I notice that in your mental dialogue you've called yourself "Olaj" (which I'm guessing (a) is pronounced OH-lye, rhymes with Bowtie, and {b} is taken from the ending of your full name). I don't have this on your sheet as a nickname. Does anyone else call you this, and do you call yourself this ordinarily, or is this new?
Big Robert comes over and sees you admiring the tools. "Yes, that would be a good place to start. Let's teach you how to work with the leather. You've got a bit of stitching and a bit of artwork in you, so we'll show you the ropes and see what you can do. A belt is both easy and provides opportunities for some creativity, so let's start there."
He shows you the various grades of leather--some softer and more pliable, others heavier and more durable. You've got different grades of thickness, some tanned with fur or fleece still on it, some coming from wild animals but most from sheep and goats.
A belt requires a strong piece of leather, but one which is flexible enough to move a bit with the wearer. He shows you some that are above the average for toughness. These are, he notes, more difficult to work with because they don't cut or bend as easily; but when you're making a strap that has to resist tearing, you want this tougher grade. There is a bin of metal buckles. He explains the entire process. You must select a sheet of leather you think will be strong enough for the job, and a buckle for it. Buckles have two distinct designs--the tongue and ring type and the simple hook. (There are also loops, but these require a better understanding of how to secure a strap so he doesn't think you should start with them.) You have to use one of the concave blade knives (looks a bit like a linoleum knife, if you know what that is) to cut a strip of leather; you should use one of the wooden boards to keep the line straight. The width of the strip should be very close to that of the buckle--it is going to have to slide through the buckle on both ends. He also points out that if you're using a hook type, your leather must be thin enough that two layers will fit through the securing loop. Ladies' belts and dress belts are made from thinner leather and smaller buckles, while working belts are made heavier. If you use a tongue and ring buckle, you're going to have to cut the slot for the tongue. Use a piece of rope to measure how long you want the belt to be, and remember that no matter what kind of buckle you use, you're going to need a couple fingers of overfold to connect the buckle to the end, plus maybe a span on the far end. The end that connects to the buckle should be square or possibly slightly rounded; the other end will work better if it's pointed.
Once you've cut the leather strap, you will need to oil the buckle end sufficiently that it is supple enough to bend double on itself. It has to pass through the securing loop on the buckle (or if you're using the tongue and ring, it has to pass through the ring and you have to cut a center slot for the tongue--a somewhat more difficult design). Then you have to use a small punch and a needle with fine lacing to stitch the folded leather to itself, in at least two rows (one close to the buckle and the other close to the end) but not so close together that the holes are apt to tear. On the other end, you'll have to punch larger holes, suitable for the size of the hook or tongue of the buckle you've chosen.
However, the artistic part is usually done before the buckle is attached. There is a wide selection of tools with assorted blunt ends--some rounded, some square, geometric shapes, chisel-like, and others. By placing the end against the leather and tapping it with a small hammer, you imprint patterns into the leather itself, which will be retained. Since it is very difficult to fix a pattern once it has been imprinted, it is a good idea to etch your pattern with the tip of a small punch or awl before doing the imprints.
If you have questions, you're to ask him. You've now been instructed, and he will watch you do it.
--M. J. Young
