The leather working industry rocks. Anyone who wants to become a leather worker has a super low barrier to entry because of all the great information out there for free or low money. One such resource is the Painting Cow Studio of Paul and Karen Burnett. They are experts in coloring leather. One of the books they sell is called Creative Stamping.
I bought these books last year with the intention to start doing a lot of cool stamping designs. Since then we have done quite a few interesting designs on the Mason case corners and started playing with many compositions.
This case represents the first one where we did the stamping design and colored it with contrasting colors. It is the beginning of a series where we play with the interaction of color and design using the same stamping pattern but alternating colors in different spaces.
And here is the same design without the color left in brown tones.
In a few days I will show one that is a little more wild. I have always admired what my friend Jerry Olivier can do with the same design when he chooses different woods and different inlays. He can have one cue be sort of subdued and another one that is magical by simply picking different combinations. We hope to achieve the same thing.
P.S. For the negative nellies - we are not copying any of Paul Burnett's examples. Although we could and I might because he grants permission to do so.
I bought these books last year with the intention to start doing a lot of cool stamping designs. Since then we have done quite a few interesting designs on the Mason case corners and started playing with many compositions.
This case represents the first one where we did the stamping design and colored it with contrasting colors. It is the beginning of a series where we play with the interaction of color and design using the same stamping pattern but alternating colors in different spaces.
And here is the same design without the color left in brown tones.
In a few days I will show one that is a little more wild. I have always admired what my friend Jerry Olivier can do with the same design when he chooses different woods and different inlays. He can have one cue be sort of subdued and another one that is magical by simply picking different combinations. We hope to achieve the same thing.
P.S. For the negative nellies - we are not copying any of Paul Burnett's examples. Although we could and I might because he grants permission to do so.
Last edited:
Thanks. I have a goal to help people better understand what goes into good leathercrafting. Unfortunately because the barrier to entry is low it does allow for a lot of poorly made/poorly decorated items to get on the market. Cues are fairly deep in terms of amount of people making them, amount of people sharing information and understand of the craft by consumers. Consumers of the mid to high-end cues that is. I think that most people here are well immersed in the differences between full splice and half-splice and cored and not-cored and 4th axis vs 4th axis substitution. (ok maybe not so much on the last one).
