Latest / Salish Wolf / #60 Erich Streichsbier on Project Quiver

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#60 Erich Streichsbier on Project Quiver · Salish Wolf

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Welcome to Project Quiver, a father daughter journey across
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the globe to capture the artistry and spirit of the
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world's finest traditional bow carvers.
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I'm Todd, the father. Ella is my daughter.
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Together we're on a mission to create a stunning coffee table
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book that profiles more than a dozen master bow years and their
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unparalleled skill. For each chapter, we travel to
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the Bow Years workshop. Carve a bow under his guidance,
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photograph his woodcraft in detail and share his story here
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on the Salish Wolf Podcast. The book is called Quiver the
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Art of Life. Through Bow Craft and this
0:38
journey, our living story is Project Quiver.
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Eric, thanks for joining me today.
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Welcome to my workshop here. Where is your workshop?
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You're somewhere in Austria, right?
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My workshop is in the north of Austria in in Whitefield.
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It's in Lower Austria, and Whitefield is a region in Lower
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Austria which is very famous for its Mystic atmospheres and foggy
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weather and lots of lonely forests.
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Yes, great. Well, I look forward to seeing
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it soon. Yeah.
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So I'm coming to see you with my daughter and I believe September
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we're going to carve a beautiful bow with you and get to know you
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a bit better. See your workshop and in your
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community. How did?
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Archery come into your life. Archery came into my into my
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life at the point where it wasn't very easy for me.
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I had some kind of nervous breakdown because there were
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very lot of things which came together and it's like, like, I
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don't know, we, we moved and it was stressful at my job and we
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had in a ferry accident and my father had a really serious
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disease and all together was was not easy.
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I also had three little kids and my wife was on, on night shifts
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and weekend shifts a lot. And all these together caused a
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nervous breakdown actually. And then I took a year off and
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I, I, I wanted to, to paint a lot and then to study philosophy
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and painting and so on. And but what, what I did a lot
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to my own surprise was, was actually in fact then I made
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some course at, at the University of Vienna, there is a
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sports institute and, and started to, to go to 3D per
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course and so on. And that was that was my my
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entry into into this whole archery issue and.
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So the course at the University of Vienna was to practice
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archery. It was.
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Learning practice archery actually, but it was just just
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shooting on 80 meters with an Olympic recurve.
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And then I saw people there with, with self pose and that
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was more interesting to me. And so I I was seen in the woods
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of of of of Vienna and around OK very soon after.
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Looking for staves or for trees that you could cut into staves,
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yeah. This as well, but but actually
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to to go pretty parkours and at that time I wasn't into self
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into into bow carting at all because I, I, I couldn't do it
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actually. And at the end of this year, off
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I had I, I did some a bow making course and that that was
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actually actually the, the the entry into this bow making
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stuff. OK.
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Well, thank you for sharing about the the challenges that
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you had that brought you into archery.
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It's, it's a really, it's surprisingly a common theme.
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A lot of people I've interviewed have come into archery almost as
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a form of therapy to help them through a difficult part in
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their life. What, what did the archery bring
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to you? Like how?
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How did it help to change or heal you?
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Archery when? When I made this course, it was
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on the weekend and, and I carved my first bow.
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It seemed to be like like magic to turn some, some log with bark
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on it into a bow within two or three days.
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It was great. And then at the end of this
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workshop, I was I, I finished it up a little bit earlier and I
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was the only guy left with the guy who who teached me.
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And then we had some time and we went into the forest nearby.
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And because there was also a three Deepak was set.
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And that was for me, completely unbelievable because it was a
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beautiful day, you know, and the sun was shining through the
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grounds of the trees and all the lights were dancing on the on
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the floor of the forest. And there was a huge hall of,
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of, of tree crowns and, and some stream bubbling there and so on.
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And, and at the point, I think it was unconsciously, but at the
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point there normally you have a curtain between yourself and the
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wood. And at the point, this curtain
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seemed to to lift up. And I felt like like being the
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forest myself or the forest be me or one to be one with the
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birds there and, and all the noises there.
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And time, time was stood still more or less.
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And there was a feeling like like this was a very deep
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spiritual feeling, like there is no question to be asked anymore
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because all answers are given or something like this.
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And it's maybe something Buddhist monks would describe or
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so. And at the end, when I, when I
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got out out of this wood, I was completely fulfilled with
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happiness. And that lasted for maybe two or
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three days. And actually, I would say when I
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came out of the water, I was a bow maker.
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When I came out of the forest, I was, I was a bow maker.
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And it lasted, of course, a few years to to to get there, to
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really get there. With the mindset, it was
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completely clear that this would be one future of mine.
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How long ago was that, Eric? That is 15 years ago now.
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OK. And I started to carve my flat
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in Vienna. And we also have a house here
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in, in Brightfield because it's a little farmhouse, because my,
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my mother is born here, was born here and there was a shed next
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to it. And at some point, maybe two
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years later, I think was it 2 years or three years, the shed
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that was completely filled with rotten wood was hit by a, by
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lightning and burned down within three hours or so.
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And then we built it up and that's my workshop now.
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So it was good luck actually. Wow, I see you have lots of
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staves above you. Yeah.
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Yeah, lot of, lots of. Do you?
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Where do you find your staves? Do you harvest them yourself?
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Yeah, I try to harvest them myself, but sometimes I've just
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good luck. I was maybe half a year ago, I
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all along I saw, I saw a red oak.
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It's very rare in Austria, actually a big red oak standing
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in, in a, in a village village next to us.
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And half a year ago or so I had my, my cats bit into the, the
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charge of my notebook. And I, I had to go to a town
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that's quite far away to buy a new charger.
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And there was a street closed and I had to go another way.
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And I passed by this, I had to pass by this, these red oaks and
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they were cut down at this moment where I passed by.
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Then I got off, got off out of the car and asked the guys if I
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could have the wood. And now I have lots of red oak
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as well. I don't know how how the wood
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behaves because it's not dry, but I'm very curious about that.
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So that's that's one of the stories how how I get to my wood
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sometimes for the first I would. For the first bow that you
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carved in the workshop, what kind of wood were you?
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Working it was it was a black locust bow.
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It was a quite was a long bow with slightly curves and and
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black locust. Do you still have that bow?
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Yeah, of course. Yeah, it's like a holy bow for.
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Me. I wouldn't change anything in
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it, I would build bows in another way now but with my
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experience. But this bow will not be touched
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again. Maybe repay you still?
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Shoot with that bow. No, no, because I've had the
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bows actually now. Yeah.
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So you had a teacher in that workshop who helped you carve
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that black locust bow. Have you had other teachers
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since then? Yeah, I had a lot of teachers in
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in Austria and Germany. Last one was was somebody who
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who came from Japan. He's he was Kanchuro Shibata.
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He's a homemaker of the Japanese 10 O in the 21st generation.
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And I, I made a kudo bow on the course with him that was quite
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interesting. And that was also the last
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course I attended because afterwards I I thought to myself
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I don't really need it anymore. Yes.
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Are you carving bows full time? No, no, I have a main shop in
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Vienna. I'm I'm actually urban planner.
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It's very demanding and I do this during the weekend.
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On weekends I'm I'm often invite, fit, land and make both.
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That's what and. You said earlier that you took
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some time off to do some painting.
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You're a painter. No, no, I, I sometime I I'm
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interested in painting and but I'm not really a painter.
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When I when I was young, I, I, I had a few thoughts about to be
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painter maybe, but and it's nice.
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I do both painting now. That's what I do actually, in
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painting. You do painting on your bows.
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Yeah, sometimes if it comes to Native American bows, for
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example, I would do it. Yeah.
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So when you're making bows now, are you making them for yourself
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or are you making them mostly for customers?
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Also for customers but I don't do a lot because I haven't got
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so much time. I maybe I finish 234 bows a year
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and I see what happens some, some, some, some sometimes
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people want me to, to build both of them.
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Sometimes I have a bow to, to sell and so on.
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And I do a lot of new bows. I don't want to do the same bow
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all over the time because I'm I've like like a scientific
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interest in in doing different things when it comes to to go
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making. What have been some of your
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favorite styles of bows to make? What I do is for example, to to
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try to build composite bows like Ottoman or or Maggia bows, so
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that these are for Mongolian bows, which are no matter step
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step bows actually for mounted archery.
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And what I do a lot is like a like a bit of research in, in
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for prehistoric post, because there is there are a lot of
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posts of in, in, in there are a lot of posts in European museums
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from Copper Age and Bronze Age and Iron Age and so on.
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And what I do is I try to also to to digitally analyse them and
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it's what I find very interesting.
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And sometimes I make them I do also then then physical replicas
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of these bows. OK.
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Are the composite bows that you make?
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Are those horn bows? Horn bows, yeah is a bows with
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the core with wooden core and senior backing and and horn
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bellies. And what kind of horn?
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A Buffalo horn. I use Buffalo.
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What do you use? What do you use for the core?
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It's different. I also I tried Elmwood for
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example, but you can also use Acer or something you can.
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And those take a while to make. How long does it take you to
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make a hornbow? This is very long because there
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is a lot of. You do a lot of times where
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where you have to wait till till seen you tries and and so on.
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So it's it's mostly more than a year for a home.
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And I've shot only one or two horn bows.
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Incredible bows. How?
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How do you enjoy shooting them? It's I've one nearly finished
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and it was really great to shoot it.
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It's a fine, fine bow. It's quite fast and easy to draw
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and and also quite accurate. I loved it.
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Yeah, I look forward to seeing your collection.
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When did you start your business?
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Sparrow Bows Is is your name correct?
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Yeah. So it's not, not not a real
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business actually, because it's like semi professional and I
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don't have to, to earn money with it.
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But it started actually when it started, started with my
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Instagram account, which which I started when I went to to an
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assessment centre with my daughter because she applied to
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for his for, for an art school. And she was very nervous and I
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made fun out of it and told her she she should make an Instagram
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account for me. And that, that was all with all
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this cookery and, and, and all the things that, that happening
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in, in Instagram. And, and when I had this account
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with a completely strange name, I started to look out for, for
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porn making. And, and then I saw there's,
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there's this, there's a scene on Instagram.
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And that was few years ago. And my my daughter passed her
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passed her assessments and could it could make this cool.
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It was the other effect of. What?
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Where did the name Sparrow come from?
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Sparrow bows. When I when we built up this
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shed again that was burnt down, there was there was some some
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some birds nesting in there. They just flew in because all
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the doors were open and, and it would, it was a family of red
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stars actually. And I saw them dying because it
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was very hot and they had no, no water and, and the babies fell
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down on the floor. And I, I couldn't help them.
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And that was a point where I swore to myself to to help these
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birds when my workshop is finished and afterwards I hang
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up a lot of bird houses around here, really maybe four or five,
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but no rates that's moved in, but just sparrows and they are
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leaving your aunt here now and now.
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How do they get along with your cats?
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Because I've noticed in your Instagram.
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Photos not so, not so well maybe, but sparrows are quite
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quite fast sometimes. Sometimes I find feathers and we
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also thought about to lock up our cats when when the the
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babies come of the birds, but. Yeah, how many cats do you have?
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2. OK my daughter loves cats so she
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enjoys she. Can look forward because they
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are really nice and funny cats. So you're on?
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Did you say you're on a farm? It was is.
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It's a former farm, actually. My my grant, my my grandparents,
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they had a small farm with maybe 2 cows, cows and a pig and then
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some, some duck and and and chicken and so on but not much
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and a little bit of of acres and so on.
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And well, from what I've seen from the photographs, it looks
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beautiful. Yeah, it's nice, Absolutely
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nice. Yeah.
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And we have a great field. Yeah.
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Sorry, how long were you carving bows before you started to carve
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them for others or started to sell them?
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So actually maybe 10 years or 12 years because I don't, I don't
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do a lot And I, I don't my, my, my, my research or my, my work
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on, on bows is, is takes a lot of time actually, because I, I
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need to, need a long time to, to develop prototypes and so on.
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I'm also very, very, I try to, to make things very perfect.
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And so, so I'm not not, not, not one of the Pokhavas who make it
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in in 20 minutes or three hours or, or one day.
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It's not not my kind of of doing things and.
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Did you ever intend to sell bows or did people start reaching out
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to you to to buy your bows? Some some people reach out to
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buy them, then I sell them and if there is a bow to sell I will
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publish it on my on my website. Do you remember what your first
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bow sail was? What type of bow it was?
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It was a kind of a a Native American bow which was painted.
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It was was a for a colleague who made it who wanted to have a
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present for for his ex-girlfriend or girlfriend.
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And the bow is in Spain now. I think it's in Madrid.
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It went too, too much read, at least to my mind.
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So what is your favorite wood to carve with?
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I like I like a lot of woods very much.
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I work with the ash and Elm and and also like locust for
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example. Also a soil or something.
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I couldn't say I have a favorite wood, but if I would be forced
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to to to say a name and if I I got bent to A to A to a desert
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island with one bow would I would choose?
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Elm. Maybe.
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Elm. OK, I've never worked with Elm.
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We're going to what? What kind of bow are we going to
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make when I'm there? I would I would prefer to to
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make a replica of prehistoric bow if you if you like and I
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have something in mind because but I I don't know.
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We can do something different as well if you like.
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It will also depend on the wood we find and and what what will
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what fits to the wood you you will choose.
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But I'm I'm ready for anything. Really.
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OK, because I, I wanted to, to, to make a bow form for my, to
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make a new bow for myself, which should be a hybrid design
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between a home regard and the man design and the long design
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that what I wanted to build for me.
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And, and it also happened that I saw a prehistoric bow now that
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was a replica on Instagram and that I would that is very
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similar to this. It's the phrase bow that was
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found in Denmark to my mind, and it's very similar design to to a
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omegaard under mane hybrid bow. And so we, we can try this one.
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It would be interesting. I'm actually sounds.
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Good to me. I'm actually, so I, I, I will do
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such a bow for me. Maybe we can do it together.
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Yes, that sounds good. What type of tools do you use
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for carving bows? Which tools OK, drawing knives
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or carving, carving knives and and scrapers and hoof rasps and
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and I think it's not different to to to anybody who.
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Mostly hand tools. Mostly hand tools.
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I just, I don't like to, to, to build bows with electric tools.
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So mostly it's, it's hand craft. What, what I maybe what's
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important for me is a sliding caliper because I measure a lot.
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It's very important for me to make it really perfect.
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It's blood and tears Sometimes, you will see.
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And when you're using the calipers and and measuring for
24:07
it to be perfect, is that when you're creating a replica bow or
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is that for any? Of your because I want to
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compare because I want to compare what what my digital
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digital models say and and what what really what what the
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outcome is is at the end and yeah that's that's quite
24:28
interesting and and it's also because you know you have these
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these unique shooting experience from prehistoric pose if they
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are real good replicas otherwise it's just another bow and I to
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my mind you you feel it because. Sorry.
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Go ahead to to my mind, you feel it.
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You feel a difference because they are they are something
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else. It's it's very, very
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interesting. I will show you with the digital
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model, digital model that I will show you with the digital models
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I, I do how they are vibrating. It's little bit else, something
25:13
else than than this stiff handled post that we are used in
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also in the self post scene. And it's it's quite unique
25:25
experience to shoot a good replica.
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What are the digital models? The digital models is, is, is a
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software where you can you can digitally rebuild these bows and
25:45
you can shoot an arrow, an imaginary arrow and you'll see
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how how the limbs vibrate and you'll see the distribution of
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tension all the way after release.
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And that's really very interesting and and also quite
26:03
important because because if you have limbs that vibrate a lot
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afterwards, this is all energy that's not on the arrow when
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it's has left. Do you understand is this?
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Software. Is this software that's
26:17
available or is it something you've created?
26:19
No, I haven't created. It's available in the Internet.
26:22
It's virtual bow. What's it called?
26:27
Virtual Bow. That's the moment of the app.
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Interesting. OK.
26:33
And do you do that for every bow that you make?
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Recently, yes, the last two or three years and also for, for
26:40
bows I'll never make because I built most, most as most of the
26:45
bows that that are in that are owned by the European museums.
26:51
Because there is, there is a book with meshes of all these
26:56
posts of very many of these posts.
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And I I digitally built them, built them and looked at all
27:10
these all of these posts. Fascinating.
27:16
Now you've mentioned the European museums, we're going to
27:19
be travelling around a lot. Are there any museums that you
27:22
recommend for seeing archery collections?
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I would go to Copenhagen in the National Museum because there's
27:31
the homeguard boat. It's the oldest.
27:34
There's a red start flying hot side.
27:36
Funny, I see it throwing, throwing the window now.
27:44
No, Yeah, in Copenhagen you'll see the homeguard boat.
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It's 9000 years old. And it's, it's a really, really
27:55
outstanding experience to see this.
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It's very short and very thick and very wide.
28:01
And it must have been very heavy.
28:03
And I think they are quite underestimated actually also by
28:08
scientists or archaeologists. I think they were really heavy
28:14
both because the people were not so tall as we are, but they were
28:20
much stronger than we are. And they had real, real deep
28:27
knowledge about bow making and and also about hunting and so
28:31
on. What type of drawaway do you
28:35
think they pulled? That's different, but but many
28:39
of them would be around £100, maybe a bit less, maybe a bit
28:47
more. And it also depends on the wood,
28:50
on the E model of the wood, how much energy wood can store.
28:57
But it's quite obvious that they are stronger than than than many
29:02
of of of the scientists at the moment believe the.
29:08
The Home Guard Bulls are traditionally made of Elmwood.
29:11
Is that correct? Yeah.
29:13
It's changed at the at the time to to you.
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They're the beginning, lots of of findings in in Elmwood
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because the vegetation in Europe changed and then you'll find a
29:28
lot of you afterwards in Iron Age, for example.
29:33
OK, and you've made some Home Guard bows, I presume?
29:38
No, I didn't. You know, the Home Guard bow is
29:41
something else that people's that people, the Holmegat bow is
29:50
something else then then people say it, it, it would be, yeah.
29:54
You see a lot of a lot of of bows where people say it's a
29:59
Holmegat bow, but it's nothing to do with the Holmegat bow
30:02
actually, because Holmegat bow is something is a different
30:06
design. You know, most, mostly people
30:12
say Holmegat bow to a design that's actually a Molagabe
30:16
design, for example, with very thin outer limbs and so on and
30:23
all. My God was just the beginning of
30:25
this this development of constructing pose.
30:31
And it you said it was thick that it not have thin outer
30:33
limbs. Not, not that much.
30:38
Not that much. That that that it's believed.
30:41
Yeah, there's a there's you want one limb has a shoulder and it
30:47
gets narrow afterwards, but it's not a really thin limb.
30:50
If you see the bow, it's completely different.
30:53
It's really massive bow. And are there many artifacts of
30:58
that particular bow, or is it primarily the one that's in?
31:02
Copenhagen of this boat there there are a lot of artifacts of
31:08
of this boat type. But the Holmegat bow is a
31:10
special boat type which was found in Holmegat.
31:14
If they found a few bows there that are quite similar, but not
31:22
not not not very they've they've got these these narrow outer
31:27
limbs. It occurred later then.
31:34
OK. Any other museums that you
31:37
recommend in Europe? Maybe.
31:40
I think you could have good luck if you go to Anaheim.
31:45
Do you go to Anaheim to to? Yeah, I think in Anaheim, I
31:50
think maybe they're in the museum Museum, maybe they have
31:55
some kind of of post there you could have a look at.
31:59
But I don't know for sure. I don't want to say anything
32:03
wrong. That's all right.
32:04
That'll be a convenient one for us to stop into.
32:08
Don't think we're going to make it to Copenhagen unfortunately
32:10
on this trip. But I don't know if you go to V
32:13
to Vienna, there are a lot of bows in Vienna, but but not
32:16
really, really Stone Age bows. But there is a museum that has a
32:21
lot of an ethnographic museum that has a lot of bows.
32:26
OK, from different cultures. It's also interesting.
32:32
All right. Try to check some of those out.
32:37
So you mentioned back in the beginning when you went into the
32:41
forest and and you were shooting in the 3D course and really you
32:45
came out of Bowyer. How has the experience been for
32:50
you being a Bowyer? Has it been fulfilling?
32:54
Has it, has it given you more than you could have expected?
32:59
Can you talk a little bit about that?
33:03
I think it, it was where this, this, this experience changed my
33:08
life a lot because bow making then was, was part of my life
33:13
that that helped me a lot to, to, to get back into my track
33:19
because I've a very demanding job in Vienna.
33:23
And you need something that that holds you up also in, in, in a
33:29
spiritual way and then into into other ways than than your job
33:35
does. Of course, I've been very
33:37
interesting job. I'm an urban planner, but it's
33:41
also a job where where developments occur in, in a time
33:46
span from 20 or 30 years of 20 or 30 years.
33:51
So you don't ever see anything finished and everything is in,
33:56
in a, in a continuing process. And so you, you, you, you don't
34:02
have this, this, this experience where, where you, you, where you
34:06
are, where you are happy that you, that you finished
34:11
something. Actually, it's, and if I go to,
34:17
to, to my workshop at the, at the weekend, I have something to
34:21
hold in my hands and I, I can smell it and I can, can work on
34:26
it. And at the point that it's
34:27
finished and, and I can shoot it and you have this, this deep
34:32
happiness, then it's very different, different to my, to
34:39
my, to my chop in, in Vienna. Yeah, and do you enjoy shooting
34:45
the bows as much as you make them as archery?
34:48
I like it, but I'm not but I'm not I I don't go tournaments for
34:52
for example, because you, you have to shoot a lot to shoot
34:55
good. And so if so, so the the bow
35:00
making is much more important for me.
35:07
And what about your children? Are they interested at all in in
35:11
the bow making? Maybe.
35:12
Maybe I took them to the woods too much.
35:16
The the biggest of them, I have three children.
35:19
He he's maybe 25 now and he would shoot if I go with him, he
35:26
would. But the other son aren't
35:29
interested anymore. They one is, is a musician.
35:33
He's guitarist, he guitarist and the my daughter is more in the
35:39
art world and design world and she's not not interested at all
35:44
in this. OK.
35:47
Her boyfriend maybe he shot, he shot the Ottoman bow wife that
35:55
unfortunately broke later, but but he shot it and it was very
35:58
fine to shoot and he loved it. Do you enjoy the historical
36:05
research of the bows and how they were made?
36:08
That's that's interesting because because I think
36:12
cooperation with Stone Age Bose is, is also on Instagram and and
36:16
very talented. Simon in Germany.
36:21
Simon in Germany. No, he's, he's no, no Stone Age
36:25
Bose. He's Axel Linderhorn and he's
36:29
he's very good as well and with some kind of cooperation because
36:33
I have no, not so much time to make Bose.
36:37
And when and often when I made a digital model, for example, for
36:42
the two prick wing 2 print wing pose or all my guard pose or
36:48
whatever, I made a model and he replicated it and we could
36:53
compare it then. And so I could, I could improve
36:58
my prognosis for the, for the draw weights because the digital
37:03
model does only no rectangle cross sections and the
37:11
prehistoric bows don't have rectangle this, this, this clear
37:15
rectangle cross sections actually because they've rounded
37:21
bags, for example, some other things.
37:25
So, so the what, what comes out by the when I, when I'm doing
37:32
this digital model, it's not always the same which comes out
37:38
when when you make the bow. But now I can, I can actually,
37:48
I've, I've found a way hard to, to, to, to deal with it.
37:52
So I can make quite a good prognosis of control weight.
38:02
So you collaborate with Axel then on many of your bows A.
38:08
Few. I think he made 4-5 or six bows.
38:12
I modelled before and then he built it and then we compared.
38:16
That was quite interesting. And how do you know him?
38:21
Is that only through bow making that you've come to know?
38:23
Him. Yeah, it's just just just
38:25
Instagram, actually. OK, so you've never met.
38:29
Instagram friendship? No, we we never.
38:33
There are a few people on Instagram I I'm discussing with
38:37
and I never met. I don't know if I know his his
38:41
work so I'm going to check him out afterwards.
38:43
Where is he based? I think in Netherlands, but he's
38:47
actually from Sweden. I think so.
38:53
OK. Do you collaborate with other
38:54
Bowers as well? More and more, not, not as not
39:00
not intensively on concrete bows, but I have a quite, quite
39:09
nice relationship with Paul Comstock, for example.
39:13
I don't know if you know him. I know the name, I've never met
39:17
about. Communicated with one of the
39:18
these one of my idols, these these superheroes of the 90s
39:23
who. One of the authors.
39:26
Of the. Computational Bowyers Bible.
39:28
Yeah, yeah, exactly. And and he also wrote, wrote the
39:31
bandstick and he's a great guy. He's like, like a walking
39:37
encyclopedia for for archery books.
39:41
And then he knows a lot and, and shares a lot and, and we, we
39:45
exchanged zillions of, of, of messages.
39:48
And it's really, it's also funny with him and he's also, I see
39:52
him as a mentor and meanwhile also as a friend.
39:55
I, I wouldn't know if he, I don't know if he would agree,
39:59
but but sometimes he's a, he was a big part of my life because.
40:06
Is he still carving both? Yeah, and he makes really,
40:10
really nice both his both are very pure and and like they're
40:15
really shining from within. It's it's.
40:18
Really I have to look into I haven't seen his work either.
40:20
Is he on social media or I have a website?
40:22
He's on Instagram as well. On the band stick you find him
40:28
but the band stick is is the book he wrote and there's also
40:32
an Instagram address also also private account but he's no
40:41
homepage to my mind. Yes, OK, great.
40:47
Well, it's important to have mentors and teachers and that's,
40:51
you know, that's helped to guide a lot of, of bowyers out there
40:55
today and others have worked on their own and and learned from
41:00
their mistakes over the years. It's do.
41:03
You teach. Do you teach or mentor others?
41:07
Yes, not not a lot, but but I, I had quite a few, quite a few
41:11
people who who who I teach bow making.
41:17
There is a a good friend now. He built the first bow in my
41:22
workshop here and he's a very, very good bow maker.
41:26
Now he's he's but he he does this glass fiber, glass fiber
41:31
pose, but he makes excellent pose that's really great.
41:38
Do you teach workshops? Do you like formally?
41:41
Teach or is it just I teach workshops?
41:45
Actually, if somebody is interested to come here like you
41:50
are, then I would teach 234 days course at the three or four
41:59
days. Do you schedule courses or do
42:02
you just do it when people reach out to you by?
42:05
By demand if somebody asks. By demand, yeah.
42:10
And do you enjoy it? Yeah, I like it.
42:13
It's it's it's nice because you haven't so much work but the
42:17
outcome is you have done 3 or 4 balls at the same time and less
42:23
work to do. Yeah.
42:27
But of course it's. It's work too.
42:31
And do you have any, any, any plans in the future, any types
42:36
of bows you're going to make or anything that you're bow, bow
42:39
making related that you have planned?
42:42
Yeah, I want to finish a few composite bows and start new
42:45
ones because I learn a lot and and, and I want to do it in a
42:52
better way then of course. And I would also make more
42:57
prehistoric bows. Not to my mind and trying trying
43:05
different types of them and. You're always experimenting with
43:09
new types, aren't you? Yeah, yeah, that's that's very
43:12
interesting. I don't want to be a it it it
43:15
makes no sense to me to to make always the same or to be a 1
43:20
trick pony. It's, it's interesting obviously
43:25
to to, to research and to, to have a look what, what, what is
43:29
possible actually with short pose, with long pose, with
43:33
recurved or not recurved pose, 1 pose.
43:38
It's interesting. Well, your work looks absolutely
43:43
beautiful and I'm very honored that you've agreed to be part of
43:49
our Project Quiver and part of the book.
43:52
And I really look forward to learning from you directly and
43:56
my daughter to be able to take some of those photos of your
43:58
beautiful bows. It's going to be amazing.
44:02
I'm looking forward as well. I I think we will have a nice
44:05
time with also good time and I think you we have 4 days here
44:13
and that we will be to make it fine to my mind.
44:17
Yeah, and I'm excited to see the the countryside where you live.
44:21
Yeah, it looks absolutely beautiful.
44:24
It's nice here. Well, thank you for sitting down
44:28
with me today, Eric. Where can people learn more
44:31
about what you're doing, your website, your Instagram?
44:34
Can you give those details? Instagram is is Sparrow Bose
44:37
like the Sparrow bird and also on
44:41
www.pointsparrowbose.80ihaveawebsite where you can check out my boss.
44:52
Great. I'll put those in the show notes
44:55
and anything else you want to add before we sign off.
45:00
No, it's thank you for for the nice and pleasant meeting.
45:04
Thank you. I hope it's.
45:06
I hope my English is understandable.
45:10
It's been great and very informative.
45:12
Really appreciate it. Thank you so much.
45:23
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