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Sean Flynt




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PostPosted: Tue 27 Jan, 2009 6:55 am    Post subject:         Reply with quote

[quote="Leo Todeschini"]
Quote:


Quote:
Sean Flynt wrote Can you tell us about the basket-weave leather bit on the business end of the stock? That weave/knot is identical to that used on some German sword scabbards of the period and I've been trying to figure it out for ages.


I thought it would be a killer but actually it is pretty easy.
Pass a diagonal from top left to bottom right over the front, take it round the back and go top right to bottom left and so on. Be careful to lay them side by side as you go and they will naturally weave. this works for say 4 or 5 passes before the ring gets in the way and the front face (for want of a better term) runs out of room. At this point stop the diagonals, but don't cut the thong. Start running the thong round in a spiral weaving up and over the crossed pieces to create a woven piece.

I hope that kind of makes sense and please post up your results

Tod


Perfectly clear! I've just tried it with a power cord and cell phone case and I can see the "weave" appear on its own. Very neat trick.Big Grin The only problem is that it must be modified somehow for a scabbard (or cell phone case) because there's nothing on the back of the scabbard equivalent to the bow's tiller to keep the passes separate (can't go top left to bottom right, then top right to bottom left). Unless....maybe the belt itself or similar-size piece of wood or leather is used as the stop during the passes. I'll experiment.

Thanks for the tip!

-Sean

Author of the Little Hammer novel

https://www.amazon.com/Little-Hammer-Sean-Flynt/dp/B08XN7HZ82/ref=sr_1_1?dchild=1&keywords=little+hammer+book&qid=1627482034&sr=8-1
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Leo Todeschini
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PostPosted: Wed 15 Apr, 2009 11:35 am    Post subject:         Reply with quote

I have just finished the bow - hurrah.

Last time I showed it, it was missing the bolt clip and the bolt rest and rather importantly the cranequin.

I did not make the cranequin, though the next one will be made by me but all work has to cease until that was in place. I received it a while back, but it was a bit rough, so it was stripped down and cleaned up and the etching was applied. Once it was ready I could finish the bow and actually shoot it.

It shoots well.

The new owner will take receipt in two weeks and then I will have somewhere to put my windlass bow so my daughter can stop knocking it over.

Tod



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www.todsworkshop.com
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Jeremy V. Krause




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PostPosted: Wed 15 Apr, 2009 3:08 pm    Post subject:         Reply with quote

That's really beautiful Tod!

Your commitment to fine craftsmanship and historical accuracy shines with this exemplary piece.

Jeremy
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Danny Grigg




PostPosted: Thu 16 Apr, 2009 1:59 am    Post subject:         Reply with quote

That is one fantastic looking crossbow Tod, can you tell me the dimensions and weight of the crossbow and the cranequin?

How close a replica is this to the original in regards to the dimensions, the materials used, the shape of the crossbow and the artistic design?

Is anyone else out there making excellent replica crossbows like this?

Danny
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Leo Todeschini
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PostPosted: Thu 16 Apr, 2009 10:48 am    Post subject:         Reply with quote

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Danny Grigg wrote
can you tell me the dimensions and weight of the crossbow and the cranequin?

How close a replica is this to the original in regards to the dimensions, the materials used, the shape of the crossbow and the artistic design?


The bow weighs in at nearly 5kg, about 12lbs and is about 65cm tip to tip and about 70cm long and the cranequin is about another 2.5-3kg, about 6lbs.

The dimensions are about right as is the weight, but there are some differences. The bow is made by making a wooden stock and this is then clad in bone; this was the first bow of this type I have made and I messed up the internal wooden profile and was too far into fitting the bone to go back and rework it, so the result is that the top flat section of stock towards the back is too wide.

The bone was likely to have originally been whale bone and so was thicker than the bone I was using, or at least they were able to be more selective about the bone pieces they could source and so around the front cut outs just in front of the nut, the scoops could not be quite as deep and they had to be made up from more bone sections than were originally used.

The last difference is in the order the bone was applied to the stock, originally it was the top plate first and then the sides but by doing it in the reverse I could save a great deal of time and that was finacially required, but there are slight form alterations as a consequence.

The design itself is a very faitful copy to the original, though of course the slight form changes means that there were inevitably some slight layout changes.

The design of the painting on the prodd is also a little different.

The result is not an exact copy, but a reasonably faitful one, but really it is more in the spirit of the original and I like to think that despite this it would fit in perfectly as a late 15thC German hunting bow of the time; certainly none of the forms or proportions are anachronistic.

The problem with a comission of this kind is both the funds available and the time it takes up; I would have loved to have reworked the stock to get everything the way it should have been and I wish I had had a load more time and money available to select the bone but my other commitments and the budget means that I had to live with the differences.

I suspect that to rework the stock and reapply the bone again would have been 3 days, changing the bone glueing order would have added another 2 days had I chosen to do this and being very selective over the bone would have added another 3-4 days including the trip to the merchant and onto all this the additional monetary spend. Altogether too much to warrant it.

That all being said I think I may have another order for one coming up.

Tod

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Gavin Kisebach




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PostPosted: Thu 16 Apr, 2009 4:51 pm    Post subject:         Reply with quote

I think the Raquel Welch poster is coming down from my cell wall, and this is going up in it's place. You sir, are a master.
There are only two kinds of scholars; those who love ideas and those who hate them. ~ Emile Chartier
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James Martin




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PostPosted: Thu 16 Apr, 2009 7:37 pm    Post subject:         Reply with quote

My god....that is a stunning piece of work. I tip my hat to you good sir.
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Leo Todeschini
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PostPosted: Mon 20 Apr, 2009 12:29 pm    Post subject:         Reply with quote

I would just like to say thanks for the kind words and never in my wildest dream did I think I would compete with Racquel Welch!

Tod

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Vrin Thomas





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PostPosted: Sat 25 Apr, 2009 10:40 pm    Post subject:         Reply with quote

Beautiful, stunning, incomprehensibly masterful work!

But its missing something... a video showing that cranquin in action and maybe some shooting too. I know more work for you. But seriously make a dream come true for those of us who can't own one ourselves.
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