Author Archives: Mark Ruff

Build Along Field Maple Deflex Reflex character Longbow.

This project started out as a simple short term experiment. I’d had my eye on a clean but crooked and twisted Field Maple limb for quite a while. Trying to envisage where within the limb I could salvage a stave from was difficult. The limb was about 4.5” thick and had a section about 80” long which was relatively clean. In general the limb was sound and free from large knots, pins and other major imperfections.

The 80” section that showed most potential for making a bow stave did have other issues to consider however. This most usable section was badly twisted and had a significant sideways bend in one half of the stave. There was also a very large amount of natural reflex in what would be the middle/handle section.

To start with, I just wondered if it would be possible to improve the shape, twist and alignment of such a misshapen stave whilst it was still green. I’ve performed many shape corrections on green staves before, using forms and clamps, but I’d never before tried to correct asymmetries in a stave which were as server as this without using fully seasoned staves manipulated with steam bending.

I’ve worked with clean Field Maple on many occasions before so understand the potential this wood has for making a very good white wood bow. In the past I’ve used dry heat to correct minor twist and alignment issues on fully seasoned Field Maple staves. I’ve also used steam heat bending on Field Maple staves for more significant bending such as recurving tips or bending handles for alignment issues etc.

The amount of twist and reflex in this Field Maple stave however was way more than I’ve dealt with before. My expectations for this stave were not great. I envisaged the stave resisting the significant forces necessary to bend and twist this green stave into a better shape.

I also expected cracking or delamination to occur in the mid section due to the shear amount of force than would be necessary to pull the twist out using clamps and a drying form. But my expectations were proven wrong!

The green Field Maple stave roughed out and clamped to a reflexed form to try and produce a more workable shape. Note how the tips have been left full width for extra sideways leverage from the clamps. this really helps to pull twist out.
Side view of the green stave being force dried in the mid day sun on an especially hot late summer day. Note the remaining reflex in the handle section.

The reflex in the handle section was going to remain no matter what I did but this was fine as I could imagine this stave potentially turning into a reflex/deflex longbow. By leaving the limbs full width out to the tips I was able to get significant leverage from the clamps positioned on the edges of limbs. This leverage enabled me to crush down on the side of the limb that was pulling away from the form due to the limb twist. This worked really well and the twist between the fades and the limb tips came out beautifully. 

The overall shape was made much more even by using the reflexed form too. By forcing the tips to line up with the handle centre I was also able to correct most of the significant string misalignment. Throughout the end of August I left the clamped stave outside in the sun on hot days.

The stave came indoors for a week once the temps dropped and was left on one of my window sills which catches all of the mid day sun. This window sill is like a green house and serves to quickly force dry staves very well. After the stave had been allowed to dry on the form for about a month I removed the clamps to inspect the results.

Plenty of character left but a much more workable shape overall
side view immediately after removing the clamps and form.

The overall twist was reduced from nearly 70 degrees to about 5 degrees. The massive reflex was tamed to something much more manageable and the string alignment was now only a little off to one side. The stave now actually looked perfectly workable with plenty of character remaining, so instead of calling the project done I decided to see what I could do to turn this stave into an actual finished bow.

My next job was to get this stave down to some realistic dimensions. It would be unlikely that this stave was totally dry so by getting close to final dimensions I’d soon get this stave fully dried and ready for tillering.

Marking out the limb tips. I’d decided to plan for fine antler tip overlays on this bow so initially I laid the rough tip design out to 20mm tapering out to full width at mid limb.
Marking out the rough outer limb shape using my steel ruler to follow the natural curves of this stave. The final shape however will be dictated by the grain itself rather than by lines.
Working down to my lines with the draw knife. Field Maple is a wonderful wood to use cutting tools on.
The approximate shape of the bottom limb. I decided to go for a classic willow leaf shape and carry the tapper from mid limb out to the tips. This stave was initially roughed out to 2 ¼” wide which is what the stave measures in this picture. I may reduce this width to 2” before tillering though.
Top limb roughed out to the same approximate dimensions as the bottom limb. The top limb will be the straighter of the two limbs.
The string alignment appears to be favouring the left side of this picture which suits the decision to make the nearest limb the top limb. This will result in the arrow favouring the left hand side of the bow which suits me as a right handed archer.
Now to reduce the limb thickness to something more like ready for tillering.

Field Maple is a dense wood so these 14+mm thick limbs will need quite a bit of reducing in order to get them to a point where the tillering process can begin. I’m going to aim for 14mm fade end thickness tapering down to 10mm side thickness at the tips. I want the tips to do a very small amount of work on this bow so I will reduce them down to 10 mm but keep away from them when tillering. This should Keep the last 6” of the tips stiffer than the working section of the limb, but without leaving the tips carrying unnecessary mass which would be the consequence of keeping the tips thick enough to ensure that they are completely static.

Working down to my lines with the draw knife.
One edge worked down to the line.
Same on the other side.
Bringing both sides together to make the limb initially flat on the belly.
There are only a couple of knots on this stave which look like they will fall of the bow as more material gets removed.
This limb is now approximately 14mm thick as it leaves the fades tappering down to 10mm thick at the tips.
5 minutes with the Shinto rasp makes sure everything is nice and flat with an even thickness taper. I like the Shinto rasp for this job because it is easy to keep flat. Whilst it’s great for working down flat sections, it won’t get into dips etc very well.
Following the dips and humps on the belly to make sure the edge thickness is even. The half round rasp comes in handy here.
A quick scrap with the card scrapper and the basic limb thickness is ready for finer scrutiny.
A nice bit of wiggle to work with.

When I work the face down to rough dimensions on any bow, I always let the grain dictate the limb shape. This avoids creating grain run out which in my experience is a fast way to limb failure.

Next I needed to get the cambium off the back of the stave.

Until the cambium has been thinned right down I can’t get a true handle on the real thickness of all parts of the limb. I tend to leave quite a lot of cambium on a stave right through to the limb thickness reduction phase as the cambium layer acts as a good layer of protection to the back of the bow. A cushion against scrapes and scratches is a good idea whenever the back of a bow will be seen on the finished bow. Since this bow will not be backed the natural appearance of the first layer of wood below the cambium will be displayed on the finished bow so taking care to protect the back of this stave is important.

The valleys and troughs on the back require the use of a gouge to get down through the cambium to wood.
The curved scrapper is used to expose the first layer of wood.

Personally I like the appearance of self bows which have a little bit of cambium left on the back of the bow. This little bit of cambium adds to the beauty of the finished bow and confirms to the observer that the back of the bow is in actual fact the very wood which once grew directly beneath the bark. No ring chasing necessary. This remaining cambium also creates a beautiful camouflaged effect on the back of the bow.

The curved scrapper can get into most of the valleys and troughs and can be useful for working around raised spots like knots too.

As tempting as it often is to hog at the cambium with a draw knife it is too easy to nick the underlying wood and compromise the back of the bow so I always proceed with caution using a scraper for raised spots in particular.

A small gouge comes in handy at times.

The back of this stave has an undulating topography which presents as hills, valleys and troughs. If I were to leave the belly completely flat in cross section then the hills on the back would act as stiff points and the valleys and troughs would act as weak spots. To counter this potential problem I contour the bellies on my wide limb bows so that the belly topography matches that of the back but in reverse. To achieve this I use a mixture of gouges and curved scrapers to remove material from the belly directly opposite the hilly thicker spots on the back. This enables me to leave material behind over the thinner valley and trough areas of the back. This affords them extra protection and creates a truly even thickness across the entire width of the limb.

Here is an example of where there is a hill on the back creating a thick spot. I’ll counter for this by scraping away material on the belly which is directly opposite the high point on the back.

I use my fingers to feel the thickness across the whole limb. If I find a thick spot I’ll remove material from the belly until the thickness is the same as everywhere else nearby. I’m aiming to end up with limbs which are an even taper of 14mm – 10mm thick along the entire length and width of the bow. This means that areas of the back which present as high crowned will have a corresponding belly section which is effectively hollowed out to counter for the crowned back. This stave has a mixture of high crown plus flatter sections with hills, valleys and troughs so the belly will end up being far from flat.

I use my fingers and thumbs to feel for differences in thickness. Once I’ve found a thick spot then the curved scraper gets called into action.
Constantly checking for even thickness.
Trying to mirror the back on the belly.
Here you can see than I’ve dug out a trough on one side of the limbs belly to replicate what is happening to the surface wood directly opposite on the back of the stave.
Here the limb has a notable crown so the whole width of the belly is hollowed out to compensate.
This limb has a 12” section which has a high crown so the belly here will have a correspondingly hollow profile. Maple is a wonderful wood to work with a scrapper.
Countering the excessive reflex in the handle with some deflex in the limbs.

The next job was to put some deflex into the limbs to counter for the reflex in the handle section. I do this with the flat back of a form and some padded blocks and a clamp to create the right shape. I’m aiming to create most of the deflex around the first third of the limb about 6 – 12” out from the ends of the fades.

Here I’m using a heat gun to gently heat up the belly. I make sure I heat both sides of the clamp to make sure the deflex is evenly distributed throughout the first two thirds of the limb.
After about 10 minutes of heating the belly and the sides I then leave it to cool for an hour.
After both limbs have totally cooled I check both limbs for twist. Both limbs could do with a little bit of a correction so I fit a scrap piece of wood to each limb so that I can lever the limbs into a better position.
Once again the heat gun is used to heat the sections of the limbs which I want to correct

I’m carful where I choose to heat as I want to flick the tips on this stave and realise that if I make an early heat correction to a limb near the tips then the steaming of the tips which takes place later will pull the previous heat correction back out when the heat from the steaming travels down to where the twist correction was made.

Now that the limb twist has been dealt with I steam the tips for half an hour so than I can put a small amount of reflex into them.

I’m a fan of longbows but enjoy the lack of stack which a recurve benefits from. Whilst not wanting to go for a full recurve design on this bow I did like the idea of balancing the deflex and reducing stack a little by flicking the tips on what is aimed at finishing up a longbow.

After half an hour over the pan I fit my steel ruler to the belly of the stave using a small G clamp and a packing block to protect the back from clamping pressure. I frequently do this as it really helps prevent the belly tips from delaminating when being bent over the recurve form. The extra support of the flexible steel ruler simply stops a splinter lifting on the belly which is the kiss of death to many would be bows. This trick is especially important if your stave tip belly is not presenting as one growth ring, which is the case here. On this particular stave, both tips span two growth rings so delamination is a high probability without the ruler acting as a brace.

Into the recurve form she goes. My oven door handles act as the perfect brace to hold the stave in position whilst left to cool for half an hour.
The flat wooden spatula which you can see stuffed into the tip acts as a wedge to hold both the limb tip and the steel ruler in place. The old tea towel just prevents the back of the limb tip getting marked by the form. This is how I do most of my recurves/flicked tips.
Both tips flicked.
After a rest overnight to cool and re aclimatise the stave is now looking quite nice and even from the side profile.
The tips are both kicking out in opposite directions which will call for a little more heat twisting in order to get them lined up.
I’m keeping any further adjustments away from the tips so as not to cause the recurves to fall out. I will give both limbs a bit of a twist with the heat gun then recheck for tip alignment and string alignment overall.
By griping the upper third of the limb in the padded jaws of my vice and fitting the other limb with a wooden paddle I can lever a significant amount of counter twist into the mid limb section.

I have to be careful at this point to make sure that the deflex that has already been put in is not lost. I make sure to protect the deflex by setting up the paddle so that the leverage is the direction that promotes flexion to the limb rather than extension. This trick will ensure that the deflex is preserved.

Now would be a good time to roughly shape the handle.

I thought about including an arrow shelf on this bow and certainly had plenty of wood left with which to do that, but I fancied going old school and figured a simple handle for off the knuckle shooting would complement the natural lines of this stave best.

Working down to my lines with the draw knife first.
Hitting my lines accurately and achieving handle symmetry with the Shinto rasp.
Three inch fades rounded into a classic willow leaf shape.
Rounding the corners on the back. I sometimes like a spokeshave for this job.
Cleaning up the corners and the sides and making sure the face profile is finalised before tillering starts. Next job – tip overlays!

For a detailed description of how I added deer antler tip overlays to this stave see this separate article Here: https://southmoorbows.com/4-secrets-to-making-your-best-antler-bow-tip-overlays/

Bottom nock with string groove cut. Both overlays are left wide for now and will be thinned down quite a bit before the bow is finished. I like quite fine tips on willow leaf shaped limbs.
I’m heat treating both flicked tips here in order to prevent the bend pulling out once tillering begins. I also quite like the dark coloured tips which results from only targeting the last 6” of the limb. The dark colour contrasts nicely with the lighter untreated belly wood.
Now that the overlays are functional I can eyeball the tips and handle for alignment. The string biased towards the left side of the bow appears a little too strong so I decide to heat the handle area for a correction.
The handle is quite thick so I opt for setting the stave over the wood burner top whilst fitted to a bending jig.

The depth of heat penetration that you get with this method is significantly greater than can be achieved with a heat gun. After 45 minutes the handle section is scolding hot so the stave is manipulated into alignments and then comes off the heat and is allowed to cool for an hour. After the jig comes off I check for alignment and am happy to see that the correction has brought string alignment back to just favouring the left side which is perfect for a right handed archer such as me.

Roughly shaping the handle before starting the tillering process.
Deflex reflex staves are always easier to tiller as the even shape has already been achieved through the various heat bending processes.

This stave is heavy but almost braceable right out the gate. After about 15 mins of long string tillering on the tiller tree the bow can be strung at a 6” brace height.

The left limb in the picture above is the bottom limb and is slightly weaker than the right limb which the top limb. I shoot split fingers so want this bow to finish out with an 1/8″ – 1/4 ” positive tiller. This was opposite to what the bow was doing at brace so I needed to reduce to top limb to swing the balance the other way. This is fine though as at this point, the bow is still quite heavy. I’m a short drawer so I’m aiming for 50lbs at 26”. At the minute I’m still getting 50lb at 22” so I spend an hour carefully reducing the weight of the top limb and tickling away at any stiff spots overall.

Bow unstrung after tillering to 53lb @ 26″

I’ve now got the stave down to 53lb at 26″ on the tillering tree. The extra 3lbs will likely come off as the bow is fine tillered and sanded after being shot in. both strung and unstrung I’ve got a really nice even balance of reflex in the handle and tips combined with a nice bit of mid limb deflex. The flicked tips haven’t pulled out and the string alignment is still just slightly biased towards the left side of the bow which for me as a right handed shooter is perfect. No signs of chrysaling anywhere on the belly and no splinters to be seen on the back. Time to get a handle wrap on and shoot her in.

A scrap piece of buckskin leather will do for now.

I always shoot a couple of hundred arrows through all of my unfinished bows before sanding and finishing. I’ve learnt that a bow which has been meticulously tillered on the tillering tree will move considerably through actual shooting. After two hundred shot you know what you have. I then recheck my tiller and adjust accordingly.

Happy with the final tiller it’s time to finish this bow. I start with 120 grit followed by 200 grit followed by 000 wire wool.
Next I wet the whole bow down with plain water to raise the grain.
After a day to dry thoroughly the grain gets hit back down with 000 wire wool.
Then its on with an oil based stain and many coats of Truoil to finish.
 

The finished bow can be seen here: https://southmoorbows.com/character-field-maple-deflex-reflex-selfbow-50-26/
 
Until next time!

4 Secrets to Making Your Best Antler Bow Tip Overlays

The Antler series Part 2

I love using deer antler for tip overlays on primitive bows. Not only does antler function well as a material for tip overlays, it also looks amazing. And given that primitive bow hunters both past and present have relished the opportunity to hunt deer, it seems fitting that a material from such a prestigious quary species should be used to enhance and embellish a primitive bow.

In this article I’d like to share my 4 most important principles to making beautiful, functional and efficient deer antler tip overlays.

For this project, you will need the following tools, materials and equipment:

  • An unfinished bow stave without nocks already fitted.
  • Suitable sized pieces of deer antler cut from the coronet end of an antler.
  • A wood saw with small to medium sized teeth.
  • A rasp/coarse file/belt sander.
  • Titebond III wood glue.
  • Spring clamp.
  • Vice.
  • Wet kitchen towel.
  • Tile saw (optional).
  • Chainsaw file.
  • Sandpaper 80/100/120 grit.

Principle # 1 – Select the right type of antler.

For the purpose of making deer antler tip overlays, you will not want to use a piece of antler which is full of the pithy porous honeycomb like structure that you will typically find in antler from sections anywhere other than the coronet end of the antler. Antler from the coronet end is very nearly solid all the way through. Antler from anywhere else is effectively hollow from all the micro holes. Maximise the strength of your antler tip overlays by ensuring that your overlay material of choice is solid, or at least as close to solid as is possible.

For this tip overlay project I’ve decided to use red deer antler. The piece on the left is the coronet end from a yearling red stag and is perfect. The piece on the right is cut from the middle of an antler and has the typical hollow, porous appearance. I’ll be using the piece on the left.

Principle # 2 – Achieve the basic shape and profile of your tip overlays BEFORE you glue them on.

Don’t be tempted to simply saw your antler into blocks and then glue then on with a view to shaping them later. Shape then first before gluing!

This antler has some nice features which, with care and planning, could be carried over into the final appearance of the tip overlays.

I often see people take a tip overlay material such as antler and simply glue a chunk of it to the tips of their bows. Once the glue has set, they will then set about shaping the overlay.

The problem I see with this method is that the desirable character of antler is mainly at the surface level. It therefore cannot be optimised for inclusion in the final shape and appearance of the overlay unless these characters conform to the desirable shape and profile of the finished overlay.

If a chunk of antler has simply been glued on to a bow tip before shaping, the shape of the chunk of antler will likely be nothing like what is required of the finished overlay. As the functionality of the overlay will take precedence over its beauty, optimising shape and profile will rank more important than aesthetic appeal.

The absence of appropriate shape and profile will necessitate the removal of the surface material. This will result in the removal of much, if not all of the surface material along with all of the desirable characteristics and features of antler.  

For example, if a chunk of antler with beautiful pearling is simply stuck on to a bow tip before shaping, the likelihood of that pearling remaining within the final shape and profile of the overlay after surface material has been removed is very low.

To put it another way, the amount of material which will need to be removed in order to obtain the final shape and profile of the overlay will have resulted in much of the antlers character being removed.

By shaping your overlay before gluing them on you will be able to optimise the inclusion of desirable features whilst prioritising the removal of unwanted material from areas which have undesirable feature. Examples of a desirable features might include the natural colours, shapes and pattern of pearling. Example of undesirable features might include the porous backside of the overlay or a plain spot which lacks any colour or features.

Once I have selected a good piece of antler I will select which part I want to use based on its appearance and its internal structure and integrity. The piece I choose to work with will then be ripped down the middle to create two equal albeit oversized slabs of antler.

The pithy middles of the pieces in this picture is minimal and will be ground away as the profile is finalised leaving behind solid antler for maximum overlay strength. By prioritising the removal of material from the back of the overlay I will be able to retain as much character from the upper surface as possible.
Here I’m using my Shinto rasp to flatten the sides of my overlay pieces so that they are easier to grip in the vice. By doing this first I will be able to secure each overlay well enough to rasp away the undesirable portions of material whilst retaining and incorporating the desirable features into the final design.
Rasps are useful tools when it comes to shaping antler. Rasps remove material fast and efficiently so are ideal tools for achieving the basic shape and profile requirements.
Basic face width ready to be reduced into the basic shape and profile.
Now that I can grip the pieces in the vice, I can work on using my rasps to shape the basic top profile. I want to retain some of the colour and pearling whilst at the same time achieving an efficient design.
By mounting the Shinto rasp in the vice, I can grind the antler pieces against the cutting face and shape the face of the overlay with ease. This method helps keep everything nice and flat.
Basic rounded top profile achieved. Note how I have retained enough of the dark brown colour to contrast beautifully against the ivory cream colour of the exposed underlying internal antler material.
Now I’m switching my attention to the back side of the overlay. This is where the bulk of the waste material will be removed from. This will facilitate the creation of the classic wedge-shaped taper which enables a beautiful, natural and functional transition from the overlay to the back of the bow.

It is important that the angle of your overlays taper is nice and low. I aim for around 10 degrees. This will allow for easy stringing of your bow. If you choose too steep an angle, you will find that when you come to string your bow, the string loop meets the transition to the overlay and comes to an abrupt halt rather than slipping smoothly over the overlay and into the string groove.

Here I have gripped the top end of the overlay piece in the vice so that I can rasp away at the underside of the overlay to produce the basic wedge shape. I have pushed a scrapper in underneath the bottom end of the overlay in order to stop it from getting pushed down into the jaws of the vice as I apply top-down pressure from the rasp.
Here I am finalising the wedge shape and thickness. By simply dragging the overlay towards me across the fine face on the Shinto rasp I can rapidly remove excess material from the underside of the overlay piece. Used this way the Shinto rasp is a great tool for creating a perfectly flat base. This makes matching the overlay to the back of the bow tip much easier later on.
A final functional wedge shape has been achieved whilst retaining maximum aesthetic appeal. Notice how the small amount of porous pith that was previously visible has now gone. I’m now just left with solid antler which will maximise the strength of the overlay. If I’d chosen a piece of antler from further up the antler then the pithy middle would still remain a considerable part of the overlay and would therefore compromise the structural integrity of the overlay once the string groove was cut in. The retention of the pith would likely result in a break at the string groove at some point in the future.
A view from on top. You can see that this overlay has been left much wider than it needs to be. This excessive temporary width is helpful at this stage and throughout the gluing stage. The final width can easily be achieved once the overlay is secured in position.

Now that the basic shape and profile is complete, there will be very little work to do to the top of the overlay after it has been glued on. Since there will be no need to take any more tools to the top of the overlay, the risk of damaging the back of the bow where the overlay transitions to wood is reduced significantly.

Principle # 3 – Create the strongest bond possible.

A bow is only as strong as its weakest point. Any joint is likely to be a weak point. With that in mind it is critical that all joints be made as strong as is possible.

Your bow string will sit directly on top of your tip overlays and receive the full force of your bows draw weight. Any torque will be felt by the tip overlays too. It is therefore imperative that the bond which you establish between your tip overlays and the back of your bow is made as strong as possible. We can maximise the strength of our tip overlay joint by ensuring three things have been attended to.

Firstly we must maximise the contact surface area between the components which are to be joined. In this instance we are talking about the roughly shaped overlay being jointed to the wooden tip of our primitive bow.

By making sure that your tip overlays are at least 1” long we are providing adequate surface area to create a large enough contact area to create a strong enough bond. Personally, I like to make my overlay a little longer than this and typically make my overlays between 1 ½” and 2” long. On static tips you could make your overlays even longer of course.

Let us assume we have made sure that our tip overlays have a contact surface area which is at least 1” X 3/8”” wide. Now we must optimise the contact between the two surfaces by making sure that the two faces to be joined together are as well fitted to one another as is reasonably possible.

Creating a flat surface on the limb tip to optimise the fit between the overlay and the back of the bow tip.

By flattening the stave tips ready to receive the overlays we can begin to check how well the two surfaces match up. I like to take my time here and make sure that the two contact surfaces meet up perfectly before gluing. Don’t rush this part. Take the time to make sure that the two surfaces match up without any gaps.

Go careful when you start to flatten your bow tips. It is easy to get carried away and compromise the growth ring which forms the back of your bow. If this happens beneath your overlay, then it will not be an issue as the overlay will distribute the stresses back to the outer growth ring.

If, however, you accidently cut through the growth ring on the back of your bow ahead of your overlay then you will likely break the whole tip off your bow when you come to draw it. Always make sure that the transition from bow back to overlay occurs on the actual growth ring which makes up the back of your bow.

Once the rasp has levelled the tip and the overlay has been tested for fit, sand out any tool marks so that you do not have to try and removed tool marks after the overlay has been fitted.
Once both surfaces are matched up perfectly and all the tool marks have been sanded out of the back of the bow tip, don’t waste any time getting you overlays glued up and clamped.

Wood absorbs glue much more readily when freshly exposed wood cells make up the surface layer to be glued. If you leave your prepared bow tips for any amount of time then, the freshly exposed surface layer of the wood will lose some of its ability to soak up the glue. Freshly exposed wood is hydrophilic. However, even after a short amount of time has lapsed, the exposed wood surface soon reverts back to being somewhat hydrophobic. So, get you bow tips and overlays matched up and glued up ASAP for the strongest possible bond.

Stave tips ready for sizing up with TBIII.

The second thing to consider when trying to create the strongest possible bond is which adhesive to use. I’ve tried all kinds of adhesives over the years but always find myself coming back to Titebond. I’m currently using the MK III stuff and am happy to report that it really is a great adhesive for gluing most natural materials to wood.

TBIII applied liberally but only on the contact areas.

If you are planning on using a stain on your finished bow then try and avoid getting glue anywhere other than the contact surface of you overlay area. Any glue that gets on the back of your bow will get soaked into the surface layers of the wood. This creates an impermeable layer which can prevent the absorption of stains at a later date. If this happens then you may need to intervene in order to avoid unsightly patches of unstained wood. You may have to scrap/sand away the upper layers of wood cells from affected areas in order to allow a stain to penetrate evenly across all parts of the bow.

I always like to glue up both contact surfaces. I also make a habit of leaving both glued surfaces to soak up some glue before positioning the two surfaces together for clamping. I believe this “sizing up” habit allows more time for the freshly exposed wood cells to suck up more glue. In fact, with wood that has been dried down to below 10% moisture content, it is often the case that more glue needs to be added after 5 minutes of sizing up. This is because much of the glue will now have been sucked up into the wood emphasising the need for an additional application of glue before placing the overlay in situ ready for clamping.

The third consideration to be made in order to create the strongest bond possible is the method of clamping used to press the glued surfaces together.

Making sure the excess glue is wiped off whilst it is still wet. I use a wet piece of kitchen towel for this.

I find that if I apply significant compression to an overlay immediately after gluing up, all that happens is the overlay slips off the tip. To avoid this from happening, I only use slight pressure from a spring grip type clamp for the first 10 – 15 minutes of drying. This allows the glue to soak as deep as possible into the wood and start to grip the overlay into position. By doing this you will stop the overlay from simply slipping off the stave tip when the compression is increased to full pressure.

After 10-15 minutes I remove the spring clamp and insert the bow tip carrying the overlay into the jaws of my vice. From here I can crank up the pressure to make sure that the bond is really good and strong. The pressure which can be exerted from the vice will ensure that no gapes appear at the joint line. 

Be sensible with the amount of pressure applied to the overlay/bow tip and use something reasonably soft as a packing material to protect the bow tip and the overlay from damage from the metal jaws of the vice. I use scraps of leather for this purpose.

Here is the bow tip with the glued-up overlay in situ, set in the vice to cure under pressure. I leave it set up like this in the vice overnight.

I’ve never had an overlay come off when the join has been prepared, glued and clamped it the manner described above. The same can’t be said for the common practice of using superglue and a spring clamp!

Principle # 4 – Maximise strength, minimise mass, emphasis beauty.

After at least 6 hours of drying time, you should now be able to finalise the shape and profile of your tip overlays. Before you grab your tools and start working on the final appearance of you bow tips and overlays, take the time to ensure that the strength of your overlays will not be compromised by their final design.

The maintenance of strength needs to be given priority. A broken tip overlay is a significant repair at best, a broken bow at worst. Very fine bow tips are very popular these days but as tempting as it may be to reduce the width of your tip overlays to the bare minimum, antler is quite brittle and can snap under load if reduced too much.

An overstressed antler tip overlay will typically break at the string groove. To mitigate against this, I like to leave at least 5mm of material in the string groove. In order to achieve this, I find that an antler tip overlay needs to be at least 7/16th” wide and 3/8th”thick. I also like to leave the bottom overlay bluntly tipped because the bottom tip is always more likely to get knocked than the top tip.

Whilst you could leave your overlays much wider and thicker than this, by leaving excessive material at the tips you will be leaving unnecessary mass in the very tips of your bow. This additional mass will affect the performance of your bow albeit in a very subtle way. If maximising speed and minimising hand shock is important to you then aim to achieve a final shape and profile which reduces mass to a minimum whilst preserving strength.

Beauty is in the eye of the beholder. That said, long thin antler tip overlays are very easy on the eye. Especially if a suitable amount of antler colour and pearling has been retained during the shaping process. Play with a few different shapes and profiles and see what works for you.

After a night to dry I work the tips down to a basic profile with rasps, files and 80 grit sandpaper. The top tip will be pointed and the bottom tip will have a slightly more blunted appearance as a hedge against knocks.
Filing out the rasp marks once the basic shape has been achieved.
The bottom tip overlay ready for string grooves.
The top tip overlay ready for string grooves.

Note that I will often leave both tip overlays oversized until after tillering is complete. Then I will refine the shape and profile to suit my overall bow design and appearance.

I use a tile saw to cut the initial tillering string groove on antler tip overlays as it removes material fast and accurately. Once tillering is completed, I’ll finish off the string grooves with a chainsaw file and sandpaper.

I like quite fine tips on willow leaf shaped limbs. These overlays are on a bow with some character. Since these particular limb tips are angled out due to the naturally curved out limbs, it was necessary to carry the string groove around the sides of the overlay to ensure that the string did not slip off the sides. This can happen on crooked limb tips which only have a groove cut across the face of the overlay.

Finished antler tip overlay (bottom nock). Note the rounded profile I’ve gone for on this lower limb nock. This design is simply to minimise the effects of a potential impact with the ground.
Bottom limb tip overlay viewed from the side.
Top limb tip overlay. Since this overlay will be less likely to impact with the ground etc I’ve gone for the more typical pointed profile.
Top Limb tip overlay viewed from the side.

So to recap, before you embark on your next antler tip overlay project, be sure to take the time to:

Select the right type of antler first. Then make the effort to achieve the basic shape and profile of your tip overlays BEFORE you glue them on. Work through the steps necessary to create the strongest bond possible. And finally finish your overlays in a way which is guaranteed to maximise strength, minimise mass, whilst emphasising the beauty of this magnificent natural material.

Until next time!

Sinew Bow String

11 Secrets to Making Your Best Sinew Bow String

The Sinew Series Part 4

In this article I’d like to share with you my 11 secret tricks and tips for making a high quality, functional and beautiful primitive sinew bow string.

For this project you will need about 1-1.5oz of fully processed and prepared sinew, although most of my sub 68″ sinew strings usually finish around 1oz in weight.

I have already covered the acquisition, preparation and processing of sinew ready for use in bow string making in two previous articles. You will find these articles here:

The Sinew Series Part 1: https://southmoorbows.com/the-sinew-series-part-1/

The Sinew Series Part 2: https://southmoorbows.com/the-sinew-series-part-2/

Tools needed:

  • Something to act as a weight which you can tie your finished string to (bucket of water/kettle bell etc.
  • A strong hook/nail/screw etc, fixed aprox 7-8ft off the ground.
  • A couple of G clamps.
  • A sink or medium sized bowl full of water.

Regarding your work environment, you will want to build your sinew bow strings in a dry place which has a reasonably clean floor to prevent your sinew from getting wet and dirty during the building phase.

Tip One:

Build your string from dry sinew. Some primitive bowyers like to build their sinew strings from wet sinew. Personally I find it much harder to get the right sort of tension into the twist required to produce a good strong reverse twist string when the sinew is wet. Dry sinew is so much easier to grip between your index finger and thumb when applying twisting pressure, so nowadays I build all my sinew strings with dry sinew. We will discuss the soaking of the finished string later in this article.

1-1.5oz of dried deer leg sinew should be plenty to make a bow string long enough to fit a 66″ bow.

Tip Two:

Initially build your top loop one third smaller than you would like it to be once fully stretched and dried. Once you have finished building your string, you must stretch it. Stretching is done after soaking the string and by adding a weight to the end of the string. The string will then be hung from a hook until it is completely dry. The wet string will be under load from the added weight and the whole string including the loop will stretch considerably during the drying process so if you make your loop the required size before soaking and stretching, you will end up with a loop which is much larger than you would like.

Soak you string in warm water for a couple of hours before stretching.
This top loop initially looks small but will stretch out by up to a third in size so start out by building your top loops slightly smaller than you would like them to finish out.

Tip Three:

Build your dry pre stretched string to be one third thicker than your desired final thickness. I aim for a finished sinew string thickness of no less than 4-5mm (3/16”). A 4-5mm thick fully stretched and dried sinew string will cope adequately with bows weighing up to 70lb draw weight. Once you are up above this weight then a minimum thickness of 5mm would be your target. Since most of my bows are sub 60lb draw weight, I aim for a finished string width of 4.5mm which means starting out with a string 6-7mm before soaking and stretching. A 6mm dry unstretched/unsoaked string should finish out about 4.5mm after a good soak and stretch and plenty of time to dry thoroughly.

This finished Sinew bow string measures 4.4mm thick and has served a 50lb bow well for many years without showing any signs of failing.

Tip Four:

Splice in fresh strands of sinew by placing the new strands across both halves of the string as illustrated in the picture sequence below. Aim to add in a fresh piece of sinew after every two twists. By splitting an equal amount of sinew across both halves of the string before twisting it in you will splice in an equal amount of sinew into both halves of the bow string. This will maintain an equal thickness between both halves of the string throughout the entire build. This method of one fresh piece of sinew laid equally across both halves of the string every two twists produces a very uniform thickness of string along the entire length.

Place a fresh strand of sinew across both halves of the string.
Now twist each halve of the new piece of sinew into whichever half of the bow string it lies across.
Then use a normal reverse twist rotation to bring both halves of the string together. Every two twists, add another piece of fresh sinew. Continue like this through the entire build.

Tip Five:

Do not let any thin spots develop. If you follow the splicing method detailed in tip 4 then you should not end up with any thin spots however if you do things differently and notice a thin spot then stop building your string and back up. A bow string is only as strong as the weakest point. If you have a noticeable thin spot then that spot will be significantly weaker than the rest of the string. Even if it means undoing a substantial section of your string to get back to your thin spot you must fix it before you proceed any further. Take the time and effort to fix thin spots with extra splices of sinew as soon as you notice it. You will never have confidence in a sinew bow string with a thin spot. A broken sinew string is scrap. Given the time and effort required to build a good sinew string, go the extra length and fix thin spots before they fix your string to the bin!

Tip Six:

Perform your reverse twist from a hook or some other means to secure you top loop. I secure a bolt in the jaws of my vice and hook my string loop over the bolt. This enables me to use both hands to twist both halves of the string at the same time (see pic below). Many good sinew strings are made with a reverse twist performed with one hand pinching the built section of string and the other hand performing the twists. Personally however, I find that by hanging my loop from a hook I can now twist my string up with both hands. This allows me to apply significant and equal twisting pressure to each half of the string. This produces a very tightly twisted string which has a very equal appearance. Because the string is hanging, I also find that I can pull hard of the string at the same time as applying the twists which also aids in keeping the twisting tension equally distributed across both halves of the string.

Performing a reverse twist with both hands allows the creation of great tension and twist in your bow string.
Splicing in a new piece of sinew. Notice how the new piece is laid equally across both halves of the string.

Tip seven:

Initially build your dry string no longer than the approximate length of your bow nock to nock. Your dry string will stretch by as much as 6 inches after it has been soaked and weighted. If you make your string longer than the bow you intend to use it with then you will end up with a string much longer than is required to produce a bowline/bowyers knot suitably positioned to brace your bow appropriately. This excess length ends up getting cut off or wrapped around the bow bottom nock which is wasteful and unsightly. 6 inches of surplus sinew string can also add enough weight to your bows bottom limb tip to throw out the timing of you bows limbs.

A Bowline knot works well with a sinew string. Note the minimal tag end length.

Tip eight:

Stretch you soaked string with as much as 10kg of weight. Make sure your weight stays off the floor so that it is hanging freely throughout the entire drying process. Keep an eye on you weighted setup as your string slowly stretches out. You will likely find that your sinew string weight slowly drops to the floor, especially during the first couple of hours of stretching. If you start out with 3 inches of clearance between the ground and your weight then after 2 hours of stretching you weight will likely be on the ground. Keep the weight clear of the ground by raising the height of your hanging point as necessary throughout the entire stretching and drying process. Your weight should still be well clear of the floor 24 hours later by which time your string should be fully dry if left in the right air-drying conditions.

I stretch my soaked sinew strings with a 10kg kettle bell attached to the tail of my string via a couple of G clamps.
I use a hook over a door frame to hang a short string from for stretching and drying a string post soaking. A longer string might need a higher hanging point in order to keep your weight well clear of the floor.

Tip Nine:

Spin you wet string up with 30 twists before weighing it for stretching and drying. By inducing extra twist into your string during the stretching phase, when you sinew string is still wet, you will maintain a nice tight even pattern of twist throughout the entire length of your string. Remember that your soaked and weighted string will stretch in length considerably whilst drying. This addition of extra length has the effect of diluting the initial twist you created when building your string with the reverse twist method previously shown. The extra twists now spun to your hanging string will compensate for the loss of twist which results from the stretching phase. If you notice that the coils of twist in your string are still pulling out during the stretching phase, then simple keep twisting up your string via spinning your weight until your string coils look nice and tight again. Continue to monitor the twist as the stretching and drying phase continues through to completion.

Tip Ten:

Brace your weight so that the twist does not spin back out. You will notice very quickly that after spinning your chosen weight 30 times, the newly applied string twist will want to spin your weight back the other way to undo not only the twist which you have just spun in, but also the initial twist that was achieved through the reverse twist building phase. Prevent any spin back by bracing you freely hanging weight so that it physically cannot spin back on itself.

Tip Eleven:

Leave your string to fully dry before removing from the stretching hook and weight. If you become impatent and remove you sinew string from the drying/stretching hook before your string is completely dry then you will have a string which will continue to skrink in length not thickness. You will end up with a plump string which might end up drying out too short for your bow. In adition to these issues you will also notice that your string will have lost much of the twist that you put in because, as the string continues to dry, it will uncoil without any mechanical means to prevent the string from untwisting. The resultant string will retain a great deal more elasticity than a properly stretched and dried string. this increased elasticity will dramatically reduce arrow speed when you finally come to shoot the bow which has been fitted with your new string. I’ve seen bows suddenly lose 10+ ft/sec when shot with poorly stretched sinew strings. This is invariably the result of increased mass and elasticity brought about by a string that has been allowed to shrink up in length as opposed to thickness.

This string is now fully dry after 24 hours of indoor air drying. Note the amber colour of a completely dry string.
Trimming tag ends off after the drying and stretching phase has been completed.

Tip Twelve:

Once your string is fully dry and all the tag ends have been trimmed off, Keep your string dry at all times. If you are intending to use your sinew bow string outdoors in a climate like ours then, keeping your string dry is not quite as simple as some might think! The best mitigation measure for a sinew string getting wet is to treat your finished string with a water proofing agent. I achieve this result best by treating all of my sinew bow strings to a good rubbing down with a bow string wax. Whilst this could be done with a modern string wax made from bees wax plus additives, I personally prefer to use a homemade string treatment composed of the same natural materials that our ancestors would have used. vigorous rubbing helps to melt the wax into the string improving the water proofing effect of the wax.

In a future article I will detail how you can make your own string wax which doubles well as a natural wood sealer too.

Until next time!

13 Important Characteristics of Antler That Every Bowyer Must know.

The Antler Series Part 1

Deer antler is a material which has been used by man in primitive arts and crafts for many thousands of years. In fact, deer antler has been used both as a raw material, and as a tool, to make all kinds of primitive artefacts.

Deer antler is a versatile material. It has qualities which lend itself to promoting its use in the construction of tools and equipment. And as far as primitive archery equipment is concerned, antler adds both functionality and aesthetics to bows, arrows and many other associated items.

Personally, I love using deer antler as a natural material for building primitive archery equipment. And by using an authentic raw material such as antler, we primitive crafters are very much in keeping with tradition.

Deer antler presents an element of symbolism too. Antler is a well-recognised representation of nature. Deer are truly wild and majestic creatures, honoured throughout time, and respected by hunters the world over.

It is certainly fair to say that our primitive archery ancestors (as well as many contemporary archery hunters for that matter) pursued deer as a prized and challenging target species. It therefore seems appropriate to adorn a primitive bow (or even a modern traditional bow) with a functionality promoting, and decorative material sourced from one of the very creatures which inspired man’s most notable primitive hunting innovation – archery.

But before you race out to incorporate deer antler into your next primitive archery build, there are some things you must first consider. As with all materials, deer antler has some pros and some cons. Before committing to using antler as your material of choice, first you should be aware of what antler does well and what is does not do well.

This article discusses 13 things you should first know before embarking on a project using deer antler. First, we will discuss the upsides!

Pros:

1 – Antler is easy to source: Deer antler is easily available. It can be readily purchased in pet shops as dog chews, and it can also be bought online and at game/countryside fairs etc. Ebay has any amount of deer antler available throughout the year so getting hold of some should not be a challenge. I also stock and sell a wide variety of different sizes, shapes and colours of antler so if you’re in the UK, give me a shout via the contacts page if you would like to discuss your antler needs with me.

2 – Antler is easily worked with wood working tools: Deer antler is soft enough to be worked with high carbon tool steel, which is what most rasps, files and saws are made from. Common abrasives such as sandpaper, wire wool etc also work well as a means to finish antler. This means that you won’t need to buy extra tools, materials or equipment to work with antler. You will find that you will get by perfectly well using many of the tools that you already have for general woodworking. The only exceptions being bladed tools such as knifes, chisels drawknives and axes which will dull very quickly if used on antler.

Most saws, files and rasps as well as most abrasives work well on antler.

3 – Antler is aesthetically pleasing: I think deer antler is beautiful. It’s just plain nice to look at. It also has that wild rustic appeal to it which aids in generating the character that primitive bows are renowned for.

The contrast in colour between the browns and creams of the antler stand out from typical wood colours making it an ideal decoration for bows. Wooden bow tip and riser overlays made from deer antler look amazing!

Red Deer Antler used as a tip overlay on a sinew backed yew character recurve.

4 – Antler is hard enough to avoid string wear: Antler is harder than wood and therefore does not suffer from bow string wear. This is another reason why deer antler makes a great material to make bow tip overlays from. For the same reason, antler also makes for a good choice as an arrow rest or as a material for an inlayed arrow pass.

The coronet of this roe deer antler is about 1″ 1/2 in diameter. Note how it is the perfect size and shape to make an arrow rest which could be shaped and glued onto the handle of a primitive bow.

5 – Antler works well with most glue: Antler is usually added to a work piece with a glue being used as the binding agent. Antler can be stuck to other natural material such as wood and sinew very easily using regular wood glue, epoxy and superglue. My favourite glue to bond antler to wood and sinew is Titebond III.

This antler tip overlay is being glued on to a maple longbow tip with Titebond III, which creates a super strong bond between antler and wood or sinew.

6 – Antler is weakly porous: There have been times when I have wanted to stain a bow which has antler components built into the design, but I’ve not wanted the antler parts to take on the stain intended to alter the colour of the adjacent wood. Finely sanded and polished antler is only very weakly porous. This means that it does not readily take up a stain into its surface. This makes it easy to remove stain from polished antler. If I get stain on a tip overlay for example, I simply wipe the stain off with some kitchen towel dipped into acetone. This will bring the antler right back to its natural colour state.

Elm longbow stained dark Jacobean. Whilst the stain penetrates the wood, it is easily wiped off the antler tip overlays, which allows the antler to remain light in colour preserving its ability to contrast against the darkened wood.

7 – Antler is strong in compression: Tribes from various parts of the world have used antler as the main structure of their bows for millennia. These bows were either backed with a heavy sinew application or they were supported in tension with sinew cabling. Our ancestors knew that the compression strength of antler was effective at creating an efficient and effective bow belly.

Cons:

8 – Antler can be expensive to buy: Depending on where you source it, it can be costly to stock up on some decent antler. I frequently see antler being offered for sale in pet shops and on the internet for silly money. Ebay will likely be the cheapest place to buy antler. Country fairs often have buckets full of antler on sale priced per piece for reasonable prices too.

If you have a particular use in mind for a piece of antler, then you really should lay your hands on a few different bits first so that you can be sure that the bit you choose will serve the intended purpose before you part with your cash. At least a bucket full of antler gives you a chance to pick out the bit that suits your purpose best.

I sell premium quality antler on a piece-by-piece basis for a very reasonable price. If you would like to buy some then contact me through my contact page to discuss your particular requirements.

9- Antler can vary considerably in its appearance from one piece to the next: The external structure of the antler, in combination with the vegetation type of the area inhabited by the deer, dictates the colour of the antler. This is why some antler is darker than other pieces, especially when antler is compared to other antler belonging to animals which live in completely different areas.

The time of year which the antler departed from the deer will also influence the amount of staining and subsequently, the colour of the antler. Male deer grow a new set of antlers each year. This new antler growth occurs under a thin membranous tissue called velvet. Once their antlers are fully grown the velvet covering dies. As the dying velvet peels away from the hard antler beneath, the exposed antler is white in colour with a structure and appearance of bone.

As the season progresses the deer clean off the rest of this dead velvet by “fraying” their antlers against vegetation in their surrounding area. This “fraying” activity is what colours up their antlers. If male deer didn’t fray vegetation, then their antlers would stay white.

The dark brown colour that you see on antlers is from the sap and dirt from countless fraying sessions. So, with this is mind, the vegetation type in the locality of the deer will influence the colour and the darkness of deer antler. And if a piece of antler was removed from a deer shortly after cleaning of its velvet, then the antler may not have had much time to be coloured up through fraying.

Antlers acquired early in the season will be much lighter in colour than antlers taken from deer late in the season. Especially after the rutting period which is when deer spend vast amounts of time scrapping their antlers against anything and everything!

2-year-old Red Stag antler from a stag taken in late Autumn. This antler is nice and dark due to plenty of fraying of local vegetation. If this stag had been shot in late summer, it would be much lighter in colour. This antler would produce sections of its main beam which are perfect for bow handle/fade veneers.
Yearling Red Deer stag spike. The beautiful “pearling” at the base of this antler spike will lend itself perfectly to making a very attractive antler tip overlay or arrow rest/inlayed arrow pass.

10 – Not all parts of the antler can be useful for certain jobs: The appearance and usability of a piece of antler will depend to a large extent on the species of deer which it came from and the age of that animal. Remember that male deer grow a brand-new set of antlers each year. A young male deer will only grow a small set of antlers for the first couple of years of its life. Older animals will generally have larger antlers up until a deer gets too old in which case their antlers begin to reduce in size with each passing year. This old aging process is referred to as “going back”. Big antler therefore comes from mature but not old male deer.

If you take an antler and saw it in half lengthways, you will notice that the main beam was significantly honeycombed on the inside. Back down towards the coronets however is far more solid.

The honeycombed section is no good for tip overlays or arrow rests as the porous parts are much weaker than the solid parts. These porous areas will crush under compression. If you are planning on making your bow tip overlays or arrow rest from antler, then use the solid section down at the very bottom of the antler by the coronet.

Antler coronets (bottom end) – note how this section is solid looking.
Sections cut from the rest of the antler. Note the weak honeycomb centre.

11- Antler does not take up stains/colours well: If you actually wanted to stain your antler a darker or different colour, then you will find that most regular stains will not impart and significant change to the appearance of antler. The outside of antler is not permeable so will not allow a stain to soak in deep enough to have any real affect. Anything that you apply to antler will merely remain on the surface so will likely wipe off if you apply a solvent type of sealer to finish your project.

12- Antler is weak in tension: Antler will break when exposed to tension forces unless it is supported by a strongly elastic material like sinew. This is why bows with limbs made from antler were backed with sinew, either glued on in layers as is conventionally done, or by supporting the back of the bow with sinew cabling as done by the likes of Eskimo and Inuit people.

13- Poor flexibility can make antler behave brittle: Don’t expect antler to bend much on its own. Bending forces along the tension plane can cause antler to snap, especially if the solid outer surface of the antler has been compromised through working with tools.

A classic example of this tendency to break is sometimes witnessed on bow tip overlays. The break happens where the string groove has been filed into the overlay and the usual cause of the break is a heavy impact on the tip of the overlay caused by a bow being dropped.

Another cause of tip overlays breaking at the string groove is as a result of using overlays which are very long and are fixed to a working section of the bow limb tip. The bending of the tip presents a bending force to the overlay which results in a break at the weakest point which is always at the string groove. Static tips prevent this issue.

String groves are weak points on antler tip overlays. Make sure the bow tip under the overlay is not a working part of the limb else the overlay will break at the string groove when the bow is flexed.

So, there you have it. Now that you are aware of some of the main benefits and pitfalls of using deer antler, see if it’s time to incorporated antler into your next primitive archery project!

Until next time!

11 Steps to Making Your Own High Quality Sinew Glue

The Sinew Series Part 3 – Sinew Glue

In the previous two Sinew Series articles we went through the various processes of sourcing, extracting, drying and processing deer leg tendon into usable sinew material which you can use for your next primitive archery project. If you haven’t yet read these previous two articles, then you can find them here:

Sinew Series Part 1: https://southmoorbows.com/the-sinew-series-part-1/

Sinew Series Part 2: https://southmoorbows.com/the-sinew-series-part-2/

If you have followed along through these first two articles, then by now you will have a nice pile of perfectly prepared sinew material which will be pleading with you to find a permanent home for it!

If your intention was to use your sinew for making cordage/bow strings etc then you might need to wait until the next article where I will cover making strings from leg sinew. If, however, your intended use for your carefully processed sinew is to back a bow then you will next need some hide glue, or better still, sinew glue.

In this article I will show you how I make my own sinew glue.

I’ve messed about with “animal glues” for several years only to conclude that simple sinew glue is strong enough, flexible enough and easy enough to make for it to be my go-to adhesive for many primitive crafting projects. It’s a good all-round glue for sticking things to wood, including sinew.

Sinew glue is also great for sticking down leather, rawhide, fletchings, wrappings, points etc although I think that pitch is a better option for arrow construction for reasons which we will discuss in a moment.

I’ve personally never tried to use sinew glue for bone/horn/antler tip overlays etc so I don’t know how well it would bond to these semi porous materials however I’m sure it would probably work well enough, as long as the glue joint was kept dry and away from high humidity.

On the subject of moisture, we should discuss the weaknesses of sinew glue before trying to use it for everything. Moister is the enemy of all animal glues, including sinew glue. I can’t imagine sinew glue, or any other type of animal glue, having much application in a very wet or humid climate unless the exposed sinew glue has been very well sealed from moisture.

The downside to sinew glue, and all animal glues for that matter, is that they are very water soluble. Unlike pitch, without some kind of water proofing, all animal glues will begin to dissolve if exposed to water or even just high humidity.

Making any animal glue also requires a bit of time and effort, however it is not at all difficult to make, and the time factor is mostly as a consequence of the cooking process which requires minimal input once cooking commences.

Nowadays I only really use sinew glue for sinew backing and for that purpose it is excellent. I seal all of my backed bows and keep my bows in an indoor environment which has very consistent temperature and humidity so I never have to worry about moister ingress damaging any bonding achieved through the use of sinew glue.

Many primitive bowyers report better shrinking and subsequent reflexing of sinew backed bows when sinew is bound to the back of a bow with sinew glue rather than hide glue. Personally, I haven’t experienced much difference between hide glue and sinew glue in this regard.

The main reason I tend to use sinew glue over hide glue is that I’ve always had a surplus of sinew scraps and sinew rich tendon sheaths at my disposal. Since after processing out all my sinew I end up with all this scrap material anyway, I might as well make use of it and make it into sinew glue.

One thing I will say is that the purest, cleanest and possibly strongest sinew glue is made from pure clean sinew minus all the chaff and connective tissues which often ends up in the pile of sinew scraps. All this none sinew chaff gets created when the pounding and splitting of dried tendons take place.

Tendon sheaths also contain a lot of fasciae and other none sinew connective tissues too. Some of this none sinew material contains little to no collagen so will provide no real benefit to your glue. It is the collagen content that makes sinew and hide glue a strong, flexible adhesive.

As with hide glue, the less fascia/connective tissue/muscle tissue that ends up in the sinew glue the better the purity and corresponding quality of the final glue product. All that said though, for our purposes, small amounts of contamination don’t appear to reduce the strength of the final product by much. So don’t be afraid to cook up your scrap tendon sheaths whole. I’ve never noticed any measurable reduction in a glues performance even when I’ve known the glue to be full of impurities.

Dried deer leg tendon sheaths make great sinew glue.

Hide glue is a great alternative to sinew glue and the making process is essentially the same. The only thing to consider is that the raw hide which is required to make hide glue requires processing first. Making rawhide is a lot of work, whereas sinew glue can be made from all the sinew scraps and tendon sheaths.

If I’ve been processing a pile of sinew to back a bow, then I will have already created a bunch of tendon sheaths and sinew scraps as a by-product of all the tendon processing. Which I’m going to be doing anyway hence the need for a backing glue in the first place!

So on with the program, let’s make some sinew glue. First you will need the following materials/equipment:

  • 2 0z of dry sinew scraps or a dozen dry/raw tendon sheaths (see sinew part 1 article).
  • A slow cooker/crock pot with a low setting (approx. 85- 90℃)
  • One litre of water.
  • Tubs/jars for glue storage.
  • A dehydrator (optional).
  • A blender/coffee grinder (optional).

Step one:

Place your dry or raw sinew scraps/tendon sheaths and the water into your slow cooker/crock-pot. Make sure that the temperature which you set your slow cooker to is less than a simmer. If the sinew is boiled, then the collagen proteins, which give sinew glue its strength, will break down reducing the strength of the glue considerably.

A small amount of very gentle bubbling around the edges of you cooking pot is fine but a simmer is definitely not. A rolling boil will completely destroy your glue so be warned!

Approx 12 deer feet produced this much tendon sheath.

Step two:

Let the sinew slowly and gently stew for at least 12 hours. I don’t time mine, but I do leave it cooking at least overnight. I leave my slow cooker out in the garage as the smell of slow cooked sinews are not to everyone’s liking!

I use a small slow cooker. The low setting keeps the contents below a simmer which is perfect.

Step three:

First thing in the morning, lift the lid on your sinew stew and check the water isn’t simmering. If all looks good take a pair of scissors and snip your sinew scraps/tendon sheaths up as small as you can manage. This should be easy now that the sinew has had chance to cook the tendon sheaths down to a tender state. Cutting your sinew up will expose even more of the sinew’s surface area to the hot water further extracting the sinew’s collagen out into the cooking water.

Once you’ve snipped up your sinew nice and fine replace the lid and continue cooking for another three or four hours. Longer will be fine if you accidently forget about it!

Tendon sheaths all snipped up ready for a bit more cooking time.

Step Four:

Once your tendon sheaths/sinew scraps have had at least 12 hours of cooking, turn the cooker off and allow the sinew stew to cool for half an hour with the lid on. Your sinew stew should stay warm enough to move on to the next step but if you’ve left it too long and the mixture has gelled then simply warm it up enough to turn the mixture back into a liquid form. (Careful not to let it reach a simmer or worse still a boil!)

Step Five:

Your sinew stew should have a viscosity which is something like warm syrup. If it is very watery then it will likely need reducing a bit. This can be done by continuing with the cooking process with the cooker lid removed. It can also be done by drying the gelled liquid at a later stage. We will cover this later.

Place a metal sieve/colander over the top of a bowl and place both items in you sink. Pour the sinew stew into the sieve/colander and let the stew juice pour through into the bowl below. Remove the sieve/colander and dispose of all the bits which the sieve/colander has caught.

Pouring the juice through a colander to separate out the tendon sheaths.
I find a good squashing with a potato masher helps force some of the juice out.

Step six:

Now you will have a bowl full of relatively clean translucent light brown liquid. If it looks clouded up with tiny particles, then you could pass the liquid through a fine sieve or a muslin cloth to remove the last few bits of gunk.

Still looks a bit bitty!
I would typically expect one of these takeaway type tubes to be more than enough glue for a complete sinew backing project.

Step Seven:

Now test the gelling quality of your glue. If your glue gels well then it will make a good, strong and flexible glue. To test the gelling quality of you glue, take a teaspoon full of your glue and drip it onto a cold clean plate to form a small puddle of glue. Leave it at room temperature for ten minutes. After ten minutes, test how well your glue has gelled by pushing your fingertip into the edge of the glue puddle you made. If the viscosity of your glue has stayed the same then, ask yourself if the room temperature might be a little too warm to let the glue gel up.

If you feel that the ambient temperature is perhaps too hot to allow the glue to gel up, then place the plate into your refrigerator for another ten minutes then try the same procedure again. If your glue has now started to set up into a gel and can be pushed up into a ridge of jelly, then your glue is good.

Test the gelling quality of your sinew glue. Pour a spoon full of your glue onto a cold plate and leave for ten minutes.
After 10 mins try pushing up the edges of your glue puddle. If it has gelled up all is good.

Step Eight:

If your glue is gelling up fine, then the next job is to arrange your glue for storage. Pour your still warm liquid glue into a large enough tub, bowl or tray and leave to set into a gel. You may place it in your refrigerator if it is a hot day.

Once your glue has set up into a gel you can either freeze it if you’re planning on using it soon or you can dry it down to a solid form which can be rehydrated when needed at a later date.

This batch of glue has gelled up completely after leaving for an hour at a room temperature of 20℃

Step nine:

If you wish you dry your glue into a solid form for long term storage then take one of your trays of gelled glue and cut all the gel up into small cubes.

Spread the cubes out on a large tray and allow to air dry in a clean and airy location. This can take a few days depending on drying conditions however if you have access to a dehydrator then you can speed the process up by placing the gel cubes into shallow impermeable trays and drying them in a dehydrator set to the very lowest temperature setting.

Remember that heat will revert gelled glue back to a liquid so make sure that the tray which the gel is placed into is not likely to leak your liquid glue out into the inside of your dehydrator. With my dehydrator set at 38℃/100℉ I can get my gelled glue down to a thin sheet of solid glue in about 12-16 hours.

Step Ten:

Once your glue is in a solid form then you can store it like this, or you can take it one step further and break the sheet of dry glue up into pieces which you can then grind down into a powder using a blender or a coffee grinder.

I store my glue powder in glass jars kept in a cool dark place. Keeping the glue powder in glass jars keeps the contents from being eaten by rodents and insects, both of which will dine on your hard work with glee!

Be warned, rodents will also make a meal of your sinew and raw hide too so always keep these materials away from hungry critters. And by critters I also mean dogs!

Step Eleven:

To rehydrate your glue simply add enough glue powder to half a litre of hot water to re-create a viscosity which is akin to that of warm syrup. By “hot water” I mean at about the temperature which you can just about put your fingers into without getting burnt. Hot but not too hot!

Simply place two or three dessert spoons of your glue powder into your hot water and mix thoroughly.

Remember, you’re aiming for a consistency of warm syrup before application. If your glue is still too thick and you’re sure that your water is hot enough, then add more hot water. If your glue is too thin, then add more glue powder. If you do not have more glue powder, then you will have to slowly reduce the water content by warming your glue over a low heat until the viscosity looks right.

Just a quick note on working with all animal glues including sinew glue. If you are embarking on a gluing up project which might take a fair while to complete such as sinew backing a bow, you will need to keep your glue at a temperature of around 40-50℃ throughout the whole process. If you don’t keep your glue warm, then it will start to set up into a gel again. I keep my glue in a liquid state by placing my liquid glue in a shallow metal tray which I place on top of my oven’s plate warmer. This keeps my glue at the perfect temperature for application.

So there you are. Go and give sinew glue a try. If you only have raw hide at your disposal then follow the exact same procedure with good clean rawhide instead of sinew and you will produce very high quality glue fit for many of the purposes useful to a primitive archer.

Alternatively, if you can’t be bothered with making glue but want to get your hands on some ready-made glue then I do sell jars of dehydrated sinew glue powder. Give me a shout via the contact page if you’d like to buy some. I also sell by weight, dried red deer leg tendons which you can be processed into sinew. I also sell dried leg tendon sheaths for glue making if you wish to give glue making a go from scratch.

Keep your eyes open for one of my next articles where I will go into detail and explain how to go about taking your dried, processed sinew and your glue and backing a bow to produce the original primitive composite bow!

Until next time!

7 Important Steps to Processing Your Own Sinew (Guide)

The sinew series part 2 – Processing dry Sinew

In this next sinew series article, I’ll attempt to show you how to take the dry tendon material which we created in the previous article and process it into usable sinew.

If you’ve arrived here before reading Part 1 of the sinew series which can be found here: https://southmoorbows.com/the-sinew-series-part-1/ then it may be worth going and reading that article first. If, however, you already have a bunch of dry leg tendon material which you are eager to convert into something which you could back a bow with etc then read on!

Step 1 – Organise you tools and your environment.

First, three tool which you will need:

  • Hammer (most types will do)
  • Wooden stump/round of timber for anvil
  • Blunt knife, or strong thumb nails!

If you wanted to go totally old-school, then replace the hammer with a smooth rounded stone about the size of a large baking potato.

A quick note on your working environment. You want to keep your tendons, anvil, hands and your tools dry and clean at all times. This is not a job that you want to do outside in the pouring rain amid mud, dust and general outdoor detritus. Find a spot under shelter or at least pick a dry day and work in a dry, relatively clean space.

Step 2Pound your tendons:

The tough, hard, stiff, dry leg tendons which we made in the previous article will now need to be separated out into thin string like sinew threads. Before this is possible the tendons will need to be softened and separated enough so that the tendons can be pulled apart from one another. The simplest way to soften a dried tendon is to pound it. You don’t have to go nuts and batter the thing into oblivion, but they will need at least a looking at with a hammer or stone before you will be able to pull a tendon apart.

In all seriousness though, if you beat the living daylights out of your tendons then you will damage the stringy structure of the inner sinew. You will know if you have been too heavy handed with the pounding process as over beaten sinew will fall apart into short bits of woolly chaff as opposed to nice long strong stringy threads which are about the same length as the tendon was before you started pounding it.

I find that using a wooden anvil helps to protect the sinew from excessive damage. I only revert to pounding onto a metal or stone/concrete anvil when I’m trying to break up the ends of tendons which have the notoriously stubborn forks in them (read below for details).

On a similar note, if using a hammer as your pounding tool of choice, do make sure you strike the tendon square on. Don’t strike the tendon with the edge of the hammer as this will likely chop at the tendon damaging the inner sinew. What is actually desired is to simply soften the tendon up so that you’re then able to separate out the fibres which are currently entwined together.

Regarding using stones as your pounding weapon of choice, the same rules apply. Sharp edges on your hammer stone will destroy your sinew. Keep your hammer stone smooth and rounded. And if you do choose to use stone/concrete as your anvil, make sure this is also smooth.

Since we have already removed the outer sheaths from the larger thicker tendons, we have significantly reduced the work involved in breaking these tendons apart into usable sinew. If you have dried your tendons with the sheath left on, then you are in for a fair bit of extra work. Tendons dried with the sheath on will need a fair bit more pounding. The tendons used in this demonstration have been separated out from the tendon sheath before drying so minimal pounding will be required.

I prefer to use a hammer with no sharp edges and a timber round for pounding deer leg tendons.

Take one tendon at a time and hold it by the end. Start by gently pounding away at the middle of the tendon.

The middle section will generally be a little more rounded than the ends which is why I start the pounding in the middle. As I gently pound the middle of the tendon, I will roll the tendon in my fingers so that each hammer stroke makes impact with a slightly different face on the tendon, but in approximately the same section. This will start to break the fibres apart in this area. You may also notice the outer membrane begin to detach from the inner sinew.

Start pounding the tendon in the middle. Notice the colour change of the tendon. Unpounded tendons are amber, after pounding they go a cream colour.

Now, whilst continuing to rotate the tendon between your fingers, start to pound away from the middle up towards the end which you are not holding. What this will help to do is avoid creating a flat spot on the tendon.

Flat spots are often how the ends present themselves. These flat areas are difficult to strike at from the side. This makes it harder to break up the ends unless you work up to the ends from the middle. When you work up to the ends from the middle you will transfer the roundness of the middle up into the ends helping to break them up better.

Flat end made round by rolling the tendon whilst pounding up from the middle.

If the tendon you chose that you are pounding has a large fork in one end, then this fork will require a bit more work than the rest of the tendon. The fibres in the fork are interlocked which makes the separation process a bit more challenging. The fork is usually hard to strike at from the side too which adds to the difficulty of loosening this area up.

Just do the best that you can for now and if need be, you can always come back to the hammer again later if the fork fails to break apart once the pulling apart process starts.

The tendon fork is a particularly tough spot. Come at it from the sides as best you can. You might have to come back to it once the pulling apart phase begins.
Here you can see some of the outer membrane coming away.
Outer membrane removed.

Step 3 – Remove outer membrane.

Once you can see and feel that the tendon is softened and beginning to separate you can begin the pulling apart process.

If the tendon is one of the larger types, then there will be an obvious membranous material hanging half on half off at this point. Pull this away from the sinew. Don’t throw this membrane away as this is tendon fascia, and it contains quite a high amount of collogen. It can therefore be added to your pile of sinew scraps which don’t make the grade. All of these sinew scraps and tendon fascia make excellent glue. Save it all!

Step 4 – Begin to pull the tendon apart.

I generally start the pulling apart process at either the end without the fork, or in the middle. Whichever is the loosest. Try first to divide the tendon in to two halves. I usually do this by inserting my thumb nails into the middle and working the sinew apart with my fingertips in order to form a hole roughly in the centre of the tendon. If your thumb nail isn’t doing the job for you then you could try starting the hole with a blunt knife tip of even a small, slotted screwdriver.

Once you have formed a hole then you can push your fingers through it and rip the sinew in two, straight down the middle of the tendon. If the tendon is too well bound together to allow you to do this, then start at the none forked end of the tendon and begin to pull this end apart into 4 – 8 pieces. Rip these individual pieces apart from one another. If they detach from the rest of the tendon completely then excellent. Put these detached pieces to one side ready for further processing later.

If your tendon had a fork in the other end, then the likelihood is that your efforts to separate out the pieces comes to an abrupt end once the piece comes up against the fork.

Pieces of ripped out sinew still bound tightly together at the fork.

When I find that all the pieces of tendon remain tightly bound together at the fork, I usually end up returning the whole tendon back to the hammer and anvil. After a bit more pounding of the fork itself, (not where the pieces meet the fork but the fork itself) I will try and tug at each of the separate pieces individually to see if one of them is starting to release.

Once one piece starts to come free then the other pieces will soon follow. Further gentle pounding of the unseparated parts of the fork may continue throughout this process.

After a bit more pounding the fork gives up and splits down the middle.

Step 5 – Break down your tendons into workable pieces.

Once the fork starts to break apart then it is usually no more of a problem. Simple keep pulling on each of the already separated pieces until one of the pieces pulls completely free from the fork. At this point the fork is usually ready to come completely apart.

Whole tendon split in half.

Now the fork has lost its grip on the other pieces, begin to pull each individual piece apart from the others. A thick tendon should break apart into about a dozen straw thick pieces.

At this point most, if not all, of the membrane will have detached from the sinew leaving you with a pile of coarsely separated sinew fibres and a small but not insubstantial amount of fascia and chaff.

One whole tendon pulled apart into a dozen or so pieces.

Take all of your sinew pieces and put them to one side as you move onto the next tendon. Keep running through the same process as before until all of your tendons have been pounded and pulled out into strips of coarsely separated sinew.

To give you an idea of how many tendons you will need to back a bow then let me give you a very rough guide. A long bow, say 66″, I would expect to use at least 3oz of fully processed finely stripped out leg tendon sinew. Maybe aim for 4 oz if you are planning 3 layers.

On a long bow, 2 layers of sinew should suffice as a long bow doesn’t need much assistance in the tension plane. This is because the long length of the bow spreads the tension load well enough without the need for additional support. To be honest, I only ever sinew/rawhide back long bows if it’s a real character bow with a ton of potential weak spots like knots etc.

On a short bow like a plains style bow, there is much more stress on the bow due to the short working section of the limbs. So, on a short bow I’d suggest aiming for 3 layers of sinew.

Even though a short bow has less surface area to back when compared to a long bow, since you are adding an extra layer to a short bow, you will probably still want at least 3oz of dry sinew.

So, the general rule is aim for at least 3oz of fully processed sinew. That normally works out to be about the amount of sinew that you will remove from 8-10 red deer feet.

Step 6Reducing your sinew down to final thickness.

Once you have pulled apart all of your tendons you should have a fair pile of very coarsely separated sinew. Keep it dry and clean until you’re in a position to start the finer processing.

I usually save my fine sinew processing for a rainy day at home in front of the fire (AKA YouTube!). Put the kettle on and get yourself comfortable.

Grab a piece of sinew and find the middle of it. As you did before, insert your thumb nail or a blunt knife tip through the middle of the piece. Now tease it apart so that you have two roughly equal pieces. By now these two pieces will probably be about the thickness of baler twine.

Get comfortable, make a brew and take your sinew pieces to your work-station. Grab a piece of sinew and get to work splitting it in half.
Find the middle and separate the piece into two halves.

Now take one of the two halves and do the same again. Find the middle, part it into two halves and separate them out into two pieces.

Take one of these pieces and do the same again.

Keep going like this until your sinew pieces get down to about the thickness of spaghetti. They will not all be especially round however so don’t be concerned if your sinew looks more like waxed nylon thread. Actually, it is worth mentioning here that white waxed nylon string/thread is a great fake sinew! B50 bow string material is also a good gauge of thickness to go for when splitting sinew.

Aim for about the thickness of spaghetti or B50 bow string material.
You might find that your final sinew pieces are all curled up and difficult to lay flat and straight.

Step 7 – Straighten your sinew for easy storage and use.

Most of your final sinew pieces will have curled up a fair bit due to the pulling apart process. This makes them awkward to lay flat and pile up neatly. A simple solution to this is to pinch each final piece between your finger and thumb and scrap your thumb nail down the flat side of the sinew piece. Then spin it over and do the same on the other side. This will straighten each piece out nicely so that they will now lay together much flatter. This little tip will help you to arrange all of your finished sinew into nice tidy piles. This helps a lot latter when you come to apply your sinew.

So, there you have it! By now you should be able to take your dry deer leg tendons and process them down into a nice big pile of usable sinew.

In the next Sinew Series article, I will show you how to take all of the sinew/fascia scraps which you will now have, (or the tendon sheaths saved from the first article) and make a glue which you can use to stick your processed sinew to your next primitive archery project.

Top Left – Sinew/fascia scraps. Top Right – coarsely separated sinew. Bottom centre – finely processed sinew.

Until next time!

5 Simple Steps to Make Your Own Sinew (Guide)

5 Simple Steps to Make Your Own Sinew (Guide)

The Sinew Series Part 1

The very word sinew caries connotations of antiquity. A material of a long-forgotten time. This amazing material has so much use to anyone practicing primitive crafts.

Sinew is extremely strong in tension. It is also flexible in any state and quite elastic when wet, tightening as it dries. Even when sinew is in its completely cured dry state it still possesses an element of elasticity which is one of the reasons that sinew is so effective as a bow backing material.

In addition to backing bows, sinew can also be used for wrapping arrow fletchings, nocks etc, it can be used for making cabling, and unlike many plant fibres strings, sinew is also plenty strong enough to make a great natural bow string. And to top it all off, as wet sinew dries it adheres to itself and whatever it is wrapped around making it the original duct tape!

As well as providing all of these functional benefits, sinew can also be used simply as a decorative material in the same way that rawhide was often used in a lattice of bow limbs throughout the ages.

Sinew is one of those fundamental materials that any budding primitive archer should have knowledge and experience of. But the reality is that supply is very often limited making sinew one of those rarer materials which few have ready access to. (A bit like Osage here in the UK!)

Sinew it is also one of those materials which many are put off using because of fears of complexity, long cure times, or as far as the raw state is concerned, many wish to avoid a messy and time-consuming acquisition!

But the truth is that sinew is easy to source, easy to process and easy to apply once you have a bit of experience.

Our hominid ancestors probably enjoyed this incredibly useful material since we came down from the trees. Indeed, it has likely shaped our evolution. We may not have got as far as we have if it had not been for the discovery of this materials many uses. Just imagine the evolutionary jump that our species would have experienced upon the discovery of a material which has all the properties of self-adhesive baler twine!

There is no doubt that the progression of primitive technologies was aided by the diverse utility of sinew.

This article will be the first of several articles aimed at dispelling many of the myths and fears that surround the use of sinew.

It is my hope that this series of articles will enable anyone to source it, extract it, dry it, process it, apply it, cure it and finally enjoy the functional and aesthetic attributes of one of nature’s special gifts. So, lets break down the basics so that by the end of this series of articles you’ll be able to start incorporating this incredible material into your next primitive archery project.

This first Article will cover; what sinew is, where you can source it, how to remove raw sinew from its source and how to dry sinew.

So first, what is this sinew stuff and where does it come from?

Strictly for the benefit of those who are completely new to primitive archery, sinew is basically dried tendon tissue from a dead animal. It’s that simple. Are all tendons created equally? No. Well at least not in my experience.

Nowadays I almost exclusively use deer leg tendons for bow backing and cordage (including bow strings), and I use deer back strap sinew for lashings/wrappings etc. I’ve tried using tendons from other species such as farmed ostrich, domestic cow, farmed boar and truly wild boar and have concluded that large wild deer sinew is superior to sinew from all of these other animals. Ostrich leg sinew comes a close second however and is lovely and long but the sinews I’ve tried from farmed stock aren’t nearly as strong or elastic as those from a truly wild deer.

Pig/boar feet are not long enough to produce usable tendons which only leaves the back sinew as an option. Personally, I find both domesticated pig and wild/feral boar back sinew to be rather greasy. Wild deer back sinew however rarely has this problem. In fact, I just use deer sinew for everything which requires sinew these days. It needs mentioning though that some deer are just a bit too small to produce the kind of fibre lengths which are useful to us primitive archery folk.

Here in the UK, I’d suggest using nothing other than Red deer, Fallow Deer or Sika stag sinew. The smaller deer such as sika hinds, plus all roe and muntjac are just a bit too small to be worth messing about with however if that’s all you can get, then by all means give them a try. Fibres from smaller wild deer will still have all the other great qualities we’ve already talked about. They’ll just produce shorter fibres.

In the USA Mule/whitetail deer and of course Elk/Moose would all produce excellent tendons of suitable length which will produce lovely long strong sinew fibres. Basically, any wild ungulate with a live body weight over say 50kg/110lb will produce excellent sinew for the purposes of primitive archery.

So where can I get sinew from?

My own home dried wild Red Deer leg tendons.

Dry sinew

Dry Sinew can at times be difficult to find. Outside of Ebay there are a few craft shops here in the UK which sometimes stock odd amounts however most of these shops are out of stock for 9/10ths of the year. Ebay is your best bet and there are usually several sellers who can provide you with enough sinew for at least a single sinew backing project. Just search for “deer sinew” on Ebay to see if there is anyone selling sinew in your part of the world.

I myself typically have quite a good year-round stock of dried Red Deer leg sinew available for people to purchase here in the UK all year round. I sell dried sinew on a weight basis. If you would like to buy some sinew directly from me then please use the contacts page to get in touch.

Raw sinew

Raw deer leg tendon/sinew

Raw trimmed sinew is as rare as hen’s teeth as no one in their right mind would go through the process of stripping out leg tendons or trimming and cleaning off back strap tendon unless they were intending on drying them immediately.

Like most bits of dead things, sinew spoils quickly unless it is dried as soon as possible. So, the only place you’re likely to find raw unprocessed sinew is on the animal, or parts of the animal, which grew it in the first place!

All of my sinew comes from Red Deer which have been culled in my local area. Fortunately, I am a deer stalker (and also know lots of other deer stalkers) so I’m very lucky to have access to lots of deer legs. By legs I mean the bottom section of the leg below the ankle joint. Deer foot is probably a better description of the body part of use to us. This is the bit that your average deer stalker/hunter will throw in the bin as there is nothing worth eating on the foot of a deer!

Back Strap Sinew

Wild Red Deer back strap sinew.

Back strap sinew only ever comes my way if I’ve shot a deer myself for my own consumption, as the back strap sinew lies directly on top of the back straps (AKA the sirloins). Since no one ever gives up the sirloins of a venison carcass you’ll be doing well to acquire the back sinew unless you shoot/hunt deer yourself.

Even if someone is generous enough to offer you a whole back strap then the silvery sinew sheet which lies across the length of the back straps upper surface will likely have been cut off during the filleting and trimming process.

So, my advice is to find some local deer stalkers/hunters and offer to take their unwanted deer feet away for them. You may have to buy them a beer (or more likely a coffee these days!) but as long as you’re willing to do the processing yourself then this will be the cheapest way to acquire the highest quality sinew material. And possibly for free! In the UK you may be able to locate a deer stalker near you through the forum: The Stalking Directory

Removing tendons.

For now, I shall focus on removing tendons from deer feet. I will do an article on removing, drying and processing back strap sinew in the future.

Here I will show a sequence of photos demonstrating the safe and efficient removal of all of the usable tendons which you will find on the foot of a deer. First things first, here’s a quick list of the tools and equipment you will need to get started:

  • Easy clean work surface
  • Sharp knife
  • Knife sharpener
  • Disposable gloves
  • Kevlar/chainmail gloves
  • Dehydrator (only really necessary in the colder more humid months)
  • Cup of tea/coffee (optional!)
All you need to get started making your own sinew.

Step 1- Remove Skin.

The first step is to remove the skin from the cut end all the way down to the dew claws. This will require cutting away the skin from the bone/tendons/fascia which you will be holding in your free hand.

I’d strongly recommend wearing either a Kevlar or chainmail glove as you will be cutting towards your hand and wrist at times. I prefer to use Kevlar gloves which extend beyond my wrists for extra protection. I wear kevlar gloves on both hands as they also help a great deal in gripping the otherwise slippery skin and bone when it comes to the pulling phase of the skinning process.

In the interest of hygiene, under my Kevlar gloves I wear a pair of disposable gloves.

PPE is a must. I prefer Kevlar over chainmail

With the back side of the foot facing up towards you, start the skinning process by pinching the skin away from the large tendon running down the back side of the foot. Begin to slice away a strip of skin that sits directly on top of the tendon. (See pic below)

Make the job easier by pulling the skin taught and away from the direction of cut.
Cut an approx. 1” wide strip of skin away from the tendon all the way down to the dew claws. You may either cut this strip off where it meets the dew claws or just leave it on.

Next peel away the skin from around the top and front of the foot to expose the whole top of the bone. Be careful here not to cut the front tendon away onto the skin which runs down the front/shin of the leg bone.

Once you have cut a large enough flap of skin free to take a firm grip of the skin, hold the bone in one hand and the skin in your other hand and pull down hard on the skin to free it from the rest of the bone. (See pics below)

The extra grip from the kevlar glove is very helpful at this point.

Step 2 – Remove tendons.

Once the skin has been pulled down to the same level as the dew claws at the back of the foot, find the thin tendon which runs all the way down the front of the bone. Find a spot about 3” up from the bottom of the skinned section of bone and pinch up this tendon away from the bone. Now insert the end of your knife under the tendon between the tendon and the bone. (See pic below)

Now whilst pulling the tendon upwards and away from the bone, draw the knife under the tendon all the way to the end severing it away from the bone where it terminates. (See pics below)

Now do the same thing to the bottom end of the tendon cutting down about an inch past where the tendon forks across towards the toes. (See pics below)

Some might say that cutting the tendon off at the first fork instead of trimming it out all the way down to the toes wastes a couple of inches of usable sinew. To some extent they would be right. That said though, the sinew beyond the initial fork is intertwined within itself making it difficult to separate out after drying.

Personally, I’m more than happy to make do with the 7-9inches of untangled sinew which is obtainable from tendons removed as per the picture above. I usually revert to using back strap sinew when I need fibres to be longer than 9 inches.

Now flip the deer foot over and repeat the same process to remove the larger thicker tendon located on the back of the foot. (See pics below.)

Step 3 – Remove tendon sheaths.

At this point you will now have two whole tendons, one of which will be skinny and floppy, the other one will be thicker and stiffer. The thin floppy one needs no further attention and can be put to one side ready for drying.

The thicker, stiffer tendon now needs to be separated out into individual tendons after first separating them from the tendon sheath. The removal of the tendon sheath surrounding the inner tendons speeds up drying and also makes the pounding and separating process much easier at a later stage.

To remove the tendon sheath first insert the tip of your knife into the thinner end of the tendon sheath and slip the blade tip between the outer layer of the sheath and the largest of the visible tendons within the sheath. Now cut up towards the thicker end of the tendon. You’re basically trying to cut the sheath open end to end without cutting the tendon on the inside.

Step 4 – Separate the tendons.

Now take your fingers and separate out the tendons from the sheath. On front feet there is one round thick tendon plus two thin tendons. On back feet there will be one thick round tendon plus one thin tendon. Grip the individual tendons one at a time and rip them away from the tendon sheath.

The Kevlar gloves help a lot to provide enough grip to get them all separated out easily. (See pics below.)

Back foot – All three tendons separated out ready to be pulled free from the sheath.
Thick tendon separated out.
Top – Tendon from front of the foot, Middle – one thick tendon plus two thin tendons from the back of the foot. Bottom – The tendon sheath.
Top left – four feet all usable tendons removed, bottom middle – four tendon sheaths, bottom right – fourteen clean tendons ready for drying.
14 Tendons laid out on the drying rack ready to go in the dehydrator. Tendon sheaths boxed up ready for freezing until needed for glue.

Whilst the tendon sheaths do contain some tendon material, processing it away from all the other fascia is a great deal of work so nowadays I save all my tendon sheaths up until I have a bunch of them and then I cook them up into sinew glue.

Sinew glue that I use for backing my bows. I’ll do an article on sinew glue at some point in the future. Until then just remember to keep your tendon sheaths either dried or frozen because they really do make excellent sinew glue!

Dries Tendon sheaths. Perfect for cooking up into sinew glue! Keep away from hounds!!

Step 5 – Dry your tendons.

A quick word about using a dehydrator to dry tendons/sheaths.  Dehydrators are only really necessary when temperatures are low and/or humidity is high.

Most of my deer feet become available to me in the winter months. The winter months in the UK are notoriously wet and cold. Not ideal for drying anything! As such I’ve found a small dehydrator to be extremely useful for drying all my tendons quickly and efficiently.

Being a highly perishable item, tendon needs to be thoroughly dried as quickly as possible. Failure to dry quickly will result in a rotting stinking useless mess. Letting your tendons get even a tiny bit high will result in weakened sinew and a permanent whiff which will win you zero credibility!

If you live somewhere like Arizona however, you’ll likely air dry your tendons adequately by simple hanging then somewhere airy, out of the sun and away from dogs, rats and flies.

Deer tendons are fairly thin so should be dry in good air-drying conditions within a couple of days. A good place to air-dry your tendons in colder climes would be up high above a stove. Make sure you don’t cook your tendons though (see comments below re dehydrating).

If you do choose to air dry your tendons, then avoid letting them get fly blown. Maggots will quickly render your efforts useless.

If using a dehydrator makes more sense to you then heed this warning before embarking on dehydrating your precious tendons! It is very easy to be tempted to crank the thermostat up on the dehydrator to speed the drying process. Whilst this will certainly speed up the drying time it will also cook your tendons rendering them useless for all but glue.

You’ll know when you’ve accidentally cooked a tendon because when you come to pound it and separate out the fibres, your sinew will break apart into short stiff lengths of brittle useless splintery chaff instead of nice long, soft, fluffy, white, stringy lengths of sinew. Too high heat damages the proteins which make up your sinew and maintain the structural integrity of your end product.

You’ll want to dry your tendons using the lowest temp that you can get away with. I set my dehydrator to 130℉/55℃. No higher and no lower. At 130℉/55℃ my tendons are completely dry in 12 hours. No damage, no smell. Just beautiful, dry, stiff, odourless sinew ready to be pounded into wonderful soft fluffy white fibres.

14 Dehydrated tendons ready to be processed into usable sinew. (See pic below)

In the next article we will run through the processing of dried tendon into sinew fibres ready for use in your next sinew bow building project. Until then I suppose you’re now wondering what to do with a bucket full of skinned out deer feet.

The Timber Wolf has an idea!

Until next time!