Hand-forged bronze · Ocala, Florida

Bronze Raven

Handcrafted Bronze Age weaponry

Commission a piece

The Sword

One piece, end to end.

Hilt

The grip is cut from one block.

Shaped to the hand and pinned through with brass. The pommel flares wide at the end so the weight sits back toward the wrist instead of out at the point.

Hardwood scales · three-pin construction

Top-down view of the sword's dark hardwood grip, three brass pins down its length, a cast bronze quillon curling out at the guard and a wide flared pommel at the end
The finished bronze sword laid on a timber bench beside a river stone and a length of mossy cut wood
Finished and photographed in the shop, Ocala, Florida.

The Second Sword

A longer blade, the same hand.

Handle

Three pins, straight down the centre.

Dark figured hardwood, waisted in the middle so the hand finds the same place every time, and pinned through with brass rather than glued.

Hardwood scales · three-pin construction

The grip seen from above: dark figured hardwood waisted at the middle, three brass pins in a line, flaring to a wide pommel

The Knife

The small one.

A short bronze blade with the same dark grip and brass pins as the swords — a whole piece at a fraction of the length.

The bronze knife resting against a mossy cut log, blade catching the window light
The knife propped against a grey river stone, showing the swell of the blade and the flared bronze pommel
The knife from directly above on weathered timber: leaf-shaped bronze blade, dark grip with three brass pins, flared pommel

A one-pound bar of .999 fine copper stamped with the element symbol Cu, standing on a cutting mat at the bench

Why bronze.

Steel is the obvious choice, which is most of why I don’t use it. Bronze came first, and it behaves nothing like steel in the hand. I work a tin bronze — roughly nine parts copper to one part tin — cast, then worked cold along the edge. That last part is what people miss about bronze: hammering the edge compresses the metal and takes it considerably harder than the casting alone ever would. It holds an edge better than its reputation suggests. And it ages. Steel rusts and you spend the rest of your life fighting it. Bronze oxidises to a green-brown patina that settles over years, takes on the hands that carried it, and never looks the same on two pieces.

The bench from above: wire brush, files, a carved wooden pattern and a finished bronze knife with a dark grip laid across a cutting mat

The craft.

Nothing here is machined out in one pass. A pattern gets carved in wood first, so the shape can be held and judged before any metal is poured. The casting comes back rough and everything after that is hand work — files, stones, wire brush, abrasives worked finer and finer until the surface stops being a casting and starts being a blade. Handles are fitted to the tang and pinned through with brass rather than glued. It is slow, and it is the reason no two come out identical: every piece follows the same pattern and every piece is finished by hand.


The Process

Four steps, start to hand.

  1. Inquiry

    You tell me what you’re after and your budget.

  2. Design

    We settle the blade profile, the alloy, the handle stock.

  3. Forge

    The piece is made. Typically three weeks.

  4. Delivery

    Shipped insured, tracked, and signed for.

Commission

Start the conversation.

Tell me what you have in mind. I answer every inquiry personally.

A range is enough. It tells me what is possible.

Not ready to commission? Pieces are announced here first.