Continuing this highly acclaimed series by award winning author Richard Daniels, and for this work joined by machinery export Walter Landmann, this is a set of carefully selected Essays which set down, for the first time, the structure within which the chemistry and mechanics of leather manufacture operate.

 

The chemistry of leather manufacture is well-documented, and can be readily measured and controlled. But the way that forces are both applied and accepted by hides and skins are largely unseen and cannot be measured. Moreover, The outcome of these events is significant both within chemical processing and machine operations, and affects the whole progression of manufacture. When changes occur they are frequently not obvious, but the outcome is often beyond the scope of chemical or machine amendment.

 

This is a complex subject but this work sets out a structure where the better-known aspects of leather chemistry and machine processing operate. With roots within the physics and craft of leather-making, it is hoped that technicians will find this publication of interest and value. It has been designed to explore leather-making from a somewhat different perspective.

 

Such is the clarity of presentation, it is envisaged that it will become the standard handbook for anyone in or entering the leather industry, as well as those buying leather goods with a desire to understand how the end material has been manufactured before being made into consumer products. An essential training tool in the modern world.

Pattern cutting has always been something of a black art and every pattern cutter has always had his particular ideas and preferences. He did, however, know the basic rules. In the past the skill was taught manually, using a mean forme and two-dimensional shoe standard. Standard styles had certain measurements and proportions that would ensure a good fit on the last and foot, and offer the best pattern lock for cutting the leather.

 

The mass use of CAD pattern systems has changed all this and pattern cutters are no longer taught in the same way. Indeed, there are many—and some say too many—who do not fully understand the basic principles of pattern cutting. This is why there are so many ill-fitting patterns in so many factories. Shoe upper patterns are not only critical for the manufacturing process, but have a profound effect on comfort and wear. The problem is how do you know where the key reference points for a particular style should fall on the last’s surface?

 

Until now, this has been somewhat haphazard and often driven purely by styling at the expense of good pattern cutting practice and at the cost of ill-fitting patterns. A designer may well be able to draw on to the last’s surface either manually or through CAD, but there is no way to guarantee that the lines will fall in the ideal place.

 

Consultant David Lyon has gained over 50 years experience as a designer. He has cut just about every type of pattern possible, has taught the subject and has acted as a design and pattern consultant for many international companies. It is safe to say that there is very little he does not know about the subject. He has now published a book on a system called Percentage Pattern Cutting.