Fiebing's Fantastic Finishes Book

FANTASTIC FINISHES

Coloring and Finishing Leather the Fiebing Way

By Tony & Kay Laier

TABLE OF CONTENTS

GETTING S TARTED

. . . . ... . . . ... ... . . . ... . . . . ... . . . ... ... . . . ...

1

LEATHER DYES: ALCOHOL, OIL & WATER BASED

... . . . . ... . . . ... . . .

2

BRUSH SELECTION

& CARE

... . . . .. . . ... . . .. . . .. . . ... ... . . . ... . . . . ...

3

BACKGROUND DYEING

. . . ... . . . ... ...

4

COLORING AN OAK LEAF

... . . . ... ... . . . . ... . . . .. . . .. . .

5

COLORING A FLORAL

. . . .. . ... . . . .. . . .. . . ... . . . .. . .. . . .. . . ... .... . . ...

6

COLORING A FIGURE

& PICTORIAL SCENE

. . . ... . . . .. . . .. . .

7

MORE COLORING TECHNIQUES

... . . . ... . . .. . . .. . . .. . . .. . . ... . . .

8

ACRYLIC COLORS

... ... . . . .. . ... ... ... . . ... . . . ... ...

9

AN TIQUES

. . . .. . . .. . . .. . . .. . . .. . . ... . . . .. . .

10

SPECIAL EFFECTS

... .. . . ... . . . ... . . . ... . . . .. . . .... . .

11

TOP FINISHES

. . . .. . . ... . . . .. . . ... . . .. . . .. . . ... . . . .. . . ... . . . ... l4

EDGE FINISHING

... . . . ... . . . ... . . . ... . . . .. . . .. . . ... . . . .

17

LEATHER CARE

. . . .. . . ... . . . ... . . . ... . . . .. . .

19

COLOR CHARTS

. . . .... ... . . . .. . . .. . . ... . . . . ... . . . . ... . . ...

20

COMPATIBILITY CHARTS

. . . ... . . ... . . . .. . ... . . . ... . . .

21

INTRODUCTION

Since

1895,

the Fiebing Company has been manufacturing and developing high quality dyes, stains, finishes and leather care products in Milwaukee, Wisconsin.

Fiebing�s,

as it has come to be known, is dedicated to serving the needs of leather workers, crafts people and hobbyists worldwide. The Fiebing Company continues to combine classic formulations with modern processes and materials to create products that are trusted by professionals and hobbyists of all ages. This book illustrates how Fiebing's dyes, stains, antiques and finishes will help your leather projects come alive and how Fiebing's leather care products will ensure that your work is preserved for all to enjoy. This book is intended to provide a collection of demonstrations and informative tips and is sure to be a worthy addition to your leather working library.

TOOLED BORDER WITH FIGURE CARVED CENTER

BORDER

&

CENTER BACKGROUND DYED

SHERIDAN COLORING ADDED TO BORDER

GETTING STARTED

SELECTING THE RIGHT DYE, STAIN, ANTIQUE AND FINISH FOR

YOUR PROJECT:

After spending hours tooling your leather project, adding color can often seem like a "leap of faith". To lessen the doubt and increase your confidence, first consider all of the possibilities illustrated in this book before settling on products to use. Each has its advantages and can enhance the look and durability of your leather project. Some will penetrate the leather more than others; some will result in bolder and brighter colors and others will vary depending on the type of leather used. By the time you finish this book and with practice, you should be able to identify which Fiebing's product best suits your needs.

CHOOSE THE RIGHT COLOR:

Experiment with applying different colors on samples of leather that are as close as possible to the leather used for your final piece. No two pieces of leather are exactly the same; be patient and practice. Expect some variances even when using the same products and colors.

SET UP A PROPER WORKSPACE:

Work in a well lit space. A good mix of natural

and artificial lighting is always preferable. Make sure your workspace is well ventilated and free of unnecessary obstacles. Set up your work bench so that everything needed for coloring your project is within easy reach. Keep lots of rags or paper towels close for clean up. Choose a chair that puts you in a comfortable position over your project.

PREPARE THE LEATHER FOR DYEING AND FINISHING:

Be sure your leather is as clean as possible.

Fie bing's Dye Prep

is a formulated cleaner for use on leather that has not been previously dyed or finished.

Fiebing's Deglazer

can be used to clean and prepare leather that has been previously finished - it is the more potent of the two prep products.

COMPATIBILITY:

Always consider which products work best together before applying them to your leather project. A Compatibility Chart is found on page 21.

THE BUCKING SADDLE BRONC COVER was designed, tooled and colored by

Tony Laier.

Shown on this page are some of the techniques used to add color to the original tooled piece. The following pages of this book will explain in more detail these techniques and offer tips for coloring and finishing your projects.

CENTER COLORED

&

TOOLED LOGO APPLIED

Copyright 2008 Fiebing Company. All rights reserved

LOGO COLORED FOR

FINAL COVER

LEATHER DYES: ALCOHOL, OIL

&

WATER BASED

Choose the best dye or stain for your project, style and comfort level.

See pages 20 & 21 for color swatches.

FIEBING'S LEATHER DYE

FIEBING'S PROFESSIONAL OIL DYE

The most recognized and trusted penetrating alcohol based leather dye in the world.

FIEBING'S LEATHERCOLORS

Penetrating leather dye that complies with VOC regulations. Formulated with

a low VOC solvent base resulting in a uniform finish.

FIEBING'S LEATHER STAIN

Non-flammable, penetrating dye that

provides long lasting color. Fiebing's Leather Stain is Linseed Oil based.

An alcohol based, penetrating dye created specifically for natural strap leather, vegetable tanned leather,

bag and case leather. Vibrant colors and superior UV

protection.

FIEBING'S INSTITUTIONAL

LEATHER DYE

Non-flammable, water based, penetrating leather dye formulated for usc in hospitals, schools. prisons and other institutions.

FIEBING'S DYE REDUCER

Use with alcohol based Leather Dye, Leather Colors and Professional Oil Dye to dilute colors.

OVERALL COLORING TECHNIQUES

To do "overall" (large space) dyeing, be sure to have a sufficient quantity of dye on hand to cover the entire area.

Dyes may vary slightly in shade so consider combining more than one bottle to create a large enough batch needed to

complete the job without color variance. As always, make sure your workspace is well ventilated before using any of

these dyes. Here are various application techniques for applying the dye:

USING A DAUBER:

Dip dauber in dye and begin in upper left corner moving quickly in a continuous circular motion, overlapping the previous stroke. Keep dauber full of dye, resuming circular movement over­ lapping previous strokes. When the I st coat is dry, you may see light and dark spots. Go over the entire project again, in the opposite direction with the same procedure. If necessary, dye a third time or more until proper coverage is achieved. When dry, buff to remove any excess dye off surface and to achieve a sheen.

USING A SPRAYER (Air Brush or Aerosol

Sprayer with Bottle):

Be sure you have plenty of pre-mixed dye before starting. Fill bottle with dye. Attach sprayer. Place project in a spray booth or spray box made from cardboard. Position box on a sturdy table covered with paper in a well ventilated area. Prop up project on cardboard pieces or sticks to raise it up off paper. Tlus will prevent dye from pooling along bottom edge.

USING BRUSHES:

When dyeing with a FLAT brush, use cross and diagonal strokes for 1st, 2nd and 3rd applications for

a more solid, even dye coverage. When using a ROUND brush, move quickly in a circular motion so each stroke slightly overlaps the previous stroke. When more dye is needed, dip, then resume circular movement

overlapping previous stroke. When

dry, buff to remove excess dye off surface and for a sheen.

Begin spraying off the project on one side. Move across project spraying off project on the other side. Continue back and forth until project is covered. Maintain a uniform distance from the project while spraying. Spray light coats until desired color is achieved. Allow to dry. Give project a quarter tum and re-spray if necessary. Allow to dry and buff with sheep wool or soft cloth to remove excess dye in preparation for a top finish and to achieve a sheen.

#4&#1

ROUND

RED SABLE

BRUSHES

BRUSH SELECTION

_&

CARE

Most techniques of coloring can be done with a good quality # 3 or #4 Round Red Sable brush. The head

should be approximately 118" in diameter by 5/8" long with a good snap or spring and a gradual taper to

a fine sharp point. A #1 Round Sable is also good to have at hand for very fine detail work. Have separate

brushes for each color category (browns, reds, greens, yellows, blues and black). No matter how well a brush is cleaned, some dye color will always remain in the brush ferrule. Dye that remains hidden in the ferrule will eventually migrate down the bristles and mix with whatever color is being used.

GENERAL RULE: "The better the brush, the better the results."

TIP: Mark the end of each brush handle with electrical tape or paint that matches the

color category each brush is to be used for to avoid confusion.

HOW TO USE BRUSHES: Before using new brushes for the first time, clean them thoroughly as described

below. Familiarize yourself with the brushes on scrap leather. Dip brush tip into dye (only

3/4

of the bristle

length) but never up to or over the ferrule. Practice using varied

;:

·

amounts of dye and pressure. LOADED means the brush is full

_r

.

of dye. Too much dye is not a good practice. However, an over

loaded brush can be carefully used when flooding a background

surface. The amount of downward pressure on brush tip will

�

_::r

dictate the width of the stroke and the amount of dye

_.fl.

_·

_{/ • ..}

released. Only practice will help you decide when to

_#'

_4#

_·

-· w

use more or less pressure.

"'' ·

CLEANING AND CARING FOR BRUSHES:

DYE REDUCER OR

WATER

When using ALCOHOL or OIL DYES, clean brushes with Fiebing's DYE REDUCER.

When using WATER BASED DYES, clean with water. TO CLEAN: Pull brush head

across a stack of folded paper towels or tissues while dripping dye reducer or water

directly on the bristles. Move to a clean area of the towel after each wipe. This will

remove most of the dye without harming the bristles. Then gently wash brush head

in warm soapy water (mild hand or dish soap). Pat brush dry on a paper towels and

reform the tip to

a

point by rolling the tip in the crease of your palm.

TIP: Apply a drop of hand lotion in crease of your palm

before forming the tip. This will help retain the tip's point and

condition bristles for longer life. When properly cared for, good

quality brushes should last for many years.

REFORM TIP OF BRUSH

MORE USEFUL ITEMS TO HAVE ON HAND

SCRAP LEATHER

MATCHING PIECE TO

BE COLORED

PAPER TOWELS

REDUCER FOR OIL

& ALCOHOL DYES

WATER FOR

WATER-BASED DYES

PLASTIC MULTI­

HOLE PALLET

I

PLASTIC

SQUEEZE

BOTTLES &

EYE DROPPERS

Copyright 2008 Fiebing Company. All rights reserved

--­

EXTRA APPLICATORS

\\\llllllllJI/1/

q

RACK FOR BRUSHES

(Brushes & rack holes marked w/colors)

BACKGROUND DYEING

By definition, the background behind a tooled design is dyed separately from the rest of the piece. Practice using a #4 Sable brush for large areas and tight spaces on a piece of scrap leather until you can control the movement of the brush. A #1 Sable may be used in tight spaces if desired.

Always begin dyeing in the center of an open larger space; then work towards the edges and into tight corners. Never touch

a cut edge or small area. Place brush near the space or edge and let dye work up into the space. The technique for coloring silhouetted designs and background coloring are the same.

TIP: After dipping brush in dye, touch tip on paper

Starting in a small space risks

having dye "bleed".

Correctly started in the

center of a space.

or scrap leather to remove excess dye before applying

dye to your project. Too much dye will run and "bleed"

into tool cuts and impressions.

WET BRUSHING is applying full strength or diluted hues of dyes with a heavily

loaded brush to obtain the most even full cover of dye tones.

This technique is most commonly used for background coloring

as

seen here and in Step I

on the next page. It is also used when base coats are applied to projects in preparation for

other techniques.

SHADING WITH DILUTED HUES is a shading technique using

2

or more

(nmmally

3)

progressively darker strengths of one or more dye colors to create shape and

shadow. This type of coloring almost always follows the old water color rule "work light to

dark". Lighter and darker shades of dye are created by diluting dyes with different amounts

of the appropriate diluter: thinner or dye reducer for alcohol or oil based dye and water

for water b

a

sed dves. NOTE: Refer to Monochrome Coloring on

oas>e R for a different

appucauon or thiS tcc

fii'IIQUe

.

Heavily diluted Kelly Green Alcohol Dye Lightly diluted Kelly Green Alcohol Dye Full strength Chocolate Brown & Yellow Full strength Kelly Green Alcohol Dye

DRY BRUSH SHADING is shading with full strength or diluted hues using a brush containing very little dye. To do this technique, dip

the tip of the brush into the dye, then stroke the brush on a paper towel or scrap piece of leather to remove most of the dye while forming

the tip of the brush into a fan shape. The fan shaped tip of the brush is then stroked lightly over the leather allowing only a very small

amount of dye to penetrate into the most raised areas of the leather adding color to those areas.

HIGHLIGHTING or "bringing out" (1)

GRASS

and bark pattern detail on pictorial carvings and

(2) HAIR

detail on figure carved pictures are just two

of the many uses for the DRY

BRUSH SHADING

coloring technique. This technique defines detail.

(1)

GRASS

Fiebing's Fantastic Finishes

COLORING AN OAK LEAF

DEMO USING FIEBING'S LEATHERCOLORS

The How-To on this page is done using Fiebing's low VOC LeatherColors. The same steps can be followed using

Fiebing's alcohol or oil based dyes as well. The demonstration below includes 5 steps to achieve a finished, colored

piece. However, depending on your choice of colors and hues (diluted colors) you may require more or less steps.

DYES & HUES USED

Yellow

(diluted) (diluted)

(diluted) (diluted)

(dil

ut

ed)

(diluted)

Red

Mix

desired color hues in enough quantity

to complete your project and keep count

of how much Fiebing's Reducer

&

full

strength color you use to create the hue.

STEP 3

Diluted & full strength Green (with Yellow added)

STEP

1

Full strength Chocolate & Yellow

STEP 4

Diluted & full strength Chocolate

Copyright 2008 Fiebing Company. All rights reserved

STEP 2

Diluted & full strength Medium Brown

STEP 5

COlORING A FlORAl

DEMO USING FIEBING'S INSTITUTIONAL LEATHER DYES

The How-To on this page is done using Fiebing's water based Institutional Leather Dye. The same steps can be

followed using Fiebing's alcohol or oil based dyes as well. The demonstration below includes 5 steps to achieve a

finished, colored piece. However, depending on your choice of colors and hues (diluted colors), you may require

more or less steps.

D YES & HUES USED

Black

Yellow

(diluted) (diluted)

Red

Tan

Green

Mix your desired color hues in enough quantity to complete your project or keep count of how much water & ful

l

strength

color you use to create the hue.

STEP 3

Diluted & full strength Tan

STEP 1

STEP 2

Full strength Black Full strength Yellow

STEP 4

STEP 5

Diluted & full strength Green Full strength Red

COLORING A FIGURE

&

PICTORIAL SCENE

DEMO USING FIEBING'S LEATHER DYE

The How-To on this page is done using Fiebing's alcohol based Leather Dye. The same steps can be followed using

Fiebing's water based or oil based dyes as well. The demonstration below includes 5 steps to achieve a finished, colored

piece. However, depending on your choice of colors and hues (diluted colors), you may require more or less steps.

Acrylic Dyes were used to add accent colors to the sky, deer and snow on mountains.

DYES & HUES USED

Chocolate & British Tan Mix (diluted) (diluted) (diluted) Chocolate

Green

Kelly Green

Chocolate & Black Mix (diluted) (full � .. , ... , Acrylic Dyes: White Blue

D

STEP 3

-

-Diluted & full strength Green

-

-Diluted & full strength Kelly Green

STEP 1

Diluted & stronger Chocolate & British Tan Mix

STEP 4

Diluted & full strength Chocolate & Black Mix on rocks & mountains

Copyright 2008 Fiebing Company. All tights reserved

STEP 2

Full strength Chocolate

STEP 5

D

White & Mix of Blue & White Acrylic Colors

MORE COLORING TECHNIQUES

MONOCHROME COLORING

MONOCHROME COLORING is coloring with one color or various shades of that one color. This technique

involves beginning with a light shade of one color and adding darker shades of the same color to create a 3-D effect

of roundness and depth on an object.

Brown is the preferred color

.

when using this technique on leather because natural vegetable tanned leather is a shade

of brown. However, any color will work. The samples below show how effective the Monochrome Coloring technique

can be using just three shades of one brown color. Drawings on the left show where different shades are used.

2A)

Second area to be colored. Use about a half and half

mix of dye and solvent (or water).

3A)

Third area to be colored. Use full strength dye.

lB) FIRST COAT: Acts as a base coat, defining

muscle tones, shadow areas and highlights.

2B)

SECOND COAT: Used to strengthen and define

muscle tones, shadow areas and highlights.

3B)

THIRD COAT: Used to color eye and apply final

shading and coloring for definition.

ACRYliC COLORS

FIEBING'S ACRYLIC DYE

Quick drying, long lasting leather paint for color

coating a smooth leather surface. Acrylic dye is flexible

and water resistant. The colors are easily mixed and

can be diluted with water. Acrylic dye also makes for a

great edge finish. Fiebing's offers a convenient Acrylic

Dye Pack that includes

11

Acrylic Dye colors, Fiebing's

Resolene top fin ish and 2 mtist brushes.

TIP: Normally, Acrylic Dye is applied over natural or dyed leather using a brush. Many different textured effects can be achieved using other applicators, such as sponges (natural and synthetic), daubers, wool, cloth, etc. Clean applicators with water.

TIP: To color a sky as shown above, dampen leather first to extend the time Acrylic Dye can be worked before drying. Begin at the top using a dark blue-white mix. Blend in more white to lighten the sky as it approaches the mountain tops. Add in wispy clouds last using straight white thinned with water to form a wash.

STRONG USE: Sample above shows white acrylic applied in quantity to bring out the flower petals.

---_-..• �

..

�

TIP: When adding accent

detail using acrylic dyes on

a figure or pictorial carved

piece, it is important to have

as much control of the dye

direction as possible. This

control requires a quality

brush. A #1 Round Red Sable

brush works very well for

detail and allows control

of dye placement.

SUBTLE USE: Sample above shows white acrylic applied �paringly with a quality brush to accent deer features.

FIEBING'S

ANTIQUE

LEATHER STAIN

Antique Leather Stain is

an acrylic, water based

antique finish. Apply in

a circular motion with

a dauber, wool swatch

or cloth. Wipe off excess with a cloth or

damp sponge leaving antique in the cuts

for contrast.

ANTIQUES

FIEBING'S

ANTIQUE FINISH

Antique Finish is a paste

that offers a soft patina

that emphasizes tooling,

carving and embossing.

Antique Finish is applied boldly in a

circular motion with a dry piece of wool

or cloth. Immediately remove excess off

raised areas leaving desired amount in the

cuts for contrast. Antique Finish can be

thinned with Fiebing's Tan Kote. Use a top

finish of your choice for desired results.

FIEBING'S

HI-LITER

Hi-Liter is an easy to

use stain that imparts

a light brown color to

natural leather combined

with a dark brown build

up of color in cuts and

impressions for maximum contrast. Apply

with a damp sponge and rub well into cuts

and tooled impressions. Remove excess

with a damp sponge and apply a top finish

of choice as needed.

APPLICATORS FOR ANTIQUES

_&

STAINS

CLOTH

Cloth may be used to apply all antiques and stains but is most commonly used to remove excess after the antique or stain has been

applied using other applicators such

as

sheep wool, sponges or daubers. Cloth, especially when wrapped tightly around a small wooden

block ("block dyeing"), will leave more antique down in cuts and impressions than other types of applicators. For a lighter look to an

antiqued project, slightly dampen the cloth with water before use, which will allow more pigment (color) to be lifted and removed. A

clean, soft cloth also works well to buff antiques to a nice sheen in preparation for the application of a final top finish.

SHEEP WOOL

Sheep wool is also a good applicator for all antiques and stains, but is preferred for applying Antique Finish. The texture of wool helps

to push Antique Finish, a thick paste, down into cuts and impressions. Sheep wool also holds a lot of antique and stain allowing for

greater coverage and a longer working time in between trips to the container. No other material works better to remove unwanted excess

antique stain, wax finishes, soap, etc. from cuts and impressions. In addition, the softness of wool makes it ideal for almost all buffing

and polishing.

SPONGE

A sponge, slightly dampened, is the preferred applicator for applying Antique Leather Stains and Hi-Liter. These liquids tend to dry

quickly during application. A sponge's cell structure allows it to hold a lot of stain and the added water acts as an extender which allows

for a longer time to work the product evenly into the leather. A slightly dampened sponge also works well to remove excess stain and

Hi-Liter before a top finish is applied.

BRUSHES & DAUBERS

Brushes and daubers are mainly used to apply liquid dyes or edge coatings, but they can also be used in some cases to apply antiques

and stains. These include applying antique and stain on smaller projects or on projects where a lot of control is called for, such as areas

to be left antique or stain free �resisted).

SPECIAL EFFECTS: BASE COAT ANTIQUING

BASE COAT ANTIQUING TECHNIQUE

involves using different colors of Fiebing's alcohol, oil or water based

dyes together with different colors of Fie bing's Antique Finish to produce an almost limitless combination of deep,

vibrant colors on vegetable tanned leather. This technique brings out carved, stamped and tooled designs as well as

highlights seams, edges of appliques and overlays.

HOW TO DO BASE COAT ANTIQUING

1)

Apply an overall base coating of Fiebing's water, alcohol or oil leather dye using an aerosol sprayer or air

brush . The more even the base coat the better.

2) Optional: Adding shading around figures and edges plus background dyeing some areas a darker color than

the base coat color can emphasize and add depth to the design. (See Bison Head shown below.)

3) Allow dye to dry completely. Then buff with a clean soft cloth or piece of sheep wool to remove any pigment

from the surface.

4) Apply a liberal coat of Fiebing's Antique Finish. (For best results, use a darker color of Antique Finish than

the dye color used for the original base coat.) Be sure antique gets into all impressions and cuts.

5) Before Antique Finish dries, remove excess finish with a clean piece of sheep wool and buff to a soft luster.

6) Allow to dry completely. Then apply a Fie bing's Top Finish of your choice.

Tooling by Tony Laier I Coloring by Philip Smith (Phoro courtesy of Steel Strike Leather Products, Inc.)

SPECIAL EFFECTS: RESISTS (BLOCKING)

Most Fiebing's top finishes, when applied to natural or dyed leather, will resist or block the penetration of antiques

and stains. Some will resist or block more than others depending on what base was used, not only in the top finish,

but also in the antique or stain. For instance, acrylic based Leather Sheen will resist or block more with acrylic based

antiques or stains than resin based Tan-Kote. The various hues possible can be used to create many different effects.

USING RESISTS ON NATURAL (UNDYED) LEATHER:

EXAMPLE Al shows a

RESIST OF FIEBING'S LEATHER SHEEN

applied with a brush to a design on natural leather. EXAMPLE A2

shows Fiebing's Antique Leather Stain applied over the design, after top finish dried.

Al

A2

EXAMPLE Bl shows the same design RESISTED WITH

FlEEING'S TAN-KOTE.

EXAMPLE B2 shows application ofFiebing's Antique Leather Stain. Notice the darker hues created with the lesser resisting or blocking power of the resin based Tan-Kote.

Bl

USING RESISTS ON DYED LEATHER:

A resist of Fiebing's Leather Sheen, Fiebing's Tan-Kote or other top finish over a design colored with Fiebing's

Leather Dye (alcohol, oil or water based) can be used with great effect to tone down harsh colors and define cuts

and impressions.

EXAMPLE Cl shows a design colored with alcohol dye,

RESISTED

WITH

LEATHER SHEEN.

EXAMPLE C2 shows design coated with Fiebing's Antique Leather Stain after the Leather Sheen dried.

SPECIAL EFFECTS: RESISTS (BLOCKING)

EXAMPLE Dl shows the same alcohol dye colored design. RESISTED WITH

FlEBfNG'S TAN-KOTE.

EXAMPLE D2 shows

the

design coated with Fiebing's Antique Leather Stain after the

T

an-Kote d

r

ie

d

.

Dl

D2

USING ANTIQUE AND STAINS WITH ACRYLIC DYES:

Antiques and stains may also be applied over a design painted with acrylic dye. The antique or stain will tone down

acyclic dyes' bright colors, at the same time accenting all cuts lines and impressions. Note: it is advisable to seal the

color white with an acrylic top finish to prevent the antique or stain from turning the white dye yellow. Different top

finishes may be applied as resists over all colors of acrylic dye.

EXAMPLE El sh

o

ws

a

design colored with Fie bing's Acrylic Dye before a coat of Fiebing's Antique Finish is applied.

EXAMPLE E2

shows

the

same acrylic colored design

after a coat

of

Fiebing's

Dark Brown

Antique

Finish was

applied. A top coat resist may be applied

over leaves

and

flowers

before antiquing if brighter

colors are desired.

El

E2

BEESWAX AND LEATHERCRAFT CEMENT

FIEBING'S B E ESWAX CAKES

Fiebing's Bees

Wax is the perfect thread pre-coating for all linen handstitching threads. Strengthens and protects

thread for easier sewing and longer thread life. Pure beeswax cakes are also used by boot makers to fill cracks in the

toes and heels of boots and shoes before final finishing.

TIP: Beeswax can be used as a creative resist. Lightly draw a design onto leather with edge of wax. Gently brush off excess wax residue. Apply dye. Remove excess dye and lightly buff. Great for kids.

FIEBING'S LEATH ERCRAFT C EMENT

High strength bonding

leathercraft cement for all leathers. Fiebing's Leathercraft Cement is the perfect adhesive to

use for filigree and applique work. Non-flammable. non-toxic and quick drying.

TIP: May also be used as a resist or block. Use a brush to apply. Thin with water if necessary. Let dry completely before applying dyes, stains or antiques.

TOP FINISHES

BEFORE APPLYING A TOP FINISH TO YOUR PROJECT:

PREPARE YOUR WORKSPACE:

1) Clear away all unnecessary supplies, especially dyes, applicators, cloths, wool pieces that may

contain dye residue that could get onto your finished project.

2) Use a small dish or extra empty clean bottle for easier access with applicator.

3) Also have a dish of water available for dampening sponges or cloths if necessary.

4) Have all possible applicators handy and ready to use.

5) Have excess amounts of paper towels and a trash can with plastic liner.

APPLYING A TOP FINISH:

NOTE: Practice finishing techniques on scrap leather.

1)

Dip end of sponge (or other applicator) into finish and

apply to the leather, beginning at top and working downward.

2) Dip in finish as often as needed.

3) Apply liberally and work into all cuts and depressions.

4) Move quickly and try to spread finish as evenly as possible.

5) Some finishes should not be rubbed or buffed after they are dry.

Always read directions for use before applying the finish.

TIP: Most Fiebing's top finishes may be applied with an air brush, aerosol or commercial sprayer. Thicker

top finishes such as Fiebing's Tan-Kote and Fiebing's Bag Kote should be thinned with water before use.

Always begin and end spraying off of the project to prevent spots of heavy build-up. Spray on light coats

allowing each to dry before applying another.

��

tJf()/tt �(�t(

FIEBING'S INSTITUTIONAL

LEATHER FINISH

A water based neutral top finish for use in schools,

hospitals, prisons and other institutions. Although it is best applied with a spray, it can be applied sparingly with a soft cloth or brush. Do not let finish run.

FIEBING'S LEATHER BALM

WITH ATOM WAX

A specifically formulated liquid wax finish that can be buffed to a rich, soft, velvety luster. Although Leather Balm with Atom Wax is not a water resistant top finish, it is the preferred finish of many professional belt makers. It is best applied sparingly with a soft cloth or wool skin worked evenly into the leather and allowed to dry.

FIEBING'S CARNAUBA CREAM

This blend of natural waxes, originally developed

for use on smooth leather, also works well on certain carved and stamped projects. If used on carved or stamped leather, any residue should be removed from cuts and impressions as explained in the TIP on this page. Work evenly into the leather with a soft cloth or sheep wool. Allow to dry and buff to a mellow glow.

TIP: When a top finish containing wax is used

on a tooled design, care must be taken to prevent

an unsightly build-up of wax residue in cuts and

impressions. Listed below are a few ways to safely

remove the residue if it does occur:

1) Try to remove the residue by rubbing briskly

with sheep wool. This method works best if

the finish is still wet.

2) If the wool does not remove all of the residue,

scrub affected areas with a soft, fine bristled

tooth brush. Clean up and buff with sheep

wool.

3) If wax residue still remains in cuts and

impressions after trying Steps 1 and 2, try

warming np the wax using a hair dryer set

on low heat. In most cases, this will re-Iiquify

the wax enough allowing Steps 1 and 2 to work.

CAUTION: Use a low or no-heat setting only!

A high-heat setting may damage the leather.

TOP FINISHES

This piece shows a base coat of Fiebing :S alcohol based Leather Dye, Fiebing's Antique (paste) and Fiebing:S Leather Sheen top finish. Tooled by Tony Laier & colored by Philip Smith. (Photo courtesy of Steel Strike Leather ProduCls, Inc.)

TIP: Make eyes come alive

by using a high gloss top

finish, such as Leather

Sheen, instead of painting

white spots on the eyes.

FIEBING'S

LEATHER SHEEN

(LIQUID VS.

AEROSOL SPRAY)

Fiebing's Leather Sheen is available in liquid form and as an aerosol spray and are very different in application and result. Both are acrylic, wax top finishes but that is where the similarity ends. The aerosol version is best used for providing a quick and high gloss shine. The liquid version is preferred if an acrylic seal is desired over the top of your colored leather project. The liquid version will provide a more water resistant finish.

FIEBING'S SADDLE LAC

A clear, quick drying lacquer finish in an aerosol can. Saddle Lac dries glossy and hard yet flexes without cracking. Apply to your project when completely dry by holding the can 5 inches from the surface and spraying lightly. Saddle Lac may be used as a resist for Sheridan Style coloring as shown on page 16.

Designed, tooled and colored by Tony Laier, this 3 dimensional picture shows the use of Fie bing :S Alcohol Based Dyes applied with a red sable brush. Leather Sheen top finish, both liquid and aerosol, were used for the final seal on the individual pieces before assembly. Leather Sheen liquid applied with a brush works best for detail pieces, while spray is easier to use for an even overall background coverage.

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_FINISH

FIEBING'S ACRYLIC RESOLENE

A flexible, durable, water resistant acrylic top finish for dyed, antiqued or polished leathers. The surface of your item should be dry and clean before applying Resolene. If you are spraying, spray one light coat and let dry. If using an applicator, use a damp sponge in long strokes once over to prevent tacky build up. Resolene may also be used over Fiebing's Edge Dye for a durable top finish.

TOP FINISHES

SHERIDAN ST YLE COLORING USING OVERAll TOP FINISH RESIST

1)

Optional: After all tooling is completed, add a very light coat of Fiebing's Neatsfoot Oil. This helps replenish oils lost in the casing and tooling processes.

3)

Apply a liberal coat of Fiebing's Sheridan Brown Antique Finish or other color. Mix colors for different hues. Use a sheep

wool applicator. Work antique down into all cuts and

impressions. Remove excess antique with clean pieces of sheep wool using long straight strokes (not circular) to keep as much antique down in cuts and impressions as possible.

2)

Apply a coat of Fiebing's Tan Kote, Leather Sheen, Saddle-Lac, Resolenc or other top finish to act as a resist. (NOTE: Use Tan­ Kate or Bag Kote as a resist on saddles.) Allow to dry completely.

4)

After all excess antique has been removed, leaving desired antique in cuts and impressions, allow project to dry completely. Then buff with a clean piece of sheep wool.

5) Apply Fiebing's Tan-Kote as a final finish. NOTE: Tan-Kote

will pick up some of the antique, so do not rub too hard while applying. Buff to a mellow satin glow.

-TAN·KOft

-­ ... -

...

FIEBING'S TAN-KOTE

Tan-Kote is a resin based, moisture resistant, easy to apply top finish. It goes on smooth, even and streak free leaving a soft, mellow satin finish. Tan-Kote is a preferred finish for saddle makers because it allows the saddle

to be periodically cleaned and oiled. Tan-Kote is often used to thin down Fiebing's Antique Finish. Neutral can be tinted different colors by mixing in small amounts of water based Fiebing's dye. Tan-Kote also brings out

and enhances carved and stamped designs. Apply an even coat with sheep wool, sponge, brush or sprayer. lf a sprayer is used, thin with water. Always let dry between coats and always allow to dry completely.

FIEBING'S BAG KOTE

Bag Kote, another top finish preferred by saddle makers, will give a soft, satin finish no other product can

achieve. Fiebing's Bag Kote was originally developed by John Ficbing over 80 years ago as a treatment for US

Mail Carrier's leather mail bags and remains unchanged to this day. Bag Kote may either be sprayed or applied

with a damp sponge, sheep wool or dauber. Bag Kote may be applied over natural or dyed leather. A thin coat is all that is necessary. Bag Kote may be applied over natural or dyed leather. lt may be diluted with water up

to 20%.

EDGE ENAMEL

BLACK 40Z. 118n'IL

EDGE FINISHING

FIEBING'S EDGE ENAMEL

Edge Enamel is a heavy bodied, resin based edge finish. To use, apply after smoothing the edges to produce a clean, smooth and glossy edge. Edge enamel can be thinned with water.

FIEBING'S EDGE DYE

A penetrating edge finish that is durable and long lasting. Edge Dye will dry to a semi-gloss and needs to be applied to edges that have been smoothed down. After it is applied, Edge Dye can be polished, burnished or finished with Resolene.

APPLICATORS

FIEBING'S EDGE KOTE

Edge Kote dries water resistant with a flexible, deep semi-gloss. Edge Kote is recommended for use on nah1ral edges and can be thinned with water. Always stir Edge Kote, never shake. If a higher gloss is desired, allow to dry completely and buff gently with a soft cloth.

FIEBING'S EDGE DYE

FINISH & APPLICATOR

A convenient, water resistant acrylic edge finish that dries in minutes. Provides a quick and easy professional finish on the edges of belts, saddles and other leather goods. lnve11 bottle and apply evenly with attached sponge applicator.

Many types of applicators will work to apply edge dye or finish including the following: A small

(1"

long x 3/4" wide x

1/2"

thick) square of thick dense felt or a small square of sponge held by a clothes pin. An applicator preferred by many professionals is a wool dauber prepared by trimming to desired size. All of these applicators will work well with all edge dyes and finishes.

APPLICATOR MACHINES

Various companies make different types of machines that apply edge finishes. These machines normally involve a wheel of some type that rotates through a reservoir containing the edge finish. Running a project over the wheel causes rotation which picks up edge finish from the reservoir and transfers it to the project's edge. All of the above Fiebing's edge finishes will work in most of these types of machines.

SELECTING THE RIGHT EDGE TREATMENT APPLICATOR:

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;

I

There are many options for Edge Treatment Applicators.

Some can be pm·chased ready-made:

Small & large wool daubers

Sponges of all sizes

Sponge brush

Many leather workers prefer to make their own

applicators or modify the store bought variety as needed

for their individual projects.

Felt Daubers

Wool daubers trimmed to desired size

Rectangular felt on end of clothespin

Many options custom to the individual worker

EDGE FINISHING

EDGE PREPARATION:

For more professional looking projects, preparing edges prior to the application of edge dyes or finishes is essential.

The basic steps used to prepare an edge are:

1)

Round off square cut edges with an edge beveler or bissonnette sized for the thickness of the leather.

2)

Use a sponge to lightly dampen the beveled edge with water or Fiebing's Gum Tragacanth. NOTE:

Gum Tragacanth acts as a light resist or block. For best results, apply after project has been antiqued or stained.

3)

Rub edge briskly with an edge slicker, bone folder

or piece of natural coarse canvas to compress the fibers and burnish the edges. If some fibers on the edge refuse to lay down, remove them by

rubbing edge with a piece of very fine grit sand paper. Then repeat Steps 2 and

3.

4)

Apply your choice of edge dye or finish using one of the applicators described in this section.

LEATHER

EDGE BOTH SIDES OF LEATHER

NOTE: Edge dressings should

normally be applied after top finishes.

Care should be taken to keep finish

off slicked (burnished) edges of your

projects. If finish gets on edge, sand

edge with a very fine grit sandpaper.

Then re-slick (burnish) edge and

apply edge dressing.

TIP: Lightly dampen edge with water before rounding

off with an edge beveler or bissonnette. The edger will

cut through the leather much easier and leave a smoother

surface in preparation for next step.

TIP: Dip applicator into edge dye or finish and touch to a

piece of scrap leather or paper towel to remove excess. Use

quick, long light strokes to apply on edge. For best control

during application, lay project flat on work table with

edge of project overhanging the edge of table, if possible.

EDGE APPLICATOR OPTIONS:

1) DIFFERENT SIZED TRIMMED DAUBERS

2) FELT DAUBERS

3) SPONGE BRUSHES

4) SMALL PIECE OF FELT ON A CLOTHESPIN

CANVAS

TIP: Projects that

have multi-layers of

appliqued leather

will need to have

edges prepped for

dyeing before they are

assembled. A final top

finish is applied after all

pieces are assembled.

Fiebing's Fantastic Finisbes

APPLICATOR

(Dauber Shown)

LEATHER CARE

Oi lS:

_{Many leather workers prefer to use oils (natural and compounds) on their leather projects, adding or replacing}

oils lost in construction or with time, use and weathering. For best results, apply oils sparingly and allow to set. Then

apply more coats if necessary. The following products work especially well on Leather items that will be subjected to harsh

treatment and outdoor use.

FIEBING'S 100% PURE NEATSFOOT OIL

For smooth or tooled new leather or previously oiled with Fiebing's Pure Neatsfoot Oil. Apply a light even coat, rubbing briskly with a soft clean cloth. Allow oil to set and penetrate for

24

hours. Apply additional coats if necessary.

FIEBING'S PRIME NEATSFOOT OIL COMPOUND

A combination of natural and synthetic oils for softening, preserving and waterproofing smooth leathers. Clean leather and apply oil allowing to penetrate freely. Rub briskly with soft, dry cloth.

FIEBING'S MINK OIL PASTE

A natural by-product that softens, preserves and waterproofs all smooth leather or vinyl. Best when used on medium to dark colored a1ticles. Apply freely, working well into leather and wipe off excess. Helps prevent salt stains.

FIEBING'S MINK OIL LIQUID

This blend of Mink Oil and 100% Pure Neatsfoot Oil softens, preserves and waterproofs smooth leather. Will darken light leather. Apply freely and work into leather. Allow for absorption and then wipe off excess.

Photo of saddle courtesy of Rick Bean

C 0 N D IT I 0 N E R S:

The following leather conditioners were developed to replenish oils and waxes lost through

use and weathering. One contains a mild soap especially formulated for use on .fine and exotic leathers. The other was

created for leather items that receive hard use and are subject to harsh climates.

II

FIEBING'S 4-WAY CARE LEATHER CONDITIONER

A combination of oil and wax that

I)

cleans,

2)

conditions, 3) waterproofs and

4)

replenishes the tanning oils in leather.

4-

Way Care Leather Conditioner can also be used to clean fine leather including exotics because it contains leather soaps that float out dirt and grime. Especially effective on leather upholstery including leather car seats. Use a clean cloth or sponge to spread a thin coat on the leather. Allow to penetrate thoroughly, then rub briskly with a soft, dry cloth to clean and polish.

FIEBING'S AUSSIE LEATHER CONDITIONER

This product should be used after first cleaning the leather article with Fiebing's Saddle Soap. Aussie Leather Conditioner was developed for Australian horsemen living in harsh climates. It contains natural beeswax and is perfect for use on saddles, tack, boot, gun cases, and handbags. Apply a light coat with a clean cloth. Allow product to penetrate. Buff off excess.

SOAPS:

_{When leather needs more than just a conditioner, serious cleaners like these should be used. Keeping your}

leather articles clean will prolong their life and restore the beauty of the leather.

FIEBING'S LIQUID

GLYCERINE SADDLE SOAP

For large, smooth articles that need to be cleaned, using a spray will be easier than paste. Spray on a generous amount. Rub thoroughly with sponge or brush until foam disappears. After leather is dry, buff with cloth to a rich, satin finish.

FIEBING'S SADDLE SOAP PASTE

This is Fiebing's signature product. It cleans

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... · leather and lubricates fibers to prevent brittleness, .

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while maintaining suppleness and strength.

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Dampen cloth or sponge and rub lightly over

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soap to produce lather. Apply to leather surface. W hen dry. polish with soft cloth for light luster.

FIEBING'S

LEATHER­

COLORS

See page 2 RED

LIGHT BROWN

FIEBING'S

INSTITUTIONAL

LEATHER DYE

See page 2

FIEBING'S

LEATHER D YE

See page 2 MAHOGANY UGHT BROWN LIGHT TAN LIGHT BLUE

FIEBING'S

PROFESSIONAL

OIL D YE

See page 2 LIGHT BROWN

FIEBING'S

ACRYLIC D YE

See page 9 LlGHT BLUE

CO LOR C HARTS

MAHOGANY SADDLE TAN RED GREEN RED DARK BROWN BEIGE YELLOW NAVY BLUE RED SADDLE TAN RED BLUE

CORDOVAN CHOCOLATE DARK BROWN MEDIUM BROWN

YELLOW GREEN ROYAL BLUE

DARK BROWN MEDIUM BROWN TAt\J

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KELLY GREEN PURPLE MAHOGANY YELLOW ORANGE MEDIUM BROWN BLACK DARK RED CHOCOLATE BRITISH TAN GREEN BLACK CHOCOLATE GREEN YELLOW DARK BROWN

Fiebing's Fantastic Finishes

BURGUNDY MEDIUM BROWN BUCKSKIN AQUA GREEN GREY DARK BROWN ROYAL BLUE GREEN BLACK BLACK YELLOW MAROON RUSSET ORANGE TURQUOISE

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WHITE WALNUT BLACK TURQUOISE WHITE 'Yt

COMPATIBILIT Y CHART

Always test the compatibility of products before applying them to your leather piece.

CODES

A = YES - but finish may pick up some color.

B

=

YES

-

but be sure to remove excess ANTIQUE from surface before applying a finish.

Allow antique to dry completely or finish may streak, crack and flake off.

C

= NO on items that bend or flex. YES

on

items that will NOT be bent or flexed.

H {l

d

..-r

'?

* D

=

YES - may be applied BEFORE or AFTER finish.

*

E

=

NO - may not be applied over finish.

*

NOTE: Edge dressings should normally be applied after top finishes. Care should be taken to keep

finish off slicked (burnished) edges. If finish gets on edge, sand edge with a very fine grit sandpaper.

Then re-slick (burnish) edge and apply edge dressing.

FIEBING'S DYES, FIEBING'S FINISHES:

STAINS, ANTIQUES: Leather Sheen Institutional Finish Resolene Saddle Lac Leather Balm w/Atom Wax Tan Kote Bag Kote Carnauba Cream

Leather Dye A A A

yes

A A A A

Leather Color

_yes

A A

yes

yes

yes

yes

yes

Leather Stain A A A A A A A A

Prof. Oil Dye A A A

yes

A A A A

Inst. Dye A A A

yes

A A A A

Antique Leather Stain A A A

_yes

A A A&B A

Antique Finish A&B A&B A&B B A&B A&B A&B c

Hi-Liter A A A

yes

A A A&B c

Edge Enamel

_D

_D

_D

_E

_E

_D

_D

_E

Edge Kote

_D

_D

_D

_D

_E

_D

_D

_E

Edge Dye

_D

_E

_E

_D

_D

_D

_D

_D

Edge Dye Finish

D

D

D

w/Applicator

D

E

D

D

E