Sustainability production in natural leather art: Evidence-based studio practices and techniques for leather phone cases

Abstract

A growing demand for sustainable goods has led to the development of environmentally friendly methods for producing leather goods. This article explored evidence-based studio practices and techniques for the sustainable production of natural leather phone case art. As part of an aesthetico-action research design, a cyclic model for observing, reflecting, planning, and acting followed the studio investigation of the tools and materials as well as the systematic procedures for making leather phone cases. Studio-based data were analysed using the visual analysis tool under the qualitative research approach. It was possible to create natural leather phone cases with different finishing techniques that were not only functional and aesthetically pleasing, but also environmentally friendly and socially responsible. By incorporating these sustainability techniques into the production of natural leather phone case art, artists and industry manufacturers should create beautiful and functional products that are also environmentally and socially responsible.

Keywords:

• art
• natural leather
• leather phone cases
• studio practices and techniques
• sustainable techniques

PUBLIC INTEREST STATEMENT

Sustainable production practices within natural leather art has grown, particularly in the context of leather phone case manufacturing. This practice presents an opportunity to showcase evidence-based studio processes that prioritize sustainability while maintaining artistic and functional qualities. Key considerations include ethical sourcing of leather materials, upholding animal welfare standards, and supporting environmentally responsible suppliers. Minimizing environmental impact involves responsible waste management, reducing water and energy consumption, and employing eco-friendly tanning processes. Evidence-based studio practices include efficient cutting techniques, quality control measures, and innovative design approaches. It was established that transparency and consumer education are crucial, providing information on materials, production processes, and environmental/social impact. By adhering to sustainable production practices, the artists and industry manufacturers should create leather phone cases that reflect artistic craftsmanship and contribute to a more sustainable future.

1. Introduction

Leather is a flexible material that has been used for generations to make a variety of creative and practical products, such as clothes, footwear, furniture, and accessories (Laier & Laier, 2017; Nelibar, 2023). Natural leather art refers to the practice of creating innovative designs using high-quality natural leather as the primary material (Byrd, 2021). Natural leather is prized for its durability, flexibility, and unique texture, which makes it a popular choice among artists and designers. The history of natural leather art is traced back to ancient civilizations such as Egypt, Greece, and Rome. Leather was used to create a wide range of objects, including sandals, shields, and bags. In the Middle Ages, leather became a popular material for bookbinding, clothing and accessories (Fleming, 2020). The development of tanning techniques in the 19th century led to a boom in the leather industry, which fuelled the growth of natural leather art as a distinct form of artistic expression (Byrd, 2021; Ossei-Gerning et al., 2023).

Natural leather art has played an important role in the cultural and artistic traditions of many societies. In some cultures, leather objects have religious or symbolic significance, while in others, they are valued for their aesthetic qualities or functional purposes. Natural leather art has also been used as a means of economic empowerment for artisans particularly in developing countries where the leather industry provides employment opportunities and supports local economies. The history and significance of natural leather art have been contextualised by examining the cultural, artistic, and economic influences that have shaped the development of this art form. Artists have used various techniques and processes in natural leather art, highlighting the creative possibilities and challenges associated with this medium (Dam & Siang, 2021).

Natural leather art requires a range of techniques and processes to transform raw leather into finished products. These techniques include cutting, carving, stamping, dyeing, and stitching. Many artists and designers also experiment with alternative techniques, such as laser cutting, digital printing, and 3D printing, to create innovative designs (Deagan, 2017). One of the challenges of working with natural leather is working with the inherent properties of the material. Natural leather materials can vary in texture, thickness, and colour and require skill and experience to handle effectively. Leather also has limited size and shape, which limits the types of designs that can be created.

Current trends and future prospects for natural leather art have also been impacted by technology, sustainability, and changing consumer preferences. Natural leather art continues to evolve and adapt to changing artistic, cultural, and economic trends. One of the current trends in natural leather art is sustainable materials and processes usage. This growing concern aligns with environmental and social responsibility. Another trend is the use of technology to create innovative designs, such as using laser cutting to create intricate patterns or digital printing to add images and text to leather (Stepanov et al., 2015). Looking to the future, natural leather art is likely to continue to evolve in response to new technologies, materials, and consumer preferences. Advances in materials science and digital fabrication techniques may enable new forms of leather art that are more sustainable, versatile, and affordable.

As consumers become more aware of the environmental and social impact of the products they purchase, natural leather art is likely to play a key role in shaping the future of the leather industry. Leather is a popular material for fashion and sculpture due to its durability, aesthetic appeal, and timeless appeal (Andoh, 2015). However, leather production has a significant environmental impact, from the chemicals used in tanning to the waste produced in the manufacturing process (Shah, 2023). The conventional leather production process can have a significant negative impact on the environment and society. The use of harmful chemicals, large amounts of water, and unethical sourcing of raw materials can result in environmental pollution, resource depletion, and social injustice (Peta, 2023).

While there has been a significant amount of research on the history, techniques, and contemporary trends of natural leather art, there are still some gaps in the Ghanaian leather art literature. One is the lack of studies on natural leather art and its aesthetic significance, particularly in non-Western contexts. Another is the need for more empirical studies on natural leather art production and sustainability. These studies include the environmental and social impact of tanning processes and the leather sourcing. For example, while there is some research on the use of sustainable materials and processes in natural leather art (Pietroni & Marconi, 2023), there is still a need for more comprehensive studio studies on the environmental and social impact of these practices. Additionally, there is a lack of research on the socio-cultural aspects of natural leather art such as its role in identity formation and expression of culture in non-Western societies. Addressing these research gaps, the study provides valuable insights into ways in which natural leather art can contribute to sustainability and the cultural of well-informed practices that are both environmentally and socially responsible. As a result, there is an increasing need for sustainable practices and the production of leather goods.

For these reasons, leather production has gained importance in the fashion and sculpture industries. Leather art is diverse art form that involves the use of leather as a medium for creating art (Wiggins, 2023). As a field of study, leather art has not received as much academic attention as other traditional art materials such as clay, fabric and wood. This research gap makes this area both interesting and essential for conducting a study. In order to understand the techniques and processes used in leather art, this article explores evidence-based studio processes and techniques that were incorporated into the production of natural leather phone case art to promote sustainability, such as sustainable leather, natural dyes, eco-friendly adhesives, minimal waste production, energy-efficient manufacturing, and ethical labour practices.

1.1. Leather art techniques

There are various techniques for creating interesting leather phone cases. Artists are only limited by their imagination and creativity and can combine different techniques to create truly one-of-a-kind designs. Some popular techniques include:

1. Embossing: This involves pressing a design or pattern onto the leather’s surface using a heated stamp. This technique can be used to create intricate designs or add texture to leather (Kelly, 2010; Kerr, 2019; Michael, 2006).

2. Laser cutting: This involves using a laser to cut precise shapes and designs into leather. This technique is ideal for creating intricate patterns and designs that would be difficult to achieve with traditional cutting methods (Stepanov et al., 2015).

3. Hand painting: This involves using a brush to apply paint or dye directly to the leather. This technique allows for a high degree of customization and can be used to create unique designs and patterns (Muir, 2004).

4. Beading: This involves sewing beads or other small decorations to the leather (Horn, 2006). This technique can be used to create intricate designs by adding texture and dimension to the leather (Artfile magazine, 2023, Clarke & Atkins,2002).

5. Marbling: This involves dropping paint into the water and swirling it to create a dynamic pattern (Lee et al., 2008). The leather is then dipped in the water, transferring the pattern onto the leather.

6. Stitching: This involves using a needle and thread to sew leather pieces together. This technique can be used to create intricate patterns by adding texture to the leather (GMC Editors, 2016; Michael, 2006; West, 2005).

7. Dyeing: This technique involves applying colour to the leather surface to create a desired hue or shade. It can be done using various methods, such as immersion dyeing; hand rubbing, or spraying, and can create a wide range of colours and effects on the leather (McNeill & Harris, 2013; Popsewing, 2022; Wada et al., 2012).

8. Burnishing: This technique involves using a burnishing tool to polish and smooth the edges of the leather phone case, giving it a professional and finished look.

1.2. Theoretical framework

As part of the study, Blanc and Benish (2017) discussed art sustainability, with the aim of examining the overlap between art and environment that has an intimate historical connection. The theory is workable based on its consideration of the wider impact of the artefact and its reception in relation to its environments (social, economic, biophysical, historical, and cultural). The study prioritises the idea behind the production of work by making conscious decisions about the functional meaning on the materials’ usage and how the artist’s experience can inspire change. By using art sustainability as a theoretical framework, the study examines the intersection between leather art production and its sustainability as a way to keep artists employed. This framework considers sustainability not only in terms of aesthetics and environmental concerns but also in terms of socioeconomic dimensions for artists. This involves exploring how the artist employs various media with leather to create works that highlight the impacts of economic activity on the environmental sustainable futures. The art sustainability framework offers a broad and interdisciplinary perspective on the intersection of art sustainability applied to a wide range of sustainable economic models like circular economy could be applied to artistic production and distribution. The study positions art sustainability in the context of natural leather art developed out of the need for functional items such as clothing and footwear. It is flexible enough to experiment with different concepts and styles to create more elaborate and decorative pieces. As a result, these tenets are realised through cultural and artistic influences. Artists do not only harness their skills to build representations of their environments, histories, and destructions in a mimetic way, however they engage in a more profound way to help empower societies to reinvent themselves. How do these involvements transform and reframe what is understood as being an artist and his or her positioning within a given society?

2. Materials and Methods

The research study followed a systematic methodology that incorporated pre-studio, studio, and post-studio inquiry as evidence-based studio practices and techniques for sustainable production of natural leather phone case art. Studio-based research design was used as part of qualitative approach to articulate a methodical approach of a peculiar two-pronged process aimed at the creation of artwork and writing (Niele, 2014; Vear et al., 2021). As a result, studio-based research was activated for this study as a type of research that involved using a design studio’s practices in a creative space as a research environment. This studio approach allowed the researchers to engage in creative, hands-on experimentation on natural leathers, natural dyes, eco-friendly adhesives, minimal waste production, energy-efficient manufacturing with ethical labour practices, and explore ideas through prototypes and design iterations (Barrett, 2019; Zimmerman et al., 2007).

A cyclic model followed a studio investigation of the tools and materials as well as the systematic procedures for the production of leather phone cases for observing, reflecting, planning, and acting in aesthetico-action research design (Marshall, 2010). At the studio, the researchers defined the following research questions:

“What are the different techniques and processes used in leather phone case production?” This question was chosen because it addresses the gap in current knowledge and research on leather art.

The studio-based study examined comprehensive literature at the pre-studio stage, reviewing existing books, academic articles, and online resources on leather art. The literature review revealed that while there is some information available on leather art, there is still much to be learned about the different techniques and processes. Studio data was collected through observation and interviews with professional sculptors and leather artists. This data collection involved visiting art studios and conducting interviews with experienced leather artists and sculptors. The data collected provided insights into the different techniques and processes used in leather art, as well as the use of materials and tools. The studio data was analysed using visual analysis to describe the techniques and processes employed in the production of leather phone cases at the studio and post-studio stages. The results were presented clearly and concisely. This effort answered the research question by providing insights into different techniques and processes in leather art. After the studio stage production, a user testing session (audience responses) was conducted where research participants were asked to interact with prototypes or products (leather phone cases) within the studio setting. This approach allowed real-time feedback and usability data. Authors observed participants’ actions, listened to their thoughts, and noted any difficulties or areas of improvement. The studio data considers the ethical implications of the study, including informed consent from participants and protection of their identities.

2.1. Equipment, tools and materials

The studio practised several key elements when producing leather phone cases. The study began by identifying the appropriate materials for the creation of leather art. These materials included natural leather (goat-tanned leather), adhesive, iPhone case moulds, and natural dyes. Tools and equipment were used to cut, shape, stitch, carve, emboss, mould, and shape the leather. This included scissors, punches, ruler, mallet, clips, tracing wheel, cutting mat, leather carving tools, a heat gun, and an embossing stamp.

2.2. Techniques and processes

The study employed specific techniques and processes that allowed the artist to create leather phone cases. The techniques and processes used include cutting and shaping the leather, stitching seams and attaching embellishments, carving and tooling designs into the leather, dyeing and painting the leather, embossing raised designs, and moulding and shaping the leather into three-dimensional forms.

2.3. Safety precautions

The study employed some safety precautions when working with leather and the tools and equipment involved in the process. These safety precautions included wearing gloves and eye protection, opening ventilation when working with dyes and paints, and using caution when handling sharp tools.

2.4. Quality control

The study also ensured that some measures were taken to examine the quality of the finished phone cases. This quality control included checking for consistency in stitching, making dye and paint applications even, and inspecting the final product for any defects or imperfections. By including these elements, the study ensured that the process of creating leather phone cases was consistent, safe, and produced high-quality artwork.

3. Results

3.1. Pre-studio stage

The pre-studio stage was the first step in developing the leather phone case. Through defining the purpose, conducting market research, ideation, concept development, sustainability considerations, and budget and timeline planning, the artist laid the foundation for the successful development of the leather phone case product at the studio stage.

3.1.1. Ideation on design concepts

At this stage, the studio investigation reflected Marshall’s (2010) cyclic model of observing, reflecting, planning, and acting in aesthetico-action research on the tools, materials and the systematic procedures for leather phone cases production. The process started by generating creative ideas and techniques for the design of leather phone cases, which included the ideation process of brainstorming, sketching, and refining design ideas to create a final product that meets the study’s needs and preferences (Dam & Siang, 2021). One approach to ideation was to draw inspiration from existing designs and artworks to create ideas and spark creativity. For instance, the artist explored a wide range of leather art designs such as marbling, tie-dye, painting and beading, texturing and patching concepts. To illustrate these concepts, the study employed these ideation techniques for leather phone case design in the studio stage process.

3.1.2. Tools, material quantities and analysis of cost for leather phone cases production

In terms of quantities, the amount of materials needed depends on the number of phone cases and the size of the cases. A rough estimate is that 1 square foot of leather can produce 2 to 5 phone cases subject to the design’s size and complexity. The amount of lining fabric and padding material needed depends on the specific design. Regarding the cost analysis, it was essential to determine the final cost per unit as listed in Table 1. The artist added up all of these expenses and divided them by the number of phone cases produced. It was essential to ensure that the price the artist charges for each phone case covers the artist’s expenses and allows for a reasonable profit margin.

Table 1. Analysis of costs

Item	Description	Total metric & quantity	(Currency) Unit price	Total price
Leather	Sheet/Square of Goatskin	1 sht/sq.	30 x 1	30
Suede dyes	Water-based dye (black, green, red, blue, yellow, blue black)	1 t/s	2 x 5	10
Pearl beads	6mm Ivory art faux pearl beads, plastic round loose spacer beads	3000 pcs per packet	20 x 1	20
Nkrumah dye	Alcohol-based dye (Brown)	1 bottle (4 FL.OZ, 118 ml)	30 x 1	30
White glue	1 kg of Top bond PVA glue	1 can (small)	5 x 1	5
Punches	Leather Hole Punch Tool − 6 Multi-Hole Sizes	1 punch tool	50 x 1	50
Scissors	9” stainless steel scissors	1 pair	30 x 1	30
Ruler	12” stainless steel ruler	1 ruler	20 x 1	20
Clips	Set of plastic clips	1 set	20 x 1	20
Mallet	3.96” wooden mallet	1 pair	20 x 1	20
Phone case mould	IPhone 12 hard silicon phone case	1 case	20 x 1	20
Tracing wheel	4 mm and 2mm leather needle point tracing wheel with wooden handle	1 pair	6 x 1	6
Cutting Matt	12” x 18” Double Sided Rotary Cutting Matt (A3 size)	1 board	50 x 1	50
Sand paper	Dry abrasive sandpaper with 60 grade/grits	1 yard	20 x 1	20
Lime	A small, round, green-colour citrus fruit.	5 pcs	1 x 5	5
Grand total				₵336.00

*sht= Sheets, sq.= square, kg= Kilogram, pcs=pieces, t/s=table spoon, “= Inches, x = Multiply, ml= Millilitres, FL.OZ= Fluid ounces, mm = Millimetres, ₵ = Ghana currency (cedi sign)

3.2. Studio stage

The studio stage of the study was a critical phase in the development of the leather phone case, as it laid the foundation for the final product. Through research, material selection, and production planning, the artist created a phone case that is both aesthetically pleasing and functional.

3.2.1. Secondary treatment of the leather

The secondary treatment was used to prepare leather processes at the studio stage. Goatskin leather was chosen for the study. It was then treated to protect the leather surface from mould infestation and stench or odour (Ossei-Gerning et al., 2023). These systematic approaches to secondary treatment were:

• Sanding: This process was achieved using 60-grade sandpaper. The rough-textured sandpaper was used to remove the flesh from side of the leather. This process helps the artist remove excess flesh left after tanning.

• Liming: After the flesh was removed, a mixture of lime and wood ash was applied to remove the smell, blood, and other impurities from the leather.

• Soaking: The leather was dipped in clean water to wash away the mixture. This process softens the leather.

• Stretching: The leather was stretched on a clean board, and the edges were pinned to gain the full-size of the skin.

3.2.2. Studio practices and techniques for leather phone case production

3.2.2.1. Practical work 1: Marbling technique

The marbling technique was used as a popular decorative technique that involved creating dynamic patterns on the surface of the prepared leather (Lee et al., 2008). Figure 1 illustrates how the artist cut out the leather into the required shapes and soaked them in water for 5 minutes. After 5 minutes of soaking, the sheet of leather was spread on the clean surface of a wood bench. The soaked leather sheet was then crumpled. The Nkrumah dye was poured on the crumpled leather to get the marbling effect. The leather sheet was placed in the phone mould. The artist created holes with a punch tool in the leather. Details were picked up with a metal tool. The leather phone case was left overnight to dry, taking approximately 8 to 10 hours. Drying is done in an airy space gradually and evenly. Drying leather becomes faster in the sun, however it does not dry evenly.

Figure 1. Marbling technique for leather phone case.

3.2.2.2. Practical work 2: Tie- dye technique

The tie-dye technique served as a decorative concept that involved twisting, folding, and tying leather and then dyeing it to create unique and colourful patterns (Popsewing, 2022). Tie-dye on the prepared leather created a bold and vibrant effect that enhanced the texture and character of the leather. The artist applied this concept to create a colour effect on leather. Figure 2 shows the artist using special leather dyes to work on leather surfaces. First, the leather was pleated and tied with a robe. Dyes were poured on the pleated leather. After it dried for 5 minutes, the tie-dyed leather was placed on the phone case. Details were picked with a metal tool and the finished tie-dyed leather phone case was allowed to dry. The artist used the required tools and techniques to manipulate the dye, such as rubber bands, strings, and clips, to create different patterns and designs.

Figure 2. Tie-dye technique for leather phone case.

3.2.2.3. Practical work 3: Painting and beading technique

The painting and beading technique was used to create unique and intricate designs on leather phone case products. This process allowed the artist to add personalised touches and detailed embellishments that enhanced the overall look and feel of the product (Horn, 2006; Clarke & Atkins; 2002). Figure 3 shows the artist graining each side of the leather in the phone case mould. Details were picked with a metal tool. The painted leather was beaded with tiny pearls using needle and thread.

Figure 3. Painting and beading technique for leather phone case.

3.2.2.4. Practical work 4: Texturing technique

At this stage, the texturing technique was employed to create patterns and designs on the leather’s surface to add depth and visual interest. There are a variety of techniques that are used for creating textures on leather, including stamping, embossing, and carving. Stamping involves pressing a pre-made design or pattern onto the leather’s surface with a stamping tool. This process was done with a manual stamping tool. Stamping creates a variety of patterns and designs, from simple geometric shapes to intricate textures (Kelly, 2010; Kerr, 2019). Figure 4 shows how leather was dyed and dried. The artist drew equal diagonal lines on the leather surface. The diagonal lines were traced with a tracing wheel and ruler. After creating the texture on the dyed leather, it was allowed to dry. The artist picked out details on the leather with a metal tool. A hole was created on the flesh side of the leather and finished.

Figure 4. Texturing technique for leather phone case.

3.2.2.5. Practical work 5: Patching technique

Patching, as a technique, was used to create unique designs by combining different leather pieces together. This technique involved cutting various shapes and sizes of leather and gluing them onto a base piece to create a patchwork effect. This technique was used in the creation of leather phone case. The patching process involved using a leather type, colours, and textures to create a unique and personalised design (West, 2005). The shapes and sizes of the leather pieces can also vary, allowing for a range of design options. Figure 5 illustrates how details were picked with a metal tool. The leather phone case was allowed to dry. The artist punched circles from black and khaki leather surfaces dumped with foam and dyed them. A hole was created in the black leather and fixed with the khaki damped on the designed leather. Holes created on the khaki-moulded phone case were replaced with different-coloured circles. This process was glued together and finished with a patched leather phone case.

Figure 5. Patching technique for leather phone case.

3.3. Post-studio stage

The post-studio stage is key to ensuring that the leather phone case is ready for mass production and distribution. Through testing and evaluation, refining and iterating, production planning, and quality control, the artists ensured that the product met the required standards and was well-positioned to succeed in the market. This stage focused on audiences or participants’ responses to the practical work of the five leather phone cases produced in this study. The outcomes and responses to design techniques for leather and how these techniques have affected the sustainability and production of work. This stage also highlights the extent to which the reactions and feedback of audiences are presented in conversations about the samples of leather phone cases illustrated in Figure 6.

Figure 6. Samples of the produced leather phone cases.

3.3.1. Audience responses and iterations

3.3.1.1. Functionality

The audience was asked about the leather phone case’s functionality and whether its purpose was served. Some of the feedback is shown in Conversation 1.

Conversation 1:

The case is nice, but I wish it had more pockets for storing cards and cash.

The phone case fits my phone well and does not feel bulky in my pocket.

I wish the phone case had a built-in stand for watching videos or Face Timing. The button covers are a bit stiff and make it difficult to use the volume and power buttons.”

The sustainable leather is holding up well to daily use.

The responses show that some potential iterations for the sustainable leather phone case could be to incorporate a built-in stand or card slot for added functionality, refine the design of the button covers, and explore new sustainable materials or material combinations to improve the phone case’s overall functionality and durability. Additionally, continuing to prioritise sustainability in the design process can help appeal to an environmentally conscious audience and set the product apart from competitors.

3.3.1.2. Aesthetics

The audience was asked about the aesthetic value of the leather phone case and whether its purpose was served, and some of the feedback is shown in Conversation 2.

Conversation 2:

I prefer a more minimalist look without any added decorations. Create a similar design with a plain leather finish without any added decorations or embellishments.

The natural look and feel of the sustainable leather is appealing.

I love the natural look and feel of the sustainable leather.

The phone case looks sleek and professional.

I would like to see more colour and design options available for the sustainable leather phone case.”

The phone case feels like it is high-quality and well-made.

I appreciate that the sustainable leather has a unique texture and grain pattern.

Through audience responses and implementing these iterations, it was revealed that the artist could improve the aesthetic of the sustainable leather phone case to cater to a wider audience. Expanding colour and design options and incorporating unique textures and patterns can make the phone case more visually appealing and set it apart from competitors. Additionally, collaborating with artists or designers can help create limited-edition designs that generate buzz and appeal to a fashion-conscious audience.

3.3.1.3. Durability

The audience was asked about the durability of the leather phone case and whether its purpose was served, and some of the feedback is shown in Conversation 3.

Conversation 3:

The sustainable leather is holding up well and does not show signs of wear and tear.

I appreciate that the phone case provides good protection for my phone without adding extra bulk.

The phone case has survived a few drops without any damage to my phone.vI wish the phone case had better water resistance to protect against spills or rain.

The sustainable leather phone case seems to be a good investment because it will last a long time.

These responses indicated that the durability of the sustainable leather phone case can be improved and will provide better protection for the phone. Improving water resistance, experimenting with new materials, and conducting thorough testing can help ensure that the phone case can withstand daily wear and tear. Offering a warranty or guarantee can also provide customers with peace of mind and assurance that the phone case is worth the money.

4. Discussion

The study revealed that the marbling technique on leather creates a stunning visual effect that enhances the texture and character of leather. The customizable nature of the concept allowed for a wide range of colour and style options, while the use of high-quality leather ensured the durability and longevity of the leather phone case product. However, the additional time and effort required to create each phone case can result in a higher price point compared to other phone case designs. Muir (2004) attests that artists could use special leather paints or dyes that are formulated to work on leather surfaces. The artist can also use various tools and techniques to manipulate the paint, such as brushes, combs, or a stylus, to create different patterns and designs. One approach to marbling on leather is to use a traditional Turkish marbling technique called “ebru.” This technique involves floating water-based paint or dye on a viscous solution of gum tragacanth or carrageenan and then transferring the design onto the leather surface. The resulting pattern has a unique organic look and feel that can vary from bold and colourful to subtle and delicate. Another approach is to use a more contemporary marbling technique that involves acrylic paints and a water-based medium to create a marble-like effect. Artists can experiment with different colour combinations, techniques, and tools to create a wide range of designs, from abstract and geometric to more organic and flowing (Ossei-Gerning et al., 2023).

It was evident that the approach to the tie-dye technique on leather is to use a contemporary technique that involves applying the dye directly onto the leather surface with a sponge or brush. The leather could be prepped by dampening it with water to allow the dye to penetrate and spread more easily (Popsewing, 2022). Artists experimented with different colour combinations, techniques, and tools to create a wide range of designs, from abstract and geometric to more organic and flowing (McNeill & Harris, 2013). Wada et al. (2012) support the idea that another approach is to use a more traditional tie-dye technique called “shibori.” This technique involves folding and binding the leather before dyeing it, which creates a more structured and controlled pattern. Shibori could be used to create a wide range of designs, from simple stripes and dots to more intricate and elaborate patterns.

The finding that audiences want to see more colour and design options available for the sustainable leather phone case was pertinent, as painting on leather involves using special leather paints or acrylic paints that are formulated to work on leather surfaces. Artists can use a variety of brushes and tools to apply the paint, including airbrushes, sponges, and stencils. The resulting designs can range from simple patterns and shapes to more intricate and detailed images. In addition, beadwork on leather involves attaching beads to the surface of the leather to create a decorative effect (Horn, 2006). Artists can use a variety of beads, including seed beads, glass beads, and gemstone beads, to create different patterns and designs. Beads can be sewn onto the leather using a needle and thread, or they can be glued onto the surface using a strong adhesive (Horn, 2006). Artfilemagazine (2023) argues that one approach to combining painting and beading on leather is to use painting as a base layer and then add beaded embellishments on top. For instance, an artist might paint a floral design on a leather bag and then add beaded accents to the flowers for a three-dimensional effect. Another approach is to use beading to create a border or trim around a painted design, which can add texture and dimension to the piece.

The study showed that the texturing technique added a dynamic tactile quality to the leather phone case. This technique makes it stand out from other phone cases on the market. The texturing concept enhances the grip and handling of the phone case, making it less likely to slip out of the user’s hand. Michael (2006) supports the idea that different texturing techniques such as carving, embossing, debossing, or engraving could create a variety of patterns and designs on the leather surface (Kelly, 2010; Kerr, 2019), offering a wide range of customization options for the audience. Textured leather is less likely to show wear and tear over time, making it a durable and long-lasting choice for a phone case. However, some texturing techniques may make the leather surface more prone to collecting dirt and grime, which could require more frequent cleaning to maintain the phone case’s appearance. The texturing concept of a leather phone case can offer unique design options while also providing functional benefits such as improved grip and durability. The audience considered that maintenance for their chosen texturing technique is required to ensure the phone case remains clean and looks good over time.

One essential takeaway from this study was the patching technique. This technique used a single-coloured leather for the base piece and then added patches of dynamically coloured or textured leather on top. This process created a contrasting effect that highlighted the different textures and colours of the leather. Another approach is to use different shades of the same colour to create a more subtle and cohesive design (West, 2005). GMC Editors (2016) indicate that the patching technique could create a unique and customizable design on the leather phone case, making it stand out from other phone cases on the market. Different materials, such as leather scraps or fabric, can be used for patching, offering a wide range of customization options for customers. The patching concept can also add texture and visual interest to the phone case, creating a more dynamic design. The use of recycled materials in patching can make the phone case more environmentally friendly, appealing to customers who prioritise sustainability (Michael, 2006). However, the patching concept may require additional time and effort to create each phone case, which can result in a higher price point compared to other phone case designs. The patching technique of a leather phone case offers unique design options while also potentially appealing to customers who prioritise sustainability.

Audience experience was a critical factor for artists and manufacturers when creating sustainable leather phone cases. By incorporating features such as easy access to ports and buttons, the overall usability of the product could be improved. Gathering feedback from the target audience helped the study identify strengths, weaknesses, and opportunities for improvement in the design. This feedback could then be used to iterate and refine the design to better meet the audience’s needs and preferences. This result offers valuable implications for feedback on various aspects of the leather phone case, such as its functionality, aesthetics, durability, and overall user experience. This feedback provided insights into what aspects of the design are working well and what areas may need improvement. These responses provided valuable first-hand feedback on how the phone case performs in real-world use as well as uncovering any usability issues or design flaws. In response to audience feedback, design iterations were made to resolve identified issues and incorporate suggested improvements. This response involved adjusting the design elements such as the size, shape, colour, material, or functionality of the leather phone case to better align with the preferences and needs of the target audience.

5. Implications

Recommendations made, as a practical craft, are:

1. The quality of the leather used in the production of phone cases is crucial. Poor-quality leather might not only affect the aesthetic appeal of the product, but it could also lead to durability issues and audience dissatisfaction. Therefore, it is important to source high-quality leather from reputable suppliers.

2. The design of the phone case should not only be aesthetically pleasing but also functional. The design should fit the phone snugly and securely while allowing access to all ports and buttons.

3. The cost of producing leather phone cases in mass quantities could be high, especially when using high-quality leather. Therefore, it is important to factor in all the costs associated with production, including materials, labour, and overheads, to ensure that the product is priced correctly.

4. Leather production has environmental implications, including water and air pollution, deforestation, and greenhouse gas emissions. It is important to ensure that the leather used in the production of phone cases is sourced responsibly and sustainably.

5. Leather phone cases are often viewed as a luxury item, and customers may have high expectations regarding the quality and design of the product. It is important to meet these expectations to ensure audience satisfaction and repeat business.

6. By incorporating these sustainability techniques into the production of natural leather phone case art, artists and industry manufacturers should create beautiful and functional products that are also environmentally and socially responsible.

6. Conclusion

The use of leather in religious rituals and functional ceremonies is widespread throughout many cultures. Its use in art may have developed as a way to honour and celebrate these traditions. Leatherworking techniques have been influenced by other artistic traditions, such as weaving or embroidery. Regardless of its origins, natural leather art has evolved over time, with artists continually pushing the boundaries of what is possible with the material. It was evident that natural leather art encompasses a wide range of styles and techniques, from traditional tie-dye, marbling, painting, beading, patching, and texturing to more experimental approaches that incorporate unconventional materials and technology. In terms of the significance of natural leather art, it was seen as both a functional and decorative art form. Leather phone cases have unique properties that make them durable, flexible, and versatile. These techniques make them ideal for creating a wide range of leather phone cases that are both aesthetically pleasing and practical. It is encouraging to note that leatherworking can be seen as a form of craftsmanship, with artists taking pride in their skill and expertise in working with the material. These findings provided insights into different finishes that enhanced the audience’s experience and made the phone case more convenient to use.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Notes on contributors

Evans Kwadwo Donkor

Evans Kwadwo Donkor is an Associate Professor at the Sculpture Technology Department, Takoradi Technical University. He is best known for his composite sculptures made from scrap metals and discarded automobile parts and other industrial detritus. Donkor has a PhD in Arts & Culture at University of Education, Winneba. As an artist, he strongly believes in bringing every material to life, reshaping and attaching the various components, giving old and new materials a new purpose as well as a bit of soul.

Muriel Ossei-Gerning

Muriel Ossei-Gerning is an assistant lecturer at the Fashion Design and Technology Department, Takoradi Technical University. Ossei-Gerning Company, Aliroy Design, deals in full leather products. Her area of specialisation is leatherwork, millinery, and accessories. She had her first and second degrees at Kwame Nkrumah University and Technology, Kumasi, Ghana, where she specialised in leather technology. She also teaches leather, millinery and accessories at Mercy Foundation (an NGO), where the foundation provides for the needs of women and youth. She philosophises that in life, every piece of trash can be made useful; it just needs processing.