» » Carving the Buckler – Archer’s Shield

Carving the Buckler – Archer’s Shield


This article is about carving the Buckler – the Archer’s shield

The rolled down hose and legs have been roughed in almost ready for the final cut, this gives proportion to the figure which helps with the visualisation of the whole. Hose were rolled down for comfort because of the scour endemic with Henry’s Azincourt army.

Carving The Buckler

Work then moves to the buckler, the small but effective shield carried by an archer for its lightness and versatility.

Extra matching wood was added to the block created for it in the gluing up stage as I had changed my mind about the attitude and angle of the buckler, this was then scribed with its diameter in pencil and the corners taken off the squarish block with a saw,

The outline was then carefully driven in with the the chisel, the ring that will form the boss was cut in for this has to be dropped back by an inch. The boss is the part where the hand fits and is domed to fit it. When down to the proper level the inner ring on the edge, which is formed by the doubling of the metal was cut in and lowered accordingly. The two rivets that hold the hand grip are left proud.

Doing the outside is all very straight forward but the reverse side is another matter altogether. I began by generously drawing in the thickness then made a saw cut down as far as the position where the leather strap that secures the buckler to the archers belt begins.

Heavy Chisel Work

After that it is heavy chisel work to roughly form the inner, where the position it is secured to the belt is now roughly visible. The difficult skill of undercutting, and in particular the dome, will present many difficulties.


At last the Archers belt with his portable battle equipment has really come together, the next task should complete the undercarving in that area and move on to the Brigandine with all its plates and rivets and so will be very much closer to completion of the entire figure.

Starting the next Trilogy Figure

In parallel with the current carving process, it assembling the machining patterns for the next figure of Mark Stretton at full draw prior to glueing up the huge block required, (Mark is not a small man).

The yew wood converted for the job has had almost 2 years to season, properly ‘sticked’ and protected and I am very happy with its condition, if not its quality, the wastage on yew being extremely high.

Look again next week for the live studio update of how this work progresses…




Leave a Reply