an edge, or ones that are adequately pre-sharpened, look somewhere else. Most tools are made overseas, and there's no way to check up on the manufacturing or environmental processes - though I did get a marble slab on sale there that has a large "Made in USA" stamped right on the underside.

I have no idea where their different grades of vegetable-tanned leather come from. Most leather is tanned overseas, in China or India, where working conditions are often questionable at best, and environmental regulations are lax or simply not enforced, but I have no way of knowing where it is sourced from. The quality of Tandy's leather varies considerably, and when you're not able to go to the store and pick and choose what you want, you get whatever they decide to give you. Even though the leather is cheaper by the square foot, it often results in less useable leather over all, making a hide like Hermann Oak a better investment. When you buy Tandy leather on sale, it seems you get lower quality hides as well - clearing out leather that has already been picked over for the best.

When I buy from Tandy Leather, I do so because I can't really find what I need anywhere else. I do get my rivets and lace from there, as for the most part  all suppliers carry the same stuff. I have to stress that I have no problem with the service I've received from their staff, but overall the quality is lacking and I have concerns about the sourcing of most of their products.

Final Thoughts

From the list above, it's easy to see that I am far from being a 100% sustainable business. But with some time, effort, and money, I'm able to ensure that most of my consumables (leather, thread, wax etc.) are made from natural materials. Where I can, I buy high-quality tools from skilled craftspeople. I try to avoid purchasing tools and supplies of unknown source and impact, and I reward companies that meet my criteria with continued business. Aside from all these ethical concerns, I think that this kind of thoughtful sourcing has resulted in higher quality raw materials for my crafting, and in the end, higher quality finished products.

It's not always easy, or cheap. And it's a constant struggle to improve on my sustainability. But I sleep better at night knowing that my customers receive items made with both quality and conscience.

Thanks for reading.
Jake Diebolt

Making of a Leather Mug

Drinking vessels made from animal hides have a long history, going at least as far back as the neolithic period - a crude leather cup was found in a stone age context in London, England, for example. Hide vessels hung on in use long after earthenware, metal and glass came on the scene. There have even been found clay bottles, shaped and glazed in such a way as to the mimic the look of a leather vessel, down to finely inscribed stitching.

Leather vessels were at their most popular in the British Isles, particularly England. Here we see the leather bottles, flasks and blackjacks that evoke images of British sailors and pirates, quaffing grog or ale on the high seas. Sturdy leather drinking vessels go back at least to the Saxon period, and by the 14th century there was a guild of bottle makers in London, specializing in crafting drinking vessels of leather.

If you're going to an SCA  event, a leather mug will serve you well as your quaffing implement.

Quaffing. Not even once.

But then, you're here to find out how it's made...
 

Well, I have to begin with this: the mugs (or jacks) I make are not particularly historical. Most of the surviving examples are tapered, being larger on the bottom to be more stable aboard ship. And the handle shape is just something I thought would be most comfortable. The traditional jacks would have been made from harness thickness leather, about 30-50% thicker than the leather I use. And the waterproof lining would have most likely been a pine, spruce or birch derived black pitch, whereas I use a combination of pine gum rosin and beeswax that is golden in colour.

That being said, the materials I use, and the general techniques, are pretty close to crafters from the Middle ages. And the end result would not look out of place in a medieval setting.

It all starts with a pattern. You can find numerous mug patterns online, but after looking at several I decided to draw up my own. I've experimented with a couple of handle styles and found I liked the D shape, so that's what I used. As far as sizing, I found a convenient form to use for the leather - a glass honey jar of just about the right size and shape. From the measurements of the jar I laid out the pattern on bristol board, complete with an over sized bottom piece and a filler piece for the handle.

Once the pattern was cut out, I laid the pieces out on an 8/9 oz hide and marked the outlines with a scratch awl. Then, with a knife and straight edge (and great care going around the curves) I cut the pieces from the hide. This is always the most stressful part of the process for me - a slip up here can be costly.

When I've got the pieces cut out, its time to prepare them for stitching. I use the stitching gouger to cut a shallow channel into the leather along the bottom of the side of the mug, and outline the double-stitching around the mug handle. This way, when the threads are pulled tight, they will sit flush with the surface of the leather. It looks nicer and saves wear.

After that, I round the edges with an edge beveler - later, when I burnish the edges, it will form a smooth, rounded edge.

Once all the prep is done, I glue the handle parts together with contact cement. I use a minimal amount of the stuff - it smells awful and can make a mess if you're not careful, but it bonds like iron when done correctly. None of the cement ever touches the parts of the mug in contact with the drinks. I usually avoid gluing things, but previous attempts to stitch this without gluing first turned out sloppy-looking.

The glued handle assembly, complete with the handle filler piece.

While waiting for the glue to dry, I soak the bottom piece of the leather mug in water- this renders it able to be formed and moulded. For this next part I owe thanks to Angster on Leatherworker.net, who did a great tutorial on making a Tudor-style mug. (One might call it a Tudorial, eh? Eh?...well, I thought it was funny.) I mold the soaked (or "cased" leather) over the bottom of the glass jar, and then take a metal hose clamp and force it down over the leather. Then all I do is tighten the hose clamp until the leather is tight against the jar.

The bottom of the mug, forming on the honey jar.

With the bottom of the mug forming, it's time to stitch the handle. Leather hand stitching is a little different than hand stitching fabrics. You use one long piece of thread with a needle on each end. One needle is held in each hand, and the awl (a sharp, narrow-bladed tool used for making holes through the leather) is held in your third hand. You can already see the problem. With a little dexterity and some practice, you learn to hold both needles and the awl without ever setting them down.

I use linen thread, waxed with 'coad', a mixture of pine rosin and beeswax, not very different from the lining the mug will get later. This mixture prevents the thread from rotting and makes it slightly sticky. Once the threads are pulled tight, the coad melts and then solidifies on the threads in the leather, adding strength to the seam.

First you punch the hole through the leather with the awl, then pass the needle from the opposite side through the hole. Then you take your awl-hand needle and pass it through the hole, and then pull them both tight. I loop the thread around the needle on the other side, so that when the thread is pulled tight it helps align the stitches the right way and forms a knot inside the leather, increasing the strength of the seam. I'll go into a more detailed explanation of the technique in a future post, but for people who can't wait, there are dozens of excellent videos on YouTube detailing hand sewing techniques.

After that, it's rinse and repeat. It takes about 3 metres of thead to do the outer seam on the handle, and a little more than 2 metres to do the inner seam. For this part at least, I hold the mug in a "stitching pony" (a clamp that acts as a third hand) my dad made for me. Thanks Pop!

Note the awl and needle held in the same hand. Please do not note the scruffy pseudo beard.

Also, I just realized that the T-shirt I'm wearing in those pictures was a gift from my Dad too. I really am a self-made man though, I swear!

Finally, the handle is stitched. This is the longest part of the process - just the handle probably takes upwards of 2 hours.

Stitching on the handle completed

Now this part of the mug is soaked as well and forced over the honey jar, and left to dry overnight. I wiggle it around a bit on the jar to stretch it somewhat, so that it's easier to remove. The first couple mugs I made were a real pain to get off of the jar.

The next bit involves stitching in the bottom, which has dried into the shape of the bottom of the jar. This is a little trickier to do as the mug can no longer be held in the clamp. Instead, the mug has to be held between the knees while you sew. I left the honey jar in for this part, it helped the mug maintain it's shape while I sewed. Yes, this is exactly as awkward as it sounds, and I end up doing a lot of sewing like this, where a clamp can't help. Unlike some stitching ponies, mine isn't magical.

Special thanks to Red Clamp #1 - without you, this mug wouldn't have been possible.

With the bottom sewn in, the mug is (structurally) complete. Now I carefully trim and sand the edges, and burnish them with a horn folder by dampening the leather and rubbing the horn vigorously over it. Done properly, the edge loses its frayed appearance and becomes smooth.

Now we treat the mug to make it capable of holding liquids.

The first step is to soak the mug in molten beeswax. This hardens the leather to an almost plastic-like consistency and completely waterproofs the leather. From my research I don't believe anything like this was done in period. The mugs were made from very thick leather and would likely have held their shape without stiffening - besides, for most of them medieval period beeswax would have been very valuable as candles for the Church, and likely not available for making the ubiquitous leather vessels. However, I choose to harden the mug because of the thinner leather and the increased durability, as well as the waterproofing angle.

I melt the wax in a double boiler big enough that I can dip the entire mug at one time. You can do this by melting the wax, painting it onto the leather and leaving it in a hot oven, but you have to be REALLY CAREFUL, or the leather will overheat and crumple. I consider a double boiler something of an investment.

I immerse the mug in the hot wax until bubbles stop rising to the surface - this is the beeswax soaking into the leather and forcing pockets of air out. Then I remove the mug, and wipe off any excess wax with paper towels. If you leave the wax too long, it cools and becomes difficult to remove. Now the mug looks like almost finished. The beeswax darkens it substantially - partly because that's what oils and waxes do to veg-tanned leather, and partly because I use a dark beeswax.

Now, the final stage - lining the interior of the mug with the beeswax/pitch mixture. The pitch is pine gum rosin, a food safe pine resin product. It's approved as a food additive by Health Canada, often added to powdered drink mixtures (for what purpose, I honestly don't know). It bears only passing resemblance to the pitch used in actual period vessels - that pitch would have been black and more flexible. In solid form, it's crystalline and almost translucent, and looks like this. (I don't get my stuff from that site, but the people I use don't have as nice a picture). When solid, it's hard but brittle. By adding the beeswax, its easier to work with and a little more flexible. As a bonus, the melting temperature is lowered, so you can fix any cracks in the lining with a hair dryer or some careful use of the oven. Beeswax alone is too fragile in my opinion and melts in very hot weather, springing leaks easily. My original beeswax-lined leather bottles were prone to leaks, but they haven't leaked at all since I relined them with this mixture.


I measure out a 50/50 mix on a kitchen scale. This seems to work, but I may experiment in the future.

I melt the rosin inside the oven in a tin can - it takes longer than on the stovetop, but I have more control over the temperature and if there is a fire, it's contained. I set the oven to about 120 degrees celsius.

The melted rosin, ready to have the beeswax added

Once the rosin is melted, I add the beeswax, put it back in the oven and melt it in. Then I carefully stir the mixture together to make sure that the wax and rosin aren't separated. Use something you don't care about - the mix is a pain to get off.

Once everything is mixed, I carefully pour the liquid into the mug. Then it's a matter of rolling the mug around, VERY CAREFULLY, allowing the liquid to coat the full interior of the mug. I let the liquid settle extra thick on the bottom, where leaks are most prevalent. I haven't yet managed to get a perfectly smooth internal finish, but honestly it doesn't affect the function the mug at all so I don't worry about it too much.

The mug shortly after lining - the hot wax and pitch mix is still partially translucent.

Finally, while the lining is still warm, I scrape any rogue bits of pitch off the mug with the back of a butter knife and try and even out the lining as much as I can. And here's the finished product!

Overall, the process probably takes 5-6 hours, spaced over several days because of the soaking steps. The mug works great for cool liquids - but acidic liquids soften the liner a little, and high-alcohol spirits will straight-up dissolve it, so be careful! My own mug is my favourite beer glass. I've probably had a few dozen beers out of it and the lining shows no sign of deterioration. Try some traditional dark ales out of it - I think you'll like it!

If you'd like to purchase a mug like this, I have it listed on Etsy here, and a black version listed here. And if you have any unanswered questions, ask them in the comments below.

Thanks for reading!