Since Marathon 2015, I've wanted a bowcase that isn't nearly as big as I am for the running around and shooting part of reenactments. This requires a smaller bow, of course, but a bowcase that fits more closely to the bow's outline will present less area when viewed from the side. In fact,
the Scythian/Persian gorytos in Greek art does tend to have an outline on the lower edge that follows the curve and reflex of the strung bow staff closer than could be achieved without either building the gorytos too tight and stretching the leather or having a seam. This suggests that the main pocket is made in two parts. A construction method like this would also allow the bowcase to be made from smaller hides or hides with flaws that mean they have to be cut into smaller contiguous pieces.
The bow I'm using as a model is
Ali Bow's Mini Han; not quite right for our period with its wooden siyahs, but at just under 34 inches/86cm strung, it's the smallest recurve I can find that still looks like a bow and not a toy. I may eventually replace it if a truly tiny Scythian-style bow becomes available, but I have been warned that resin bows may crack with repeated use, so I'm going with the all-fiberglass Ali for the time being.
The hide is
Crazy Crow's AA Grade Gold Buckskin. It's grain-on, but the flesh side has a short, even nap similar to wet-scrape leather that can be the outside. The color, gaudy though it may look, is actually close to that produced on braintan by smoking over certain species of wood.
After cutting out the body pieces, I determined which one would face outward when worn in "marching" position and traced it onto heavy cardstock.
At first I tried drawing the crenellations freehand in black ink, but then realized it was coming out too sloppy. I then used a yardstick and divided the length into 1-1/2-inch squares with a 1-1/2-inch top strip.
... and hatched the parts to be removed...
Cutting the crenellations was too tedious for me, so I used an X-Acto over a wooden plank for that part.
Pieces of the cutout make perfect reinforcements for the ends of the stencil. Plenty of tape on both the front and back ensures that no pieces of card stick out and snag on the leather.
Test-fitting the stencil. I made the curved end a little too long; the pointed tip will probably wind up inside the folded lower seam.
To prevent the leather and stencil from moving too much in relation to each other during the painting process, the stencil is taped along the back edge of the leather and on the front as much as possible without entering the stencil area.
This is the first time I've used the beeswax-linseed oil paint on an actual project. It's colored with red ochre. I may have added too much beeswax, as the mixture became very firm when cold. A little goes a long way, since much of the paint is scraped off and then reapplied further down. For this case, which is about 22 inches/56cm long not counting the margin where it will be stitched to the spine, I used roughly a tablespoon of paint. It will next have to cure for some days. I think it's important to get this step done before any assembly, because I can't imagine rubbing and scraping the paint into the suede on anything but a flat surface.
